Develop verbal/textual descriptions for a series of 3 photos that youhave selected based on a theme or topic for your choice. Post each ofthe three images in the midterm CANVAS Discussion with the descriptionof each image directly below it.
For each image:
Brieflynote the publishing context where you located it [what was the platformor publication: an online newspaper, a blog, a marketing website, aWikipedia article, etc.)
Writea meta-analysis explaining how you decided what was important todescribe in the photos and if there are things that you intentionallyleft out.When writing your meta-analysis of your verbal descriptions, itis worth considering how your approach relates to concerns ofguidelines in the assigned readings from this past week: GeorginaKleege, “Audio Description Described,” Joel Snyder, “Audio Description:The Visual Made Verbal, ” and Sharon Marcus, Heather Love, and StephenBest, “Building a Better Description,” 1
Photography Assignment
Student’s name
Institution Affiliation
Course
Professor
Date
2
Photography Assignment
https://www.vox.com/22954833/russia-ukraine-invasion-strategy-putin-kyiv
The context of the image is that the image has been published by an online newspaper called
VOX. The image has been inserted in an article explaining the progress and damages of war
going on in Ukraine.
The image contains two soldiers who are army officers who appear to be well armored. The
image also contains a burning vehicle and intense smoke from the burning. The image contains a
scattered and disorganized environment that is empty.
I decided what was important to describe in the photo on the following basis: First, the intention
of the photo; the primary intent of the photo was very important in guiding the things I described
in the photo. Looking at the photo well, it is very definite that the photo was to communicate the
effects and the intensity of the war as it is going on in Ukraine. On this basis therefore, it is
important that I describe the aspects of the photo that makes it ass communicative of the adverse
effects of the war as possible. Looking at the burning vehicle in the photo, it is evident that the
3
war that is taking place is quite intense and costing. The theme of the issue being talked about
that is war is also important in helping me to describe the given elements of the photo. For
instance, when talking about war, there is expected to be burning down of properties and things.
There is also expected to be soldiers or the people who are fighting or rather engaging in the war.
The environment of the photo that is the scattered and seemingly isolated environment as I have
described is as a result of the theme of the photo. The photo is talking about war, in a war
situation, it is very definite to expect the environment that is isolated and with lots of smoke and
fire.
20 Student Engagement Strategies for a Captivating Classroom
The context of this photo is that the photo was found on an educational blog that was talking
about engagement strategies that make a classroom captivating. The image contains a teacher
4
who is putting on a smiley face. It also has students who have all lifted their hands up probably
wanting to answer a question that has been asked. The image also contains a board which has a
table that has not been filled completely meaning that it has blank spaces.
I decided what was important to describe in the photo basing on the following: first, the intention
of the podcast. Looking at the podcast, it is very definite that it was to communicate and inform
on the various engagement strategies that can be used to make the classroom captivating. It is
therefore important that the aspects in the photo communicate something about the classroom
engagement being captivating. It is on that basis that I had to describe the teacher who is putting
on a smile because definitely that is one of the strategies of making classroom engagements
better and captivating and also leaners who have put their hands up to show that the activeness of
the; leaners is a strategy of making classroom interactions captivating.
The theme of the blog is also important in providing guidance on the things that I describe in the
photos. The theme of the blog was to talk about the strategies that can be used to make the
classroom interactions captivating. The description and mentioning of the board with a with a
table that appears to be having missing gaps is just an indicator of a strategy that can be used to
make the classroom interactions meaningful and captivating. This is on the view that for the
classroom interaction to be captivating, the teacher has to find a way of engaging leaners and this
can be by ensuring that they also have questions to answer and gaps to fill,
5
https://unsplash.com/images/things/health
The context of this photo is that the photo has been found on a blog platform that contains
several images that are to communicate several aspects concerning health matters.
The photo contains, a pair of sports shoes. It also contains a pressure measuring equipment. It
contains several fruits and vegetables and seeds. For instance, there are coriander, broccoli,
tomatoes and a pawpaw. The image also contains a stethoscope.
I decided what was important to describe in the photo because of the intent if the blog. The blog
was evidently to communicate on several ways of ensuring that one keeps healthy and remains
fit. The sports shoes in the photo are important in ensuring that one is exercising and doing
enough exercises that will help to keep them healthy. This is why it was important to mention the
shoes. The foodstuff and the seeds mentioned are also important in helping one to remain
healthy. Broccoli, coriander and the seeds are responsible for proper circulation of the blood in
the body system and therefore meaning that they immensely contribute to the process of keeping
the body healthy. This therefore explains why it is important to mention them as part of the photo
given that they are the elements that help the photo to fulfill its intent.
6
The theme of what is being talked about and in this case health is critical in informing the
mentioning of some of the parts of the photo that I described and mentioned. For instance, when
we mention health, there are many things that come in the mind and among them it is the heart.
When we talk about the heart, we must have the equipment that are necessary in checking on the
health status of the heart. This therefore makes it necessary to mention the stethoscope and
equipment that is used to check the heartbeats so as to establish whether and individual is healthy
or not.
Audio Description: The Visual Made Verbal
Joel Snyder , National Captioning Institute , VA, USA
Abs tract: • f11dioDescription (AO) pro111desn verbal version of the visual for the benejir of people who are blind or have
low vision . Succmcl descrip//ons pret1se/y limed lo occ11ronly durmg rhe pauses 111dialog11eor s1gnificanl so1111d
eleme11ts
of pe1forming arls or In media allows persons wilh vision impairments 10 have greater uccess 10 !he images integral la a
given work of arr, AD enhances film and video, broadcasr relevision, live pe 1for111ances and museum exhib 1tions–a wide
range of human endeUl’or. While mrended as an access technique . AD has been shown to be useful for anyone who wcmrs
10lruly notice and appreciate a more /111/perspective on any visual event. For ins1ance. by usmg audio description . children :S
books can be mad~ acce.s.~1ble10kids ,vho have law vision or are blind •and* can help develop mor e sophiwcated language
ski/ls/01· all kids . A picture 1s worth /fl()() words? Maybe . But !he a> His palm hovers above the
baby bird. He lays his hand lightly
over the tiny creature. Smil ing,
Mohammed curls his fingers
around the chick and scoops 3.
3. – Vivid verbs help conjure images in the mind’s
eye.
it into his hands. He stands and strokes
its nearly featherless head with
a fingertip.
6 0 I :02:08: 12 00:00:00:23 -· :-:- -:-… [CH IRP ING/RUSTLE: 01]
JOEL SNYDER
7 01:02:09:12 00:00:17:19
>> Mohammed starts as the bird
nips his finger. He taps 4. his
linger on the chick·s gaping
beak. He tills 4. his head back.
4. – Description, like much poetry , is written to
be heard. Alliteration adds variety and helps lo
maintain interest
then drops it forward. Mohammed
tips 4. the chick into his front
shirt pocket. Wrapping his legs
and arms around a tree trunk,
Mohammed climbs.
8 0 I :02:28: IO 00:00:0 I :04 — — — -…[HEAVYBREATHI G/CL!MBING : 11)
9 0 I :02:39: IO 00:00: 17: 19 –:–:–:->> He latches onto a tangle of
thin. upper branches . His legs
Aai\ for a foothold. Mohammed stretches
an arm between a fork in the trunk of the
tree ,md wedges in his h..:,1d and shoulder.
His shoes slip on the rough bark.
IO OI :02:55: 11 00:00:00:23
…[SCRAPfNG :03)
II OI :02:58: 11 00:00: 16:04
» He wraps his legs around the
lower trunk. then uscs his arms
to pull himself higher. He
rises into thicker foliage and
hold onto tangles of smal ler
branches. Gaining his footing,
Mohammed stands upright and
cocks his head LO one side.
12 01:03:13:20 00:00:01:04 –:–:–:-…[CH[RPING/FLUTTER]
13 0 I :OJ: 18: 15 00:00: I 0: 15 – :–:–:->> An adult bird flies from a nearby branch. 5.
5 – What to include? T his image is important-t he adult bird returns in the nut sce ne.
Mohammed extends an open hand. He
touches a branch and runs his fingers
over wide, green leaves.
14 0 I :03 :27: 11 00:00:00:23 ··–:- -:–:-…fRUSTLfNG :03)
15 01:03:30:11 00:00:14:08
> I le pats his hand d wn tht:
length of”U1ebranch . His fingers trace the
smooth bark of the upper branches ,
search the network of connecting tree
limbs, and discover their joi nts.
16 0 1:03:43:20 00:00:00:23 ——-…[RUSTLE :02]
17 0103:45:20 00:00:05:06 01 :03:50:26
>> Above his head, Mohammed ‘s
finger find a dense mass of
woven twigs–a bird’ s nest.
18 0 I :OJ:50:26 00:00:00:23
…[CHIRPING :03)
19 0 1:03:53:26 00:00:07:15
>> Smiling, he removes the chick
from his shirt pocket and drops
it gently into the nest beside
another fledgling.
20 01:04:01:00 00:00:00:23
…[CHIRPING :OJ]
2 1 01:04:03:04 00:00:13:04
>> He rubs the top of the
chick’s head with his index 6.
6 – Be specific — precision creates image s!
finger. Mohammed wiggles his
finger like a worm 7. and taps a
chick’s open beak. Smiling, he
7 – Simi les paint pictures!
slowly lowers his hand.
Venues for Audio Description
In the United States, in ar.:as where a television station is equipped lO participa te. AD lets all television
viewers to hear what they cannot sec. It’s accessible
via a special audio channel availab le on stereo televisions. Viewers selec t the SAP (secondary audio
program) channe l in order to hear the regular program audio accompanied by the descriptions , precisely timed to occur only during the lapses between
dialogues. Sighted viewers appreciate the dcsc ripti(lns as wel I. lt”s television for blind, low vision and
sighted people who want to be in the kitchen washing
dishcs while the show is on.
To a limited degree-in approximate ly 200 movie
theaters nationwide-aud io description is available
for first-run film scree nings; similarly. description
can be found on several hundred VHS videotape
titles alLhough the VH format doesn’ t allow for tht
descr iption to be turned off. DVDs are a far more
suitable format, allowing for an audio menu, and the
TI-TEINTERNATIONAL JOURNAL OF THE ART JN OCIETY, VOLUME 2
ability to select description if desired; unfortunately
only se era! dozen DVD ticlescun-emly otler description.
There are now federal provisions regarding AD.
in particular Section 508 requiring description with
g vcrnment-produccd media, and the Federal Communications Commission (F ) rule, cun·ently under
review. In 2002, the FCC mandated description for
broadcast television several years ago but that rule
was successfully challenged by the television and
film industry in the courls. ow the US Congress is
considering legislation that would reinstate the
mandate just as captioning has been required for
most television broadcasts in the US for over 20
years.
In live performing arts settings, AD is offered free
usually at designated performances. People desiring
this service may rect:ive headphones attached to
small receivers, about the sin of a cigarette pack.
Prior to the show, a live or taped version or the program notes i$ transmitted through the headphones
after which, the trained desi.;riber narrates the performance from another part of the theater via a radio
or infrared transmitter using concise objective descriptions all slipped in between po11ionsof dialogue
0 1· songs.
In museums, using AD techniques for the de.~cription of static images and exhibitions, docents find
that they develop better use of language and more
expressive vivid, and imaginative museum tours,
greatly appreciated by all visitors. In this way docenllcd tours arc more appropriate for the lowvision
visitor and docents find tl1at their regular tours are
enhanced. A lively and vivid descriptive process
enables docents to make the museum exrc ricnce
more accessible and more meaningful for everyone.
Recorded AD tours, spel.:ificallygeared to people
with low vision, are increasingly common. Combined
with directional information, these recorded tours
enable vi~itors who are blind to use a simple handhdd audio player to tour at lea~t a portion of the
museum independently and ll’ith new access to the
visual clements of exhibitions. Other curators are
interested in having certain videos within an exhibit
or a p:micular film described.
The Audio Describer
I have trained des ribers in twdve different states
and six different countrie · and I thought it might be
of some interest to learn what it talces10 offer description in ways that will be most useful.
I recall being simply amazed when l fim encountered ir Arthur Conan Doyle’s brilliant detective. Sherlock Holmes. Brilliant … and incredibly
observant. In developing AD for television. a video,
for theater, for a museum – in any context- ! cmphas-
izc four elements, the first of which is all about the
skill that herlock Holmes honed:
I.
2.
3.
Observation: The great philosopher Yogi Be1i-a
said it best: ·’You can sec a lot just by looking.”
An effective describer must increase his level
of awareness and become an active “sec-er,”
develop his ‘visual literacy,” notice the visual
world with a heightened sense of acuity, and
share those images. Miss Helen Keller told it
like it is she said, ‘ Those who have never
sufft:red impairment ot’s ight or hearing seldom
make the fullest use of these blessed faculties.
Their eyes and ears take in all sights and sounds
hazily, without concentration and with little
appreciation.”
Editing: Next, describers must edit or cul I from
what they see. selecting what is most valid, what
is most important, what is most critical to an
understanding and appreciation of an event. In
addition. choices are made based on an understanding of blindness and low visioo going from
the gener:.ilLothe specific, use of color, inclusion of directional information , and so on.
Language: We transfer it all to words–objec live, vivid, specific, imaginatively drawn words,
phrases and metaphors. Is the Washington
Monument 555 feet tall or is it as high as fifty
elephants stacked one on top of the other? How
many different words can you use to describe
someone moving along a sidewalk? Why say
“walk” when you cun more vividly describe the
action with “sas hay,” ‘ stroll.” “skip ,”
“stumble ,” or “saunter”?
But good describers also strive for simplicity,
succinctness “less is more.” In writing to a
friend Blaise Pascal once noted: “I have only
made this letter longer because I have not had
the time to mnke it shorter.” While a describer
must use language which helps folks see
vividly–and even sec beyond what’s readily
apparent-,it’s important to maintain a degree
ofobjecti ity-describcrs sum it up with the acronym ·’WYSIWYS”: ” What You See Is What
You Say.”
The best audio describer is sometimes referred
to as a “verbal camera lens.” objectively recounting visual aspects of an exhibition. Qualitative
judgments get in the way they constitute a subjective interpretation on the part of the describer
and are unnecessary and unwanted. Let listeners
conjure their own interpretations based on a
commentary that is as objective as possible. So
you don’t say “He is furious” or “She is upset.”
Rather, ‘·He’s clenching his fist” or “She is
crying.” The idea is to let the audience make
JOEL , NY DER
4.
lheir own judgments perhaps their eyes don’t
work so wdl. but their brains and their interpretative skills are intact.
Vocal Skills: Finally, in addition to building a
verbal capability. the describer develops the
vocal instrument Lhrough work with speech and
oral interpretatio n fundamentals. We make
meaning wilh our voices one quick exercise I
use involves the phrase:
Woman without her man is a savage.
ay ii aloud so that it means just Lheopposite ;
Woman: Without her. man is a savage.
So, effective describe r must learn to ··re-s e” the
world around usto truly notice wha t it is perceived
with the eye.sand then express the pertinent aspects
of those images with precise and imaginative language and vocal techniq ues that rende r the visual
verbal.
Audio Description and Literacy
Not too long ago I conducted a workshop in New
Haven with day care workers and reading teachers
on what I think represents a new application for audio
description. We experimented with developing more
descriptive language to use when working w/ kids
and picture books. Some of these books are deficient
with respect Lo the language skills they involve -they rely on the pictures to tell the story. But the
teacher trained in audio tlescription techniques would
never simply hold up a picture ofa red ball and read
the text:· · cc the ball.” He or she might add: ”T he
ball is red-just like a fire engine. I think that ball is
as large as one of you! It’s as round as the sun–a
bright red circle or sphere .” The teacher has introduced new vocabulary invited comparisons, and
u ed mct.nphor or simi le – with toddlers! By using
audio dest.:ription, I think that these books will be
made accessible to kids who have !ow vision o r are
blind •a11d• help develop more sophist icated language skills for al\ kids. A picture is worth I000
words? Maybe. But the audio describe r might say
that a fc\V well-chosen words can conjure vivid and
lasting images.
Indeed. al NCI.Described Media we’re quite proud
to be the folks who provide desc ription- for the first
time – for Sesame Street. We were quite hearten.:tl
by a particular letter we received last year from a
blind parent of sighted children who for the first time
could follow along with her kids the antics of Elmo.
Bert, Ernie, and al I the other denizens of Sesame
Street.
Access for All
Over the past twenty years. I have considered it quite
a privilege to train d.:scrihers and do AD workshops
in rwenty ~rates in the United States and in nine
countries around the world, most recently in Moscow
for the 2nd Annual Moscow International Disability
Film Festival. I mention that because I want to share
with you a strong impression from three days of
training I conducted there – and 1 found the s.ime
sort of pirit severa l years earlier when I conducted
live dnys of training in Sofia, Bulgaria . In both
countries, the trainees and my hosts taught me that
audio descript ion, access to the arts, is about Democracy. Here I am, coming from the United tates, a
prosperous, democratic n::uion,and yet access ibility
in the U.S . is often not viewed as a right, as a reflection of the principles upon which our nation was
founded. People in Sofia, Bulgaria in St. Pctershurg,
and in Moscow are wrestling with economic problems attendant to any new democ racy yet to them
democracy means ··access to everyon.:.” I learned
that from my friends there and I share that wonderfully inclusive notion with you hen:.
We have an immense and \’ariccl culture in the
United tares. There is no reason why a person with
a visual disability must also be culturally disadv:rnt·
aged. All people need to be ful I p.irticipants in their
nation’s cultural life. It must be rem..:mbered that the
·’able bodied” among us ore only temporarily
so-there is only a thin line between ability and
disability. With a focus on people’s ahilities, we will
come much closer to greater inclusion and total access.
About the Author
Joel nyder
Joel nyder is known intern.1tionally as one of the lirst audio describers . He began descr ibing arts events in
1980 with the world ·s fir ·t ongoing audio description service in Washington, DC. His work made hundreds of
live theater product ions accessi ble LO visually impaired audience members: in media, Mr. nydcr used the ·ame
technique to enhance PB ‘Ame rican Playhouse productions, ABC and Fox network broadcasts, feature films.
the IM/\X film “Rlue Planet” and the Planetarium show “And A Star To rcer Her By” at the Smithsonian Institution’s ational Air and Space Museum . As Director oJTiescribed Media for the National Captioning Institute,
he leads a stalTthat produces description for nationally broadcast films and television series including ‘·Sesame
Strc ·t’· and DV s. Mr. nydcr·s Audio Description Associates develops AO tours for museums throughout the
·l d States indudin the Enabling.Garden Ut the hicago Botanic Garden the ationul Aquar ium in Baltimore
and th!?J P. ul Getty Mw. um in Lu · , ngd cs. Intemationally h introduced description tccbniqu · in Jap n.
I, c:I.R nwni> His palm hovers above the
baby bird. He lays his hand lightly
over the tiny creature. Smil ing,
Mohammed curls his fingers
around the chick and scoops 3.
3. – Vivid verbs help conjure images in the mind’s
eye.
it into his hands. He stands and strokes
its nearly featherless head with
a fingertip.
6 0 I :02:08: 12 00:00:00:23 -· :-:- -:-… [CH IRP ING/RUSTLE: 01]
JOEL SNYDER
7 01:02:09:12 00:00:17:19
>> Mohammed starts as the bird
nips his finger. He taps 4. his
linger on the chick·s gaping
beak. He tills 4. his head back.
4. – Description, like much poetry , is written to
be heard. Alliteration adds variety and helps lo
maintain interest
then drops it forward. Mohammed
tips 4. the chick into his front
shirt pocket. Wrapping his legs
and arms around a tree trunk,
Mohammed climbs.
8 0 I :02:28: IO 00:00:0 I :04 — — — -…[HEAVYBREATHI G/CL!MBING : 11)
9 0 I :02:39: IO 00:00: 17: 19 –:–:–:->> He latches onto a tangle of
thin. upper branches . His legs
Aai\ for a foothold. Mohammed stretches
an arm between a fork in the trunk of the
tree ,md wedges in his h..:,1d and shoulder.
His shoes slip on the rough bark.
IO OI :02:55: 11 00:00:00:23
…[SCRAPfNG :03)
II OI :02:58: 11 00:00: 16:04
» He wraps his legs around the
lower trunk. then uscs his arms
to pull himself higher. He
rises into thicker foliage and
hold onto tangles of smal ler
branches. Gaining his footing,
Mohammed stands upright and
cocks his head LO one side.
12 01:03:13:20 00:00:01:04 –:–:–:-…[CH[RPING/FLUTTER]
13 0 I :OJ: 18: 15 00:00: I 0: 15 – :–:–:->> An adult bird flies from a nearby branch. 5.
5 – What to include? T his image is important-t he adult bird returns in the nut sce ne.
Mohammed extends an open hand. He
touches a branch and runs his fingers
over wide, green leaves.
14 0 I :03 :27: 11 00:00:00:23 ··–:- -:–:-…fRUSTLfNG :03)
15 01:03:30:11 00:00:14:08
> I le pats his hand d wn tht:
length of”U1ebranch . His fingers trace the
smooth bark of the upper branches ,
search the network of connecting tree
limbs, and discover their joi nts.
16 0 1:03:43:20 00:00:00:23 ——-…[RUSTLE :02]
17 0103:45:20 00:00:05:06 01 :03:50:26
>> Above his head, Mohammed ‘s
finger find a dense mass of
woven twigs–a bird’ s nest.
18 0 I :OJ:50:26 00:00:00:23
…[CHIRPING :03)
19 0 1:03:53:26 00:00:07:15
>> Smiling, he removes the chick
from his shirt pocket and drops
it gently into the nest beside
another fledgling.
20 01:04:01:00 00:00:00:23
…[CHIRPING :OJ]
2 1 01:04:03:04 00:00:13:04
>> He rubs the top of the
chick’s head with his index 6.
6 – Be specific — precision creates image s!
finger. Mohammed wiggles his
finger like a worm 7. and taps a
chick’s open beak. Smiling, he
7 – Simi les paint pictures!
slowly lowers his hand.
Venues for Audio Description
In the United States, in ar.:as where a television station is equipped lO participa te. AD lets all television
viewers to hear what they cannot sec. It’s accessible
via a special audio channel availab le on stereo televisions. Viewers selec t the SAP (secondary audio
program) channe l in order to hear the regular program audio accompanied by the descriptions , precisely timed to occur only during the lapses between
dialogues. Sighted viewers appreciate the dcsc ripti(lns as wel I. lt”s television for blind, low vision and
sighted people who want to be in the kitchen washing
dishcs while the show is on.
To a limited degree-in approximate ly 200 movie
theaters nationwide-aud io description is available
for first-run film scree nings; similarly. description
can be found on several hundred VHS videotape
titles alLhough the VH format doesn’ t allow for tht
descr iption to be turned off. DVDs are a far more
suitable format, allowing for an audio menu, and the
TI-TEINTERNATIONAL JOURNAL OF THE ART JN OCIETY, VOLUME 2
ability to select description if desired; unfortunately
only se era! dozen DVD ticlescun-emly otler description.
There are now federal provisions regarding AD.
in particular Section 508 requiring description with
g vcrnment-produccd media, and the Federal Communications Commission (F ) rule, cun·ently under
review. In 2002, the FCC mandated description for
broadcast television several years ago but that rule
was successfully challenged by the television and
film industry in the courls. ow the US Congress is
considering legislation that would reinstate the
mandate just as captioning has been required for
most television broadcasts in the US for over 20
years.
In live performing arts settings, AD is offered free
usually at designated performances. People desiring
this service may rect:ive headphones attached to
small receivers, about the sin of a cigarette pack.
Prior to the show, a live or taped version or the program notes i$ transmitted through the headphones
after which, the trained desi.;riber narrates the performance from another part of the theater via a radio
or infrared transmitter using concise objective descriptions all slipped in between po11ionsof dialogue
0 1· songs.
In museums, using AD techniques for the de.~cription of static images and exhibitions, docents find
that they develop better use of language and more
expressive vivid, and imaginative museum tours,
greatly appreciated by all visitors. In this way docenllcd tours arc more appropriate for the lowvision
visitor and docents find tl1at their regular tours are
enhanced. A lively and vivid descriptive process
enables docents to make the museum exrc ricnce
more accessible and more meaningful for everyone.
Recorded AD tours, spel.:ificallygeared to people
with low vision, are increasingly common. Combined
with directional information, these recorded tours
enable vi~itors who are blind to use a simple handhdd audio player to tour at lea~t a portion of the
museum independently and ll’ith new access to the
visual clements of exhibitions. Other curators are
interested in having certain videos within an exhibit
or a p:micular film described.
The Audio Describer
I have trained des ribers in twdve different states
and six different countrie · and I thought it might be
of some interest to learn what it talces10 offer description in ways that will be most useful.
I recall being simply amazed when l fim encountered ir Arthur Conan Doyle’s brilliant detective. Sherlock Holmes. Brilliant … and incredibly
observant. In developing AD for television. a video,
for theater, for a museum – in any context- ! cmphas-
izc four elements, the first of which is all about the
skill that herlock Holmes honed:
I.
2.
3.
Observation: The great philosopher Yogi Be1i-a
said it best: ·’You can sec a lot just by looking.”
An effective describer must increase his level
of awareness and become an active “sec-er,”
develop his ‘visual literacy,” notice the visual
world with a heightened sense of acuity, and
share those images. Miss Helen Keller told it
like it is she said, ‘ Those who have never
sufft:red impairment ot’s ight or hearing seldom
make the fullest use of these blessed faculties.
Their eyes and ears take in all sights and sounds
hazily, without concentration and with little
appreciation.”
Editing: Next, describers must edit or cul I from
what they see. selecting what is most valid, what
is most important, what is most critical to an
understanding and appreciation of an event. In
addition. choices are made based on an understanding of blindness and low visioo going from
the gener:.ilLothe specific, use of color, inclusion of directional information , and so on.
Language: We transfer it all to words–objec live, vivid, specific, imaginatively drawn words,
phrases and metaphors. Is the Washington
Monument 555 feet tall or is it as high as fifty
elephants stacked one on top of the other? How
many different words can you use to describe
someone moving along a sidewalk? Why say
“walk” when you cun more vividly describe the
action with “sas hay,” ‘ stroll.” “skip ,”
“stumble ,” or “saunter”?
But good describers also strive for simplicity,
succinctness “less is more.” In writing to a
friend Blaise Pascal once noted: “I have only
made this letter longer because I have not had
the time to mnke it shorter.” While a describer
must use language which helps folks see
vividly–and even sec beyond what’s readily
apparent-,it’s important to maintain a degree
ofobjecti ity-describcrs sum it up with the acronym ·’WYSIWYS”: ” What You See Is What
You Say.”
The best audio describer is sometimes referred
to as a “verbal camera lens.” objectively recounting visual aspects of an exhibition. Qualitative
judgments get in the way they constitute a subjective interpretation on the part of the describer
and are unnecessary and unwanted. Let listeners
conjure their own interpretations based on a
commentary that is as objective as possible. So
you don’t say “He is furious” or “She is upset.”
Rather, ‘·He’s clenching his fist” or “She is
crying.” The idea is to let the audience make
JOEL , NY DER
4.
lheir own judgments perhaps their eyes don’t
work so wdl. but their brains and their interpretative skills are intact.
Vocal Skills: Finally, in addition to building a
verbal capability. the describer develops the
vocal instrument Lhrough work with speech and
oral interpretatio n fundamentals. We make
meaning wilh our voices one quick exercise I
use involves the phrase:
Woman without her man is a savage.
ay ii aloud so that it means just Lheopposite ;
Woman: Without her. man is a savage.
So, effective describe r must learn to ··re-s e” the
world around usto truly notice wha t it is perceived
with the eye.sand then express the pertinent aspects
of those images with precise and imaginative language and vocal techniq ues that rende r the visual
verbal.
Audio Description and Literacy
Not too long ago I conducted a workshop in New
Haven with day care workers and reading teachers
on what I think represents a new application for audio
description. We experimented with developing more
descriptive language to use when working w/ kids
and picture books. Some of these books are deficient
with respect Lo the language skills they involve -they rely on the pictures to tell the story. But the
teacher trained in audio tlescription techniques would
never simply hold up a picture ofa red ball and read
the text:· · cc the ball.” He or she might add: ”T he
ball is red-just like a fire engine. I think that ball is
as large as one of you! It’s as round as the sun–a
bright red circle or sphere .” The teacher has introduced new vocabulary invited comparisons, and
u ed mct.nphor or simi le – with toddlers! By using
audio dest.:ription, I think that these books will be
made accessible to kids who have !ow vision o r are
blind •a11d• help develop more sophist icated language skills for al\ kids. A picture is worth I000
words? Maybe. But the audio describe r might say
that a fc\V well-chosen words can conjure vivid and
lasting images.
Indeed. al NCI.Described Media we’re quite proud
to be the folks who provide desc ription- for the first
time – for Sesame Street. We were quite hearten.:tl
by a particular letter we received last year from a
blind parent of sighted children who for the first time
could follow along with her kids the antics of Elmo.
Bert, Ernie, and al I the other denizens of Sesame
Street.
Access for All
Over the past twenty years. I have considered it quite
a privilege to train d.:scrihers and do AD workshops
in rwenty ~rates in the United States and in nine
countries around the world, most recently in Moscow
for the 2nd Annual Moscow International Disability
Film Festival. I mention that because I want to share
with you a strong impression from three days of
training I conducted there – and 1 found the s.ime
sort of pirit severa l years earlier when I conducted
live dnys of training in Sofia, Bulgaria . In both
countries, the trainees and my hosts taught me that
audio descript ion, access to the arts, is about Democracy. Here I am, coming from the United tates, a
prosperous, democratic n::uion,and yet access ibility
in the U.S . is often not viewed as a right, as a reflection of the principles upon which our nation was
founded. People in Sofia, Bulgaria in St. Pctershurg,
and in Moscow are wrestling with economic problems attendant to any new democ racy yet to them
democracy means ··access to everyon.:.” I learned
that from my friends there and I share that wonderfully inclusive notion with you hen:.
We have an immense and \’ariccl culture in the
United tares. There is no reason why a person with
a visual disability must also be culturally disadv:rnt·
aged. All people need to be ful I p.irticipants in their
nation’s cultural life. It must be rem..:mbered that the
·’able bodied” among us ore only temporarily
so-there is only a thin line between ability and
disability. With a focus on people’s ahilities, we will
come much closer to greater inclusion and total access.
About the Author
Joel nyder
Joel nyder is known intern.1tionally as one of the lirst audio describers . He began descr ibing arts events in
1980 with the world ·s fir ·t ongoing audio description service in Washington, DC. His work made hundreds of
live theater product ions accessi ble LO visually impaired audience members: in media, Mr. nydcr used the ·ame
technique to enhance PB ‘Ame rican Playhouse productions, ABC and Fox network broadcasts, feature films.
the IM/\X film “Rlue Planet” and the Planetarium show “And A Star To rcer Her By” at the Smithsonian Institution’s ational Air and Space Museum . As Director oJTiescribed Media for the National Captioning Institute,
he leads a stalTthat produces description for nationally broadcast films and television series including ‘·Sesame
Strc ·t’· and DV s. Mr. nydcr·s Audio Description Associates develops AO tours for museums throughout the
·l d States indudin the Enabling.Garden Ut the hicago Botanic Garden the ationul Aquar ium in Baltimore
and th!?J P. ul Getty Mw. um in Lu · , ngd cs. Intemationally h introduced description tccbniqu · in Jap n.
I, c:I.R nwni