Buch, Englisch, 216 Seiten, Format (B × H): 156 mm x 234 mm
Buch, Englisch, 216 Seiten, Format (B × H): 156 mm x 234 mm
ISBN: 978-1-041-09215-5
Verlag: Taylor & Francis Ltd
An Introduction to Audio Description in Museums, Galleries and Heritage Sites is a comprehensive guide that explores Audio Description (AD), a specialised verbal commentary that transforms visual information into accessible content for people who cannot fully perceive images. While AD has established applications in theatres, cinemas and broadcast media, its implementation in museums, galleries and heritage sites represents a rapidly growing field with unique challenges and opportunities.
Live audio-described tours and recorded audio descriptive guides serve as invaluable resources for blind and partially sighted visitors, combining engaging descriptions with practical navigation directions. These tools function simultaneously as intellectual support and practical aids, enabling meaningful engagement with cultural spaces. The book examines whether AD can transcend its utilitarian function to become an art form in itself, exploring how describing art might constitute its own creative practice.
The volume addresses the critical need for accessible cultural experiences, focusing specifically on provision of visual access for blind and partially sighted visitors to museums, galleries and heritage sites. It offers practical advice, exercises and professional guidance to museum staff and translation professionals, providing clear frameworks for understanding AD implementation and execution in cultural contexts. Written for diverse audiences, this book serves as essential reading for students of Audiovisual Translation within Translation Studies and Accessibility within Museum and Curatorial Studies. It also functions as a vital reference for professional curators seeking to understand AD's potential contributions to visitor experience and for experienced describers looking to diversify from traditional AD contexts into the specialised museum environment. The guide bridges theoretical understanding with practical application, making it an indispensable resource for anyone involved in creating more inclusive and accessible cultural institutions.
Zielgruppe
Postgraduate and Professional Practice & Development
Autoren/Hrsg.
Fachgebiete
- Geisteswissenschaften Sprachwissenschaft Übersetzungswissenschaft, Translatologie, Dolmetschen
- Geisteswissenschaften Kunst Kunst, allgemein Kunstsammlung, Museen, Ausstellungen
- Sozialwissenschaften Soziologie | Soziale Arbeit Soziale Gruppen/Soziale Themen Invalidität, Krankheit und Abhängigkeit: Soziale Aspekte
Weitere Infos & Material
List of Figures
List of Tables
Preface
Acknowledgements
How to Use this Book
List of Acronyms and Abbreviations
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 for 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 2-D Exhibits
6.1 Introduction
6.1.1 What is Special About 2-D 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
9.5 Testing
9.6 Conclusion
9.7 Exercises and Discussion Points
9.8 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
10.4.4 Collaboration
10.4.5 Progress
10.5 Ending the Tour
10.6 Conclusion
10.7 Exercises and Discussion Points
10.8 References
11. The Multisensory Museum and 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
11.3.5 Multisensory AD
11.4 Conclusion
11.5 Exercises and Discussion Points
11.6 References
12. Evaluation and Collaboration
12.1 Introduction
12.2 Collaboration
12.2.1 Who's Who in Collaboration
12.2.2 Co-Creation
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 Conclusion
12.7 Exercises and Discussion Points
12.8 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
