While audio description (AD) is the standard approach for making videos accessible to blind and low vision (BLV) people, existing AD guidelines do not consider BLV users' varied preferences across viewing scenarios. These scenarios range from how-to videos on YouTube, where users seek to learn new skills, to historical dramas on Netflix, where a user's goal is entertainment. Additionally, the increase in video watching on mobile devices provides an opportunity to integrate nonverbal output modalities (e.g., audio cues, tactile elements, and visual enhancements). Through a formative survey and 15 semi-structured interviews, we identified BLV people's video accessibility preferences across diverse scenarios. For example, participants valued action and equipment details for how-to videos, tactile graphics for learning scenarios, and 3D models for fantastical content.

We define a six-dimensional video accessibility design space to guide future innovation and discuss how to move from “one-size-fits-all” paradigms to scenario-specific approaches.

Content creators (e.g., gamers, activists, vloggers) with marginalized identities are at-risk of experiencing hate and harassment. This paper examines the ableist hate and harassment that disabled content creators experience on social media. Through surveys (N=50) and interviews (N=20) with disabled creators, we developed a taxonomy of 11 types of ableist hate and harassment (e.g., eugenics-related speech, denial and stigmatization of accessibility) and outlined how ableism harms creators' well-being and content creation practices. Using statistical modeling, we investigated differences in ableist experiences given creators' intersecting identities such as race and sexuality. We found that LGBTQ disabled creators face significantly more ableist hate compared to non-LGBTQ disabled creators. Lastly, we discuss our findings through an infrastructure lens to highlight how disabled creators experience platform-enabled ableism, undergo labor to cope with hate, and develop strategies to safeguard against future hate.

Activism can take a multitude of forms, including protests, social media campaigns, and even public art. The uniqueness of public art lies in that both the act of creation and the artifacts created can serve as activism. Furthermore, public art is often site-specific and can be created with (e.g., commissioned murals) or without permission (e.g., graffiti art) of the site's owner. However, the majority of public art is inaccessible to blind and low vision people, excluding them from political and social action. In this position paper, we build on a prior crowdsourced mural description project and describe the design of one potential process artifact, ARtivism, for making public art more accessible via augmented reality. We then discuss tensions that may occur at the intersection of public art, activism, and technology.