1st Edition
An Introduction to Audio Description in Museums, Galleries and Heritage Sites
Preface
How to Use this Book
List of Figures
List of Tables
1. What is Audio Description?
1.1 Introduction
1.2 What does AD Aim to Do and Who For (and With)?
1.3 Background to AD
1.3.1 Legal Background to Access
1.3.2 AD as Translation
1.3.3 AD and Presence
1.3.4 AD of Live Events
1.3.5 AD in AV Media
1.4 Cognitive Load
1.5 Conclusion
1.6 Exercises and Discussion Points
1.7 References
2. Access to the Image in the Museum Context
2.1 Introduction
2.2 AD in MGHS
2.2.1 Defining MGHS
2.2.3 AD Devices and Delivery
2.3 What is a Museum?
2.3.1 What is an Exhibit?
2.4 Why Visit a Museum?
2.5 Sight and its Affordances in the context of MGHS
2.5.1 Art and Models of Visual Perception
2.5.2 User Experience and Memory
2.6 AD as Translation in MGHS
2.6.1 Objectivity, Subjectivity and Translator Visibility
2.6.2 Fidelity, Accuracy and Veneration
2.6.3 The Nature of Source Texts
2.6.4 AD, the Source Text and Timing
2.7 Conclusion
2.8 Exercises and discussion points
2.9 References
3. The Digital Museum
3.1 Introduction
3.2 The Digital Museum and its Implications for Visitors
3.3 Digital Content Inside Analogue Venues
3.4 Digital Interpretation: Audioguides and Audio Descriptive Guides
3.4.1 Digital Interpretation and Responsibility for Access
3.5 Digital Exhibits
3.6. Conclusion
3.7 Exercises and Discussion Points
3.8 References
4. Access to Place and Space
4.1 Introduction
4.2 A Sense of Place
4.3 Implications of Situatedness for Visitors
4.3.1 Getting There
4.3.2 Getting around
4.4 Museums Situated in Time
4.5 Implications of Situatedness for Venues
4.6 Implications of Situatedness for Audio Describers
4.6.1 Orientation
4.6.2 Navigation
4.6.3 Navigation and the Digital
4.7 Conclusion
4.8 Exercises and Discussion Points
4.9 References
5. Access to Curatorial Context
5.1 Introduction
5.2 What is Curatorial Context?
5.2.1 Interpretation
5.2.2 Context
5.2.3 Structure
5.2.4 Aesthetic Experiences and Methods of Display
5.3 Pragmatics and Interpretative choices
5.4 Power and Interpretation
5.4.1 Stakeholders in Interpretation
5.5 Conclusion
5.6 Exercises and Discussion Points
5.7 References
6. Describing 2D Exhibits
6.1 Introduction
6.1.1 What’s Special About 2D Exhibits?
6.1.2 Static Art and the Dynamic Gaze
6.2 AD Structure
6.2.1 Example 1: Overview and Contextual Framing
6.2.2 Intertextuality
6.2.3. Dimensions
6.2.4 Body
6.2.5 Parting Punch
6.3 Narratology
6.3.1 Characters
6.4 Language
6.4.1 Tense and Structure
6.4.2 Articles
6.4.3 Technical Terms
6.4.4 Economy of Language
6.4.5 Verbs
6.5 Orality
6.5.1 Punctuation and Pronunciation
6.5.2 Prosody
6.5.3 Vocal Imitation
6.5.4 Homophones
6. 6 Example 2
6.6.1 Overview
6.6.2 Contextual Framing
6.6.3 Body
6.6.4 Parting Punch
6.7 Conclusion
6.8 Exercises and Discussion Points
6.9 References
7. Describing Photographs and Portraits
7.1 Introduction
7.2 What is Special About Photography?
7.2.1 Terminology
7.2.2 Realism
7.2.3 Purpose
7.2.4 Context
7.2.5 Structure
7.2.6 Coherence and Intratextuality
7.3 Portraits
7.3.1 What is Special About Portraits?
7.3.2 Recognition
7.3.3 Appearance
7.3.4 Clothing and Hairstyle.
7.3.5 Equality
7.3.6 Pose
7.4 Colour
7.4.1 Black and White vs Colour
7.5 Blind Photography
7.6 Conclusion
7.7 Exercises and Discussion Points
7.8 References
8. Describing 3-D Exhibits
8.1 Introduction
8.2 Aspects Of 3-D Exhibits
8.2.1 Weight, Size and Texture
8.2.2 Form and Function
8.2.3 Objects in the Round
8.2.4 Materials, Decoration and Condition
8.3 Structure
8.4 Colour
8.3 Conclusion
8.4 Exercises and Discussion Points
8.5 References
9. Creating An Audio Descriptive Guide
9.1 Introduction
9.2 Background
9.2.1 Devices
9.3 Content
9.3.1 Instructions
9.3.2 Exhibition Overview
9.3.3 Duration
9.3.4 Navigation Information from Device Collection Point To Stop One
9.3.5 Description Of Exhibit
9.3.6 Navigation Information
9.3.7 Credits
9.4 Voicing and Recording an AG or an ADG
9.4.1 Pace
9.4.2 Recording
9.6 Testing
9.7 Conclusion
9.8 Exercises And Discussion Points
9.9 References
10. Live AD Tours
10.1 Introduction
10.2 The Live Situation
10.3 Getting Started
10.3.1 Are We All Here?
10.3.2 Vocal Toolbox
10.3.3 Menu
10.4. Moving On
10.4.1 Keeping The Group Together
10.4.2 Describing In Situ
10.4.3 Delivery And Access As Conversation
10.5 Ending the Tour
10.6 Conclusion
10.7 Exercises And Discussion Points
10.8 References
11. The Multisensory Museum & Audio Description
11.1 Introduction
11.2 Multimodality
11.2.1 Sight
11.2.2 Sound
11.2.3 Smell
11.2.4 Touch
11.2.5 Kinaesthesia
11.3 Handling
11.3.1 Tactility And Autonomy
11.3.2 Guided Tactile Exploration
11.3.3 Touch Objects
11.3.4 Braille
11.4 Conclusion
11.5 Exercises And Discussion Points
11.6 References
12. Evaluation and Collaboration
12.1 Introduction
12.2 Collaboration
12.3 Workflow
12.3.1 Initial Stages
12.3.2 Scope Of The ADG
12.3.3 Access Providers Or Access Consultants?
12.3.4 ADG Preparation
12.3.5 Example
12.4 Testing
12.4.1 Feedback and Evaluation
12.4.2 Measures
12.4.3 Assessment For Learning
12.5 Participation
12.6 Exercises And Discussion Points
12.7 References
13. Concluding Remarks
13.1 Introduction
13.2 Embracing Change
13.3 A Call To Action
13.4 Conclusion
13.5 Exercises And Discussion Points
13.6 References
Appendix
Index
Biography
Dr Louise Fryer is a professional audio describer. She was a senior teaching fellow (2017 – 2020) at the Centre for Translation Studies at University College London. She is the author of An Introduction to Audio Description: A Practical Guide (Routledge, 2016). With the blind aerialiste and drag performer, Amelia Cavallo, she co-authored Integrated Access in Live Performance (Routledge, 2021)
