At SXSW 2025, the panel titled “Aesthetic Access for VR: Centering Disabled Artistry” highlighted Territory, a pioneering virtual reality experience that demonstrates that accessibility is fundamentally an art form rather than an afterthought.
Developed by Kinetic Light and Double Eye Studios, Territory stands as the first fully “aesthetically accessible” VR experience. Unlike traditional VR programs that retrofit accessibility features like captions and audio descriptions, this innovative team integrated these elements into the artistic process from the outset.
“Access is no longer an accommodation that retroactively makes an experience accessible to disabled audiences,” stated a representative from Kinetic Light during the panel. “Instead, access is the essence of art itself.”
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Set against a post-apocalyptic backdrop, Territory conveys its narrative through aerial dance, haptic feedback, and spatialized sound. Participants assume the role of a “witness,” experiencing the profound implications of barbed wire in both a physical and metaphorical sense. This experience utilizes custom haptic motifs, enabling vibrations to articulate movement and emotion — a groundbreaking advancement for blind and low-vision users.
Even the concept of captions has been reinvented. Instead of static text, Territory’s captions are dynamic, moving with characters and artistically interpreting music and sound effects. “Most caption systems we explored couldn’t achieve the level of detail we needed, so we developed our own solution,” noted a key creative director from Double Eye Studios.
While accessibility in VR is still progressing, Territory sets a new benchmark where access is not only about inclusivity but also innovation. By framing accessibility as an artistic choice, Kinetic Light and Double Eye Studios challenge other creators to reconsider how VR experiences can be made truly immersive for everyone.
The focus on integrating accessibility from the beginning furthers the artistic journey, reinforcing the notion that “access is not backfilling,” as articulated by Lawson.
