Exercise in Becoming an Oyster Reef or an Invitation to Meeting Without Words Prior to the beginning of the exercise hand out two oyster shells to all participants.
We Arrive
An oyster’s life is mostly quiet and still. They are shaped by drifting beginnings, shapeshifting, and then most of its life in bed, an oyster reef, spent filtering the sea.
They begin as a tiny free-swimming larva, drifting with currents for days, weeks, feeding on plankton, riding tides with no fixed home. At some point they develop a foot, and by then they will look for a place to settle. Once they find a suitable spot, they stick to it for life, where they grow their shell among a community of other oysters. In this position, the sea is passing through them throughout their lifetime. Their shell becomes an archive, recording water temperatures, rainfalls, pollution with more. Just as trees speak of time through their rings, the oyster speaks through their shell.
Right now, we are settled somewhere within this space temporally for a short time frame. From this fixed position, your body-mind is invited to go where it wants to go. Let the sensations lead. Gently, softly, setting aside language, analysis, and interpretation. Rest in direct experience.
Imagine the space as the sea passing through you, and your body-mind becoming a record of this. Of the noise, rhythm, breath. And how you move within, alongside, and with them.
There are two oyster shells in front of you. Let them be a guide into shapeshifting alongside the sensations that you experience.
Image description: A close-up view of several oyster shells fixed to an unfired, soft clay form. The shells are layered with varying textures. The central shell is open, revealing a smooth, shiny interior. Surrounding shells have a rough, ridged exteriors.
They are resonant shells. Your movement activates this resonance. They resonate with you, with each other, one shell to the other, and just as much with the other pairs present in our group. Each object participates in a shared field of vibration and listening.
Together, we are moving towards becoming a sonic oyster reef. A composition of noise that resembles a multiplicity of movement within a static position, that is shaped by attention, resonance, and the archive of the body-mind.
Breathing
1) Sit or lie comfortably. Gently close your eyes or soften your gaze.
2) Take five slow, natural breaths.
3) Take five more breaths, but this time noticing different parts of your body Breath 1: Breathe through your nose and let the air out through your mouth. Breath 2: Place both hands on the sides of your ribs. Breathe in and notice how the space around your ribs changes.
Breath 3: Place a hand on your upper or middle back if possible. If not, guide your attention there. Breathe in and notice how this area moves and changes in a similar or different way. Breath 4: Place your hands on your chest, if that feels comfortable. Notice the change that the breath is bringing to the area. Breath 5: Breathe in through your nose, and let the air out through your mouth.
Pursuing Rhythm, Searching Speed
Now, we will continue with tracing the rhythm of your breath. This time with using the sound of two oyster shells sliding, scraping, grinding against each other. If or when you prefer to trace your breath by staying in silence, it is welcome too. Act 1: Place an oyster shell in each of your hands. Breath sequence 1: Breathe in. Strike the shells together. Hold your breath. Listen to the sound. And then let their surfaces slide against each other, as you breathe out, corresponding to the length of the breath. Repeat 3 times. Breath sequence 2: Breathe in. Hold your breath for a moment. Breathe out. Listen to the silence.
Breath sequence 3: Repeat first breath sequence five times. Closing rhythm: Place your hands holding the shells alongside your body. Listen to the silence.
Calling, Responding
We will now shift more towards the sound, and rhythm generated by the oyster shells. Without abandoning the sensation of the breathing, let the noise be something that in a similar way passes through you, something that you respond to, and something that responds to you. Approach the sound as a call.
1) Improvise freely and intuitively. Without analysing, create a new rhythm by striking or sliding the shells against each other.
2) As you continue exploring rhythm, start listening to the rhythms around you. Try to isolate one sound from within the noise of the space, and let your attention rest on it.
3) Treat that rhythm as a call. Respond to it however feels right, by mimicking it, contradicting it, or something in between. Whatever comes to you, embrace it. In Closing: Listening to Silence and Traces of the Remaining Noise We will now move away from the noise towards silence. Take a moment to be still.
Then, slowly let your attention drift toward these questions:
1) How does it feel to listen to the sound of the shells?
2) How does it feel to listen to the absence of this sound? Is there something that remains? A fragment of a feeling, or a corresponding memory?
3) How does it move through you? Which part of your body does the experience of sound and silence resonate with most?
4) What is the weight of this sound, is it light, or heavy? Notice the remaining sound in the room.
5) How do you feel the weight of it?
6) What current sound of experience of silence gives you most comfort?
7) Does it have a color? Does it have shape?
8) If you could keep it within your body? Which body part would you store it in? Or would you a grow an additional body part to carry it?
9) Think of the shape you are taking with the sound?
Slowly open your eyes, or shift your attention back to the space.
This is soft closing
This exercise is inspired by Sonic Meditations of Pauline Oliveros, written between March and November 1971.
-Personal contribution by Anastasija (Nastija) Kiake
Access Rider
An Access Rider is a practical document that communicates the access needs and working conditions that enable a person to participate fully and sustainably in a project, workplace, event, or collaboration. It provides commissioners, employers, institutions, venues, producers, project partners, and colleagues with clear guidance on how to create accessible working conditions and remove barriers to participation. An Access Rider can include information about communication, working hours, scheduling, travel, accommodation, physical and sensory environments, meetings, support, and other practical arrangements. It is a starting point for conversation, not a fixed set of rules. Access needs can vary depending on the person, the context, and the circumstances. The document should therefore support an ongoing dialogue about adjustments, boundaries, resources, and possible solutions. The access measures outlined in an Access Rider should be understood as part of the working conditions required for equitable participation. They should be planned, budgeted for, and agreed upon as an integral part of the project.
Access Rider Template
Project Information
Name: [Name] Pronouns: [Optional] Project/Event: [Project name] Date/Project period: [Date] Organisation/Commissioner: [Organisation] Version: [Date/version]
Access Needs
An Access Rider communicates the conditions and adjustments that enable me to participate fully, equitably, and sustainably. My access needs may vary depending on my capacity, the context, and circumstances.
I am a [disabled/chronically ill/neurodivergent/ etc.] artist. My capacity may fluctuate due to [fatigue/pain/mobility/sensory overload/medication /other]. I have strategies that enable me to work effectively, but require the following adjustments to maintain sustainable working conditions. These are not additional benefits; they are the conditions that enable me to participate and carry out the agreed work.
My main access needs
-[Access need]
-[Access need]
-[Access need]…
Please be aware
-My capacity may fluctuate.
-I may need breaks or temporary withdrawal without being able to explain why immediately.
-Changes to plans can require additional time and energy.
-I may need time to rest, regulate, eat, take medication, or use the bathroom.
-I will communicate my limits as clearly as possible.
Communication and Meetings
Clear, predictable, respectful communication is important to me.
Communication
-Main contact: [Name/role]
-Preferred channel: [Email/phone/other]
-Please provide important information in writing whenever possible.
-Please avoid last-minute requests and changes.
-I need sufficient time to process information and respond.
-Agreed communication hours: [e.g. Mon–Fri, 10am–6pm]
-Please do not contact me outside these hours unless there is an emergency or prior agreement.
Meetings
-Please provide agendas and relevant materials in advance.
-Meetings should normally be no longer than [duration].
-Breaks: [e.g. 15 minutes after every 90 minutes]
-Please avoid unnecessary meetings; written communication may replace meetings where appropriate.
-Online meetings: [captioning/camera optional/recording requirements/other].
Working Hours and Scheduling
Predictability and sufficient planning time are essential to sustainable working conditions.
-Normal working hours: [time – time]
-Maximum working hours per day: [number]
-Maximum consecutive working days: [number]
-Required breaks: [number/duration]
-Overtime: [not permitted/only by prior agreement]
-Weekend/public holiday work: [requirements]
Schedules should be agreed as far in advance as possible. Changes should be communicated early and significant changes discussed with me before confirmation. If my capacity changes unexpectedly, I may need to adjust the schedule, take additional breaks, or modify the work plan. The aim is to maintain the agreed work while allowing reasonable adjustments when necessary.
Travel and Accommodation
Travel arrangements must take my access needs into account.
Travel
-Maximum travel time per day: [number]
-Preferred transport: [train/direct route/other]
-Direct connections where possible.
-Assistance/taxi required: [details]
-Additional travel or rest day required for journeys over [number] hours.
-Flights, if required: [direct/fastest connection/seat/legroom/other]
Accommodation
-Single room.
-Private bathroom and toilet.
-Quiet room/quiet area.
-[Accessible bathroom/kitchenette/fridge/cooking facilities/heating/other.]
Accommodation should support appropriate rest and recovery.
Where dietary needs apply, facilities to prepare suitable food may be required. Access-related travel and accommodation costs should be included in the project budget rather than treated as personal or unexpected expenses.
Workspace and Dressing Room
The workspace should allow me to manage my access needs independently and with dignity.
Required facilities
-Accessible toilet.
-Drinking water.
-Chair/sofa/place to rest or lie down.
-[Kitchen/kettle/refrigerator.]
-[Medication storage.]
-[Low-sensory space.]
-Accessible entrance.
-[Other.]
Environment
-Calm and free from unnecessary noise where possible.
-Unnecessary people should not enter the space.
-Inform me before photography, filming, or visitors enter.
-Space should be clean and appropriately maintained.
-[Specific sensory requirements.]
Cooperation, Support and Confidentiality My physical, mental, or sensory capacity may vary. I will communicate my needs and limits as clearly as possible, while collaborators are asked to support reasonable adjustments.
Please
-Take my access needs seriously.
-Ask before making changes affecting my working conditions.
-Respect agreed boundaries.
-Allow breaks without requiring justification.
-Avoid assumptions based on how I appear.
-Discuss practical solutions rather than questioning the legitimacy of my needs.
-Keep personal and medical information confidential.
If a difficulty arises, I prefer to address it early and collaboratively.
Contracting and Production
A draft contract should be provided at least [number] weeks before the project begins. This Access Rider should form part of the contract and be treated as an agreed component of the working conditions. Substantial changes to access arrangements should be discussed and agreed in advance. A production / access meeting should take place at least [number] weeks before the project, involving relevant artistic, production, technical, and organisational staff.
The meeting should confirm:
-Schedule and working hours
-Access requirements
-Main contacts and communication procedures
-Travel and accommodation
-Workspace requirements
-Emergency procedures
-Audience / participant accessibility
-Responsibility for arranging and paying for access measures
All access-related costs should be identified and included in the production budget.
Accessibility and Public Communication
Accessibility should be treated as an integral part of the project and artistic practice, not an additional service.
Where relevant, measures may include:
-Step-free access and accessible toilets
-Accessible seating / wheelchair spaces
-Quiet or low-sensory spaces
-Sign language interpretation
-Live captioning
-Audio description
-Easy-read information
-Tactile / touch tours
-Relaxed performances or events
-Sensory information
-Accessible digital information
-Clear venue-access information
Accessibility measures should be communicated clearly and in advance through relevant websites, ticketing platforms, event information, press materials, and other public communication.
Emergency and Key Contacts
Emergency contact Name: [Name] Relationship/role: [Role] Phone: [Phone] Email: [Email] Project/Access contact Name: [Name] Role: [Role]
Phone: [Phone] Email: [Email] Production/Venue contact Name: [Name] Role: [Role] Phone: [Phone] Email: [Email]
AGREEMENT
This Access Rider describes the access measures required for me to participate in the project on an equitable and sustainable basis. Access needs and circumstances may change, and adjustments may therefore need to be discussed during the project. This document is intended as a practical working agreement based on open, respectful communication.
Artist Name: ____________________________________ Date: _____________________________________ Signature: _________________________________
Commissioner/Organisation
Name: ____________________________________
Role: _____________________________________
Date: _____________________________________ Signature: _________________________________
Care Rider
A collective care rider is a tool that can be used across different contexts to facilitate shared reflection on care and develop a common language for open communication. It provides a starting point for conversations about how we create accessibility, make room to different voices, care for one another, and develop more conscious ways of working together. The care rider is not a fixed document, but a living working tool that can be revisited throughout the entire course of a project. In this way, the group can continuously respond to changing needs, address new challenges, and identify where additional support or adjustments are needed. The purpose of a collective care rider is not to replace individual access or care riders, but to create a shared understanding of the needs and circumstances that each participant brings to the collaboration. When the group collectively acknowledges both the possibilities and challenges of the collaborative process, mutual understanding and transparency are strengthened.
A collective awareness that everyone involved in a project has a responsibility to communicate and act with care creates a more holistic way of working together. It fosters empathy, strengthens solidarity, and provides better conditions for developing inclusive and sustainable working processes.
Project Team
-Who is part of the project group, and what roles do they have? Are the roles fixed, or can they develop and overlap along the way?
-What are our individual areas of responsibility?
-What skills, experiences, and resources does each of us bring to the collaboration?
-What kind of collaborative culture do we want to create? How do we support curiosity, mutual learning, trust, and shared reflection?
-How do we prioritise time to get to know one another — both as a group and one-to-one?
Planning
-What individual needs, resources, and limitations do we need to take into account? (For example, accessibility needs, caring responsibilities, working capacity, and other projects)
-How do we prefer to meet? (In person, digitally, or a combination.)
-How do we want to communicate? (Collectively or individually, which platforms do we use, and when can we be contacted?)
-How do we organise the project schedule so that it takes the different needs and working conditions of the group into account?
-How do we distribute ownership, responsibility, and credit?
-How do we decide on the project’s shared goals and expectations?
-Who is responsible for the project or exhibition after the launch or opening?
-If the project leaves behind artworks, products, or other outputs, who is responsible for them, and who can make decisions about their future use?
Spaces
-Are all spaces physically, mentally, and sensorially accessible to the entire project group?
-Does anyone in the group need to visit or be introduced to the working or exhibition spaces in advance?
-What visible or invisible power structures shape the spaces in which we work? (For example, relationships between hosts and guests or institutional frameworks)
-How can we create more equitable conditions?
-Can we share responsibilities or change the way we use the spaces?
Budget and Payment
-Is the project non-profit or commercial?
-Is the budget transparent and accessible to everyone in the project group?
-How are accessibility costs and individual accessibility needs covered?
-When are fees paid, and are the payment terms clear to everyone?
Install, Exhibition and Event
-Who is able to participate with installing, opening events, and other events, and are there any circumstances that limit participation?
-Is there access to a quiet/rest space during installation and events?
-Is food, snacks, or drinks available to everyone?
-Has everyone been informed about photography and filming, and has consent been obtained?
-Does everyone in the project group have the opportunity to invite family, friends, or other close relations to openings and events?
Transport
-Does anyone need support with transportation?
-How is transportation organised?
-How are transportation costs covered?
Mediation and Communication
How does each participant wish to be referred to and credited in dissemination and communication?
-How do we want to communicate about the project?
-How do we approach the press, interviews, and public communication?
Evaluation
-Who participates in the evaluation?
-How do we conduct the evaluation so that everyone has an opportunity to contribute?
-Who has access to the evaluation, and how is it used in the ongoing work?
Accessibility Glossary
General Terms
Accessibility
Creating, designing and delivering products, environments and services, so as many as possible can use it and not just access it, but have a comparable experience.
Accommodation
An individual adjustment made when something is not already accessible.
Ableism
Discrimination, prejudice, or bias against disabled people, often based on the assumption that non-disabled ways of living are the norm.
Critical Access
An approach that views accessibility as an ongoing, collaborative practice shaped by disabled people’s lived experiences rather than a checklist.
Cripistemology (a portmanteau of “crip” and “epistemology”)
A concept in disability studies that refers to ways of knowing and navigating the world generated directly through disabled, Deaf, and mad experiences. Coined in 2014 by Merri Lisa Johnson and Robert McRuer, it centres the knowledge, survival strategies, and distinct perspectives of disability communities.
Intersectionality
The way different aspects of a person’s identity and experiences—such as disability, race, gender, class, or sexuality—overlap and can shape how they experience discrimination and access.
Visible/invisible disability
A visible disability is a disability that may be immediately apparent to others, while an invisible disability is not readily apparent. Both can affect a person’s access, participation, and need for support.
Auditory
Deaf / Hard of Hearing
People with partial or complete hearing loss who may use captions, sign language, or assistive tech.
d/Deaf
Distinguishes between the audiological condition of hearing loss (lowercase “deaf”) and belonging to the cultural and linguistic Deaf community (uppercase “Deaf”)”
Hearing Impaired
A general term for mild or temporary hearing loss, though “hard of hearing” is often preferred.
Captions and Closed Captions
Captions usually show just spoken words. Closed captions include sound cues (like music or effects).
Alt Text
A short text description added to images so screen readers can describe them to people who cannot see the image. It also appears if an image fails to load.
Image Description
A written or spoken explanation of important visual details in an image, helping people who cannot see it understand the content.
Transcript
A full written version of audio or video content helpful for accessibility and quick reference.
Auditory Processing Disorder (APD)
Difficulty understanding and processing sounds, especially in noisy environments.
Visual
Blindness
Complete or near-complete vision loss. Blind people may use screen readers, Braille, or other assistive technologies.
Blind
A person with little or no functional vision. Some blind people have partial sight, while others have none.
Visual Impairment
A broad term for reduced vision that cannot be fully corrected with glasses, contacts, or surgery. Transient Vision Impairment / Temporary Visual Disturbance A short-term reduction in vision caused by factors like bright sunlight, eye strain, injury, or medication.
Low Vision
A level of vision loss that cannot be fully corrected but still allows some usable sight.
Cognitive and Neurodiversity
Neurodiversity
The idea that differences in how people think and learn (like ADHD, autism, dyslexia) are natural and should be supported, not “fixed.”
Neurodivergence
A term describing people whose brains work differently from what is considered typical, including autistic people and people with ADHD, dyslexia, and other neurological differences.
Acquired Neurodivergence
Changes in how the brain functions due to illness, injury, or other life events, such as stroke or traumatic brain injury.
Neuronormativity
The assumption that neurotypical ways of thinking, communicating, and behaving are the standard or preferred norm.
Neuroqueer
A term describing the intersection of neurodivergent and queer identities, or the act of challenging social norms around both.
Cognitive Disability
Affects memory, attention, problem-solving, or understanding. Clear structure and plain language help a lot.
Visual Processing Disorder
Difficulty interpreting visual information, which can affect reading, writing, or pattern recognition.
Intellectual Disability
A lifelong condition affecting learning, reasoning, and everyday skills, with varying levels of support needs.
Neurological Disability
A disability caused by conditions affecting the brain, spinal cord, or nervous system, impacting movement, sensation, or cognition.
Pathology Paradigm
A framework that views disability primarily as a problem or defect to be diagnosed, treated, or cured.
Mobility and Physical
Wheelchair User
A person who uses a wheelchair for mobility. Accessibility includes ramps, elevators, and reachable layouts.
Motor Disability
Affects movement or coordination, which can impact using a mouse, keyboard, or touchscreens. Models of Disability
Medical Model
Views disability as a problem within the individual that should be treated, cured, or managed.
Social Model
Views disability as the result of barriers in society rather than a person’s impairment.
Biopsychosocial Model
Recognises that disability is shaped by biological, psychological, and social factors working together.
Affirmative Model
Views disability as a valued part of human diversity and identity rather than something to overcome.
Disability Rights Model
Focuses on equal rights, accessibility, and removing discrimination through laws, policies, and inclusive design.
Digital and Technical Accessibility
Assistive Technology
Tools like screen readers, voice input, or alternative keyboards that help people interact with content.
Focus Indicator
A visible highlight showing where you are when navigating with a keyboard.
Keyboard Accessibility
Making sure everything works without a mouse just using a keyboard.
Semantic HTML
Using meaningful code (like proper headings and buttons) so assistive tech can understand content structure.
Tone Indicator
A short marker (such as “/j” for joking or “/s” for sarcasm) that helps clarify the intended tone of written communication. Design Principles and Standards
Universal Design
Designing from the start to work for as many people as possible no retrofitting needed.
WCAG (Web Content Accessibility Guidelines)
A widely used set of standards created by the World Wide Web Consortium for making web content accessible.
Presentation and Media
AD Audio Descriptions
Additional spoken narration that describes important visual details in videos, films, or presentations during pauses in dialogue, making visual content accessible to people who are blind or have low vision.
Speaker Notes
Extra notes in presentation slides that presenters can see. These can also be read by screen readers.
Subtitles/Captions
Text displayed with video content. Captions include dialogue and important sounds, while subtitles typically only show spoken words or translations.
“Always remember, that multiple things can be true”
-TOD member