BLACK TRANS ARCHIVE

This interactive animated film explores living as a trans person, and decisions around medicalising one’s body. In the style of a 'Choose Your Own Adventure' story visitors are invited to make choices as they journey through the game and interact with the characters - from beginning the process of medical transition with company run for and by black trans people, to resurrecting black trans ancestors who can share hidden knowledge.

We Are Here Because of Those That Are Not delves deeply into the intersections between Black transness and disability justice, foregrounding solidarity and shared struggles against medical control and pathologization. Both Black trans and disabled communities face overlapping oppressions where identity is frequently medicalized and regulated, often with harmful implications. This film highlights how these shared experiences bind Black transness and disability justice, emphasizing how both communities resist systems that define their bodies and lives through lenses of “deficit” or “dysfunction.” In celebrating Black trans ancestrality, the film does not merely invite empathy—it confronts viewers with the resilience and solidarity of those who have resisted such oppressions and redefined themselves on their own terms.Tech Literacy & Accessibility: This gamified narrative structure invites audiences to explore Black trans experiences through direct interaction, enhancing tech literacy by reframing both art and technology as tools for agency. This interactive model aligns with disability justice principles by fostering autonomy and participation, engaging audiences in a narrative that respects self-representation and empowers marginalized identities.Reducing Harm in New Media: By confronting harmful narratives that impose standards of medical “norms” on both trans and disabled bodies, the film reduces harm by portraying Black trans and disabled identities as multi-dimensional and self-empowered. It challenges viewers to reckon with the systemic control that impacts these intersecting identities, presenting Black trans lives as sites of strength and self-determination.Data & Knowledge Stewardship: The film curates an interactive archive of Black trans and disabled resilience, creating a unique repository of voices often erased in mainstream media. By preserving the knowledge of Black trans ancestors and connecting it to disability justice frameworks, the film becomes a resource for future Black trans and disabled individuals to find solidarity, support, and ancestral knowledge.In balancing celebration with confrontation, We Are Here Because of Those That Are Not emphasizes that Black transness and disability justice are interconnected through struggles against systemic medicalization and social marginalization. It powerfully asserts that these communities’ shared resilience and solidarity form a foundation for future generations to challenge, resist, and thrive.

What can we learn from this project’s use of the "Choose Your Own Adventure" format about the power of interactive storytelling in new media art? How might this approach advance tech literacy by centring Black trans and disability justice?

In what ways does BLACK TRANS ARCHIVE reveal the harms of medicalization for Black trans and disabled communities? What can this teach us about identifying and addressing barriers to agency and accessibility in cultural and tech spaces?How does this work serve as an archive of Black trans and disabled resilience, and what does it teach us about the importance of preserving marginalized narratives? How can we apply this to our own practices in safeguarding and honouring community knowledge?What can we learn from this work’s balance of celebration and confrontation in creating meaningful support for identity-affirming projects? How might this inform our approach to fostering transformative, anti-oppressive cultural spaces?What accommodations might be necessary to make this interactive experience accessible to diverse audiences, including people with visual, auditory, and sensory processing needs? Consider how screen reader compatibility, transcripts, ASL interpretation, and sensory-friendly modes could enhance accessibility.How can we ensure that the interactive elements are engaging and navigable for users with varying abilities?For instance, think about incorporating adaptable text sizes, keyboard navigation, and customizable pacing to support users who need extra time or prefer specific interaction methods.In what ways can content warnings and opt-out options be thoughtfully integrated to allow users to control their engagement with sensitive themes in the work?Reflect on how to create a respectful experience that acknowledges trauma sensitivity and gives users choice over which elements they encounter.What can we learn from the accessibility needs of diverse communities that might inform future projects with similar interactive and gamified storytelling elements?Consider how implementing flexible engagement and sensory adjustments here could serve as a model for broader practices in new media and interactive art.