COURSE OVERVIEW

AUDIO DESCRIPTION: THE VISUAL MADE VERBAL

Arts Access For People Who Are Blind

Instructor: Joel Snyder, President, Audio

Description Associates
Director, Audio Description
Project, American Council
of the Blind
Telephone: 301 920-0218 or cell-301 452-1898
E-mail: jsnyder@audiodescribe.com

Class Meetings: TBD

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 Course Description

Audio Description (AD) makes the visual images

of theater, media and visual art accessible for
people who are blind or have low vision²the
visual is made verbal. Using words that are
succinct, vivid, and imaginative, describers
convey the visual image that is not fully
accessible to a segment of the population and
not fully realized by the rest of us²people who
see but who may not observe.

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In pauses between pieces of dialogue or critical
sound elements, describers insert narrative that
translates the visual image into a sense form that is
accessible to millions of individuals who otherwise
would lack full access to the arts.

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 In training describers, focus is on four
fundamentals:

OBSERVATION We learn to see the world anew. In

his book, "Seen/Unseen: A Guide to Active Seeing,³
the photographer, John Schaefer, coins the phrase
"visual literacy." Schaefer refers to the need to
³increase your level of awareness and become an
active µsee er¶." The best describers will truly notice
all the visual elements that make up an event.

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2) EDITING

Audio describers must

then edit or cull 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. Often, only a few
precious seconds are
available to convey
those images.

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3) LANGUAGE

We transfer it all to words²objective, vivid,

imaginatively drawn words, phrases, and metaphors.
For instance, how many different words can you use
to describe someone moving along a sidewalk?

Why say "walk" why you can more vividly describe

the action with ³sashay,´ ³stroll,´ ³skip,´ ³stumble,´
or ³saunter´?

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4) VOCAL SKILLS

Finally, in addition to building a verbal capability, the

describer (or whoever will voice the descriptions)
develops the vocal instrument through work with
speech and oral interpretation fundamentals.

Try the tongue twisters on the next three slides just for
fun. ³Speak the speech trippingly´ as Hamlet says²
after you read each one aloud, click on the button
following the line to hear me give it a try.

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³Make mother mad!,´ cried
mischievous Marvin, munching a
marble. Maybe Marvin meant much
more as he moved motionlessly.

666 seasick sailors slinked over the

steel sides.

A big black bug bit a big black bear and

the big black bear bled black blood.

Rubber baby buggy bumpers.


National Shropshire Sheep Association.

³Are you copper-bottoming them, my

man?´ ³No, I¶m aluminuming µem,
mum.´

Dr. Pepper¶s pink pills for poor, pitiful,

pepless people.

Amidst the mists and coldest frosts,

With stoutest wrists and loudest boasts,
He thrusts his fists against the posts,
And still insists he sees the ghosts.
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If a Hottentot tot taught a Hottentot tot
To talk ere the tot could totter,
Ought the Hottentot tot be taught to say ought?
Or, what ought to be taught her?

If to hoot and toot a Hottentot tot

Be taught by a Hottentot tutor,
Should the tutor get hot if the Hottentot tot
Hoot and toot at the Hottentot tutor?

Katy Krocker cooked a cup of proper coffee in a proper

copper coffee cup.

Caesar sighed and seized the scissors.

Whether the weather be cold, whether the weather be hot,

We¶ll be together whatever the weather,
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whether we like it or not.
Course Goals: By the end of this course
students can expect to know/experience:

-- who are "the blind"?

-- the history of Audio Description

-- Active Seeing / Visual Literacy

-- the art of "editing" what you see

-- using language to conjure images

-- using Audio Description in live theater

productions, in video/film, with visual art
exhibits, and on the web ||
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 Course Materials

Required reading/viewing: All materials at the following

websites²

-www.audiodescribe.com
-www.adinternational.org
-www.dcmp.org/descriptionkey/
-www.ofcom.org.uk/tv/ifi/guidance/tv_access_serv/archive/
audio_description_stnds/
-www.rnib.org.uk/xpedio/groups/public/documents/
publicwebsite/public_audiodescription.hcsp
-http://main.wgbh.org/wgbh/pages/mag/services/
description/
-http://joeclark.org/access/description/ad-principles.html
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Sessions 1 and 2±

Introduction;

Who are "the blind"?;

The history of Audio Description;

Viewing of audio description documentaries;

Viewing/analysis of audio described samples.

For private study and Discussion Room:

www.audiodescribe.com; www.adinternational.org

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Sessions 3 and 4±

Active Seeing / Visual Literacy;

The art of "editing" what you see;

Using language to conjure images;

Viewing/analysis of audio described samples.

For private study and Discussion Room:

http://www.dcmp.org/descriptionkey/

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Sessions 5 and 6±

Using Audio Description in:

ÿlive theater productions;

ÿin video/film;
ÿwith visual art exhibits;
ÿand on the web.

Audio description practica

For private study and Discussion Room:

http://www.ofcom.org.uk/tv/ifi/guidance/tv_access_ser
v/archive/audio_description_stnds

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Sessions 7 and 8 ±

Audio description practica

For private study and Discussion Room:

http://www.rnib.org.uk/xpedio/groups/public/
documents/publicwebsite/public_audiodescription.
hcsp

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Sessions 9 and 10 ±

Audio description practica

For private study and Discussion Room:

http://main.wgbh.org/wgbh/pages/mag/services/
description

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Sessions 11 and 12 ±

Audio description practica;

Presentation of final exams.

For private study and Discussion Room:

http://joeclark.org/access/description/ad-
principles.html

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 Final Exam

The final exam will involve the development of and

the live or recorded delivery of an audio description
script for a half-hour video of his/her choosing
(subject to prior review and approval by the
instructor).

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MM
presents

³AUDIO DESCRIPTION:
The Visual Made Verbal²
Verbal²
Arts Access
for People who are Blind´

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What better way to begin our work together than with
description of two visual images:

³The Fan´ by John McPherson

Read the following or access my audio reading of this
description (next page) and then a look at the image
on the next slide.

On a stage ± at left, a woman in a flowing gown, her

hands clasped in front of her, stands before a
kneeling man in a doublet and feathered cap. He
croons, ³Why dost thy heart turn away from mine?´
At right, a man at a microphone speaks: ³Basically,
the guy with the goofy hat is ticked because this babe
has been runnin¶ around with the dude in the black
tights.´ The caption reads: ³Many opera companies
now provide interpreters for the culturally impaired.´
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 pp
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 ³Red and Rover´ by Brian Basset
Read the following or access my audio reading of this
description (next page) and then a look at the image on
the next slide.

In the first panel, Red, a red-haired eight-year-old boy, is

outdoors, lying on the ground against a tree, facing away
from us and his right arm is around Rover, a white, short-
haired dog, a lab-beagle mix. A leaf falls ± Red
announces, ³Brown.´ In the next panel, as Rover¶s tail
taps, Red notes, ³Orange, Red, Yellow.´ In the following
panel: ³Red, Orange, Yellow, Yellow.´ Next, Red turns
toward us, eyes wide, and tells us: ³Dogs only see in
black and white.´ The final panel depicts a more full view
of the tree, leaves scattered about the pair as Red
continues: ³Yellow, Orange, Brown, Red, Orange «´

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 What is Audio Description?

Audio Description is a kind of

literary art form. It's a type of
poetry--a haiku. It provides a
verbal version of the visual--the
visual is made verbal, and aural (he
points to his ear), and oral (he
points to his mouth). Using words
that are succinct, vivid, and
imaginative, we convey the visual
image that is not fully accessible to
a segment of the population and
not fully realized by the rest of us--
the rest of us, sighted folks who
see but who may not observe.

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It¶s useful for anyone who
wants to truly notice and
appreciate a more full
perspective on any visual
event but it is especially
helpful as an access tool
for people who are blind
or have low vision.

You¶ll find AD these days

at arts events but also at
weddings, parades,
rodeos, circuses, sports
events, even funerals!
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 A Brief History of Audio Description

Audio Description or AD was first developed in the U.S. It was the

subject of a Masters' Thesis in San Francisco, California in the
1970's by the late Gregory Frazier. Mr. Frazier was the first to
work out the concepts behind the act and the art of AD. In 1980, a
theater in Washington, DC, Arena Stage, assembled a group of
people to provide advice on accessibility issues. Among the
committee members was Dr. Margaret Pfanstiehl (then Dr.
Margaret Rockwell). Dr. Pfanstiehl founded The Metropolitan
Washington Ear, a closed-circuit radio reading service for people
who are blind or for those who don¶t otherwise have access to
print.

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 From there the
Washington Ear's AD
program was developed.
I was already a volunteer
reader at The Ear, and a
professional voice
talent/actor and English
teacher and I became
one of the first audio
describers in The Ear¶s
program, the world¶s
Joel Snyder uses an FM steno mask first ongoing audio
microphone and transmitter to describe description service.
a glass-blowing show for Marlaina
Lieberg who uses an earpiece and an
FM receiver.
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 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--
literacy. We experimented with
developing more descriptive
language to use when working with
kids and picture books. These
books rely on pictures to tell the
story. But the teacher trained in
audio description techniques would
never simply hold up a picture of a
red ball and read the text: "See the
ball." He or she might add: "The
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." pè
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The teacher has introduced
new vocabulary, invited
comparisons, and used
metaphor or simile -- with
toddlers! By using audio
description, you make these
books accessible to children
who have low vision or are
blind *and* help develop more
sophisticated language skills
for all kids.

A picture is worth 1000

words? Maybe. But the
audio describer might say
that a few well-chosen words
can conjure vivid and lasting Ñ
images. ||

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Let me help you see what description is all about by
asking you, figuratively, to close your eyes >>

Excerpt from ³The Color of Paradise,´

played THREE TIMES

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 ³AD on TV´

In the United States, in areas where a television

station is equipped to participate, AD lets all television
viewers hear what they cannot see. Up until June 12,
2009, it¶s accessible via a special audio channel
available on stereo televisions. Viewers select the
SAP (secondary audio program) channel in order to
hear the regular program audio accompanied by the
descriptions, precisely timed to occur only during the
lapses between dialogue and significant sound
elements.
Go to SHREK III:
AT:

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I¶ve produced thousands of hours of hours of
description for broadcast television. Sighted viewers
appreciate the descriptions as well. It's television for
blind, low vision and sighted people who want to be
in the kitchen washing dishes while the show is on!

But the Digital Age is fast upon us and other countries

may have an edge on the U.S. in mandating the use of
this new technology to provide greater accessibility to
people who are blind. Once digital television is in
place, it will be far easier to transmit a secondary
signal like that that is employed for audio description.

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 AD on DVDs and in Movie Theaters
That¶s the broadcast story -- there's still much to be done in other
formats: the percentage of all video and film that incorporates
description is still miniscule. DVDs are an ideal format for
description because the audio track can be turned on or off as
desired and an audio menu can be programmed. Given that fact, it¶s
unfortunate that there are still so few DVDs produced with
description in the United States ± we¶re working on that.

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In the States, AD is also still available on videotape
by special order and, more recently, in movie theaters
for first-run movie screenings.

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AD in the Performing Arts and
Museums

Back in the ³live´ arts area,

about thirty States in the U.S.
have AD in live theater and in
museums via audio tours or
trained docents.

In a live theater setting, at

designated performances
(depending on the availability
of the service and how it is
administered), people desiring
audio description are provided
headsets/earplugs attached to
small receivers, about the size
That¶s me²describing a live show!
of a small pocket calculator. Ñ

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AD users²Seattle-based Denise and Berl Colley. Ñ
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³Blind´ Karaoke²a new use for AD!
Denise Colley Superstar!!

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Often, before the show, a taped or
"live" version of the program notes
plays through the headsets, after
which a trained describer narrates the
performance from another part of the
theater via an FM radio or infrared
transmitter.

The narrator guides the audience

through the production with concise,
objective descriptions of new scenes,
settings, costumes, and body
language, all slipped in between
portions of dialogue or songs.

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PROGRAM NOTES

ÿ music / volume adjustment

ÿ opening statement
ÿ basics: title, author(s),
lead characters, producer,
director/choreographer,
set/costume designers
ÿ background: play/playwright
ÿ list of scenes
ÿ cast
ÿ credits
ÿ description of sets/costumes
ÿ concluding statement

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Intermission

ÿ opening
ÿ description of
sets/costumes
ÿ further background
ÿ concluding statement

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Museums can use Audio
Description techniques to
translate the visual to a
sense form that is
accessible.

Using these techniques for

the description of static
images and exhibitions,
museum docents find that
they develop better use of
language and more
expressive, vivid, and
imaginative museum tours,
greatly appreciated by all
How would you describe this
visitors. image? What are the gloves
made of? ?Ñ
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In this way, docent-led tours are more appropriate for the
low-vision visitor and docents find that their regular tours are
enhanced. A lively and vivid descriptive process enables docents
to make the museum experience more accessible and more
meaningful for everyone.

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Some museum administrators are interested in
having a recorded tour, specifically geared to
people with low vision. Combined with directional
information, these recorded tours on
audiocassettes enable visitors who are blind to
use a simple hand-held audio player to tour at least
a portion of the museum independently and with
new access to the visual elements of exhibitions.

Other curators are interested in having certain

videos within an exhibit or a special film described.

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A TRUE STORY

Speaking of museums -- I have a true story for you:

a blind fellow visiting a museum with some friends
was once asked, ³Excuse me, but what you doing
in a museum? You can¶t see any of the exhibits.´

!!!!!!!!!

His response? ³I¶m here for the same reason

anyone goes to a museum. I want to learn, I want
to know and be a part of our culture.´

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That gentleman¶s inability to see shouldn¶t deny
him access to our culture. It the responsibility of
our arts institutions to be as inclusive as
possible.

It¶s all about access to our culture and that is

everyone¶s right.

There is no reason why a person with

a particular disability must also be
culturally disadvantaged.

For additional information on AD and

museums, VISIT: ?
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But reasons remain -- and those who control cultural venues may not
loosen their grip on excuses for non-action until folks demand the
access that is their right -- to paraphrase Star Trek, demand the
opportunity to go where everyone else has already gone.

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Part of that has to do with, you should excuse the
expression, VISIBILITY. Visibility of folks who desire the
service making their wishes known, and visibility of the
service itself ² that¶s why it may be that when description
is more prevalent in the media, other art forms and venues
will follow suit.

Ultimately, in this tremendously prosperous nation, with

all of its bountiful resources, there shouldn¶t be a state in
this nation or a television network or a cable channel or a
movie theater that doesn¶t offer full access.

All people are created equal. -

We all have a right to equal access ||

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 Who are "the blind"?

They are not "the blind." They are individuals --

housewives, scientists, artists, business people ...
maybe you or me, sometime.

That must be emphasized: our individuality, the

individuality of folks dealing with some kind of sight
loss.

And most blind people are not blind -- most at one point
had all or some of their sight and now they may have
low vision, impaired vision, residual vision, partial
vision . Some see shapes and only shapes -- shadows,
blurs, blobs -- or have "tunnel vision."
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The following images illustrate how a person¶s

vision is affected by several vision-related

conditions --

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Folks who have low vision or no vision and who
generally use other senses/capabilities to perceive
the world. And they are people with a wide range of

ABILITIES ±

blind skiers,
blind photographers,
blind visual artists,
blind bowlers,
blind restauranteurs,

And blindness need not rob anyone of his or her

sense of humor! Have you heard the one about
Stevie Wonder challenging Tiger Woods to a golf
game? Or the story of the blind airline pilot? Both
told to me by blind friends « â|
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Now let¶s allow a very young Russell
Crowe and Hugo Weaving provide a
chuckle or two courtesy of the savvy
blind character in the Australian film
PROOF.

Following this excerpt, share your

thoughts on the MESSAGE BOARD.

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The person that confronted the gentleman in the
museum is the individual with the ³disability.´ I call it
³attitude impairment,´ or ³hardening of the attitudes´
(attitudinal sclerosis).

We all need to acknowledge that our attitudes²built

up over time like plaque in the veins and aortas of our
psyche²can cloud our perceptions when we
encounter someone who perceives the world
differently. Generally, a person who is accustomed to
living with no or low vision views his/her situation as
less about the loss of sight and more about
perceiving the world in new ways--ways which are not
dependent on images and vision. â-
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Can sight be a liability?

The fourth tale, "To See and

Not See," is about partially
restored sight and how it was
not a blessing. This story
illustrates how sight is
learned from infancy and is
largely a constructive and
interpretive function of the
brain. This tale also lets us
see how the world of the
sightless can be rich and
fulfilling beyond our
imagination.
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Still, many people have never met a person
who is blind. He/she is

A PERSON first²with low or no vision and a

wide range of abilities.

Strive to ³See the person not the disability.´

And keep in mind a few things that may

help:

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Finally, it¶s so important to remember that there's only a thin line
between "ability" and "disability" ± let¶s rid ourselves of any
semblance of ³able-ism´, any sense of separateness between those
who can see and those who cannot. ³To be able" is a relative
condition -- the great majority of Americans are only ³Temporarily
Able-Bodied" (TABs) anyway!

One moment Christopher Reeve was ³able-bodied´²the next minute,

he wasn¶t. But he was still Christopher Reeve.

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Speaking of ³supermen´ «

In providing AD, we establish a foundation of respect

for all individuals, and their individuality, and learn to
appreciate their abilities.

That starts with our own skills and abilities. When we

come to terms with, even embrace our own situations,
find and nurture our abilities, we can accomplish
things that seem amazing ... we are/we can be as
supermen just by developing our own capacities.

For describers, we start with our sense of sight and the

first of four fundamentals of audio description²

OBSERVATION


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(, 


 


 OBSERVATION ± ³You can see a lot
just by lookin¶.´ Yogi Berra

 EDITING ± What is most critical to an

understanding and an appreciation of the visual
image?

 LANGUAGE ± ³less is more´

clarity ± imagination ± objectivity

 VOCAL SKILLS ± speech ± oral interpretation


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 I recall being simply amazed when I first
encountered Sir Arthur Conan Doyle's brilliant
detective, Sherlock Holmes. Brilliant ... and
incredibly observant.

In developing AD in any context, I emphasize four

elements ± the first of which is all about the skill
that Sherlock Holmes honed:

1) OBSERVATION The great philosopher Yogi Berra

said it best: "You can see a lot just by looking."

An effective describer must increase his level of

awareness and become an active "see-er," develop
his "visual literacy," notice the visual world with a
heightened sense of acuity, and share those
images.
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 OBSERVATION ± ³You can see a lot just by
lookin¶.´ Yogi Berra

 EDITING ± What is most critical to

an understanding and an
appreciation of the visual image?

 LANGUAGE ± ³less is more´

clarity ± imagination ± objectivity

 VOCAL SKILLS ± speech ± oral interpretation



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2) EDITING Next, describers must edit or cull from
what they see, selecting what is most valid, what is
most important.

Ask yourself:

³What is most critical to an understanding

(he points to his head)
and appreciation
(his hand is on his heart)
of that visual image?´


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In addition, choices are made based on an
understanding of blindness and low vision:

- going from the general to the specific;

ÿuse of color;

ÿ inclusion of directional information.

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What is most

critical to an

Understanding

and an

Appreciation

of the image?

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Go to DISCUSSION ROOM

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 OBSERVATION ± ³You can see a lot just by
lookin¶.´ Yogi Berra

 EDITING ± What is most critical to an

understanding and an appreciation of the visual
image?

 LANGUAGE ± ³less is more´

clarity ± imagination ± objectivity

 VOCAL SKILLS ± speech ± oral interpretation

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3) LANGUAGE

We transfer it all to words--objective, vivid, specific,

imaginatively drawn words, phrases, and
metaphors.

How many different words can you use to describe

someone moving along a sidewalk? Why say
"walk" when you can more vividly describe the
action with "sashay," "stroll," "skip," "stumble," or
"saunter"?

Become a walking thesaurus!

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But good describers also strive for simplicity,
succinctness - "less is more."

³I have only made this letter

longer because I have not
had the time
to make it shorter.´

Blaise Pascal
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It's critical to maintain a degree of objectivity²
describers sum it up with the acronym ±

&/!///&/!//

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The best audio describers objectively recount the
visual aspects of an image.

mualitative 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.

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So you don't say

"He is furious" or "She is upset.³

Rather,

"He's clenching his fist" or "She is crying.³

Let the audience make their own judgments!

Perhaps their eyes don't work so well,

but their brains and interpretative skills are intact.

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Because the image is created in the minds of our
constituents, avoid labeling with overly subjective
interpretations and let our visitors conjure their own
images and interpretations, as free as possible from the
influence of coloring.

As Nin and Lippman observed, there is no specific,

objective thing.

Indeed, ³labeling´ ± ³naming´ is not describing.

Labels lead us to pigeon-hole and we tend to then
dismiss the thing we see.

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Is the Washington
Monument 555 feet tall or
is it as high as fifty
elephants stacked one on
top of the other?

Go to DISCUSSION ROOM
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We try to convey our descriptions with a kind of
³inner vision´ that results in a linguistically vivid
evocation of the scene being viewed.

In other words, there aren¶t any elephants there ²

but you may evoke them in order to convey a
particular image ² (the height of the Washington
Monument!).

BECAUSE «

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Does vision

depend on

sight?

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 Audio Description ² by the blind, for those who cannot see [Anonymous]

Two men, both seriously ill, occupied the same hospital room. One man was allowed to sit up in his
bed for an hour each afternoon to help drain the fluid from his lungs. His bed was next to the room¶s
only window. The other man had to spend all his time flat on his back.

The men talked for hours on end. They spoke of their wives and families, their homes, their jobs, their
involvement in the military service, where they had been on vacation. And every afternoon when the
man in the bed by the window could sit up, he would pass the time by describing to his roommate all
the things he could see outside the window. The man in the other bed began to live for those one-hour
periods where his world would be broadened and enlivened by all the activity and color of the world
outside.

The window overlooked a park with a lovely lake. Ducks and swans played on the water while children
sailed their model boats. Young lovers walked arm in arm amidst flowers of every color of the rainbow.
Grand old trees graced the landscape, and a fine view of the city skyline could be seen in the distance.
As the man by the window described all this in exquisite detail, the man on the other side of the room
would close his eyes and imagine the picturesque scene.

One warm afternoon the man by the window described a parade passing by. Although the other man
couldn¶t hear the band, he could see it in his mind¶s eye as the gentleman by the window portrayed it
with descriptive words. Days and weeks passed.

One morning, the day nurse arrived to bring water for their baths only to find the lifeless body of the
man by the window, who had died peacefully in his sleep. She was saddened and called the hospital
attendants to take the body away. As soon as it seemed appropriate, the other man asked if he could
be moved next to the window. The nurse was happy to make the switch, and after making sure he was
comfortable, she left him alone.

lowly, painfully, he propped himself up on one elbow to take his first look at the world outside. Finally,
he would have the joy of seeing it for himself. He strained to slowly turn to look out the window beside
the bed. It faced a blank wall.

The man asked the nurse what could have compelled his deceased roommate who had described such
Go to wonderful things outside this window. The nurse responded that the man was blind and could not even
see the wall. She said, ³Perhaps he just wanted to encourage you.´
DISCUSSION
ROOM [J.S. ² The man who was blind had tremendous vision. It allowed him to describe with a clarity and
vividness that we as audio describers can only hope to achieve.]
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 Check out the following article from BBC News,
March 19, 2001:
³Imaginary Art Show Opens´

³A new art show called The Exhibition To Be

Constructed In Your Head is relying on the power of
the imagination to create its artworks. ³

Go to the following URL for the rest of the story:

http://news.bbc.co.uk/2/hi/entertainment/1229586.stm

Go to DISCUSSION ROOM |||

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(, 


 


 OBSERVATION ± ³You can see a lot just by
lookin¶.´ Yogi Berra

 EDITING ± What is most critical to an

understanding and an appreciation of the visual
image?

 LANGUAGE ± ³less is more´

clarity ± imagination ± objectivity

 VOCAL SKILLS ± speech

± oral interpretation
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4) VOCAL SKILLS

Finally, in addition to building a verbal capability,

the describer develops the vocal instrument
through work with speech and
oral interpretation fundamentals.

We make meaning with our voices!

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Say the phrase on the next slide aloud «

If you agree with its sentiments, I suspect that

you few female friends.

If you don¶t, say the same words aloud²don¶t

change their order²and with your voice alone,
change the meaning so you convey a sense
that is quite the opposite of the ³original.´

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 GOT IT?

The wonders of punctuation²it allows us

to make visible what I hope you were able
to accomplish with your voice alone.

Here goes «

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Let¶s try one more²

Now all I want you to do is speak aloud the

phrase on the following slide and have it «

MAKE SENSE!

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I¶ll not have torture your tongues
(and your brains)
a moment longer:

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 SUMMARY

Effective describers must learn to²

1) "re-see" the world around us--to truly

notice what it is perceived with the eyes
(OBSERVATION); and then

2) express the pertinent aspects of those images

(EDITING);

3) with precise and imaginative language

(LANGUAGE); and

4) vocal techniques ±

that render the visual verbal! |pp

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Let¶s try it²

Take five minutes to study each of the three following

Images (15 minutes total). Note²

- all that there is to see,

- consider what¶s most critical to convey, and then
- focus on the words you¶d use to convey those
images most clearly, succinctly, and imaginatively.

Afterwards, join us in the DISCUSSION ROOM

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 Kate Gainer
Disability Affairs Coordinator, City of Atlanta

Photo of a black woman, mouth open in a broad

smile, nose crinkles, as if to flirt with the camera.
Her cheeks shine echoing lights suspended behind
her; she twists toward us, seated in a power chair
facing right ² on its side, a round decal reads
³ADAPT ² We Will Ride.´

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 Kate Gainer was one of 18 students to attend
Atlanta¶s first special education class for black
children. It was an empowering experience for a
black child growing up in a Southern segregated
city. She says the most frustrating thing she went
through as a teenager with cerebral palsy was that
she couldn¶t ³strut´ like the other girls could.
³If I ever write my autobiography, I¶m going to title
it: µI was born colored and crippled but now I¶m
black and disabled¶.´

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 Al Mead
Paralympic Medalist, Track and Field

Photo of a black man, in profile, facing left, he

stretches his body into the shape of an upper-case
T ² his left arm, sinewy, sculpted, extends left ²
dark skin against a white tank top; his right leg and
arm point right while he balances on his left leg, a
prosthetic nestled within a running shoe.

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As a youngster, Al Mead lost his left leg above the knee
due to circulatory problems. Meda has grown into the
quintessential Paralympic athlete -- he holds a U.S. high
jump record at 1.73 meters. He set the world record for
the long jump with a gold medal performance in the
1988 Paralympic Games in Seoul, Korea.
³I grew up in a Christian home so when I was told that
my leg would be amputated, it didn¶t really affect me
like you think it would, because I thought God would
grow it back.´

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 Lauren McDevitt
Paralympic Medalist, Equestrian

Backlit, and in wispy silhouette, a photo of a white

girl in her teens in profile, facing right ² only
inches away, a horse (his head, the size of her
torso) nuzzles her open hand in her lap as she rests
in a wheelchair.

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 Lauren McDevitt was ten when she experienced a
muscle cramp in her thigh. She went to the school
nurse to lay down. Within an hour, she lost all feeling
and movement from her waist down. It has stayed that
way. Now in her mid-twenties, she is working on a
master¶s degree in therapeutic recreation. She
captured a bronze medal at the 1996 Paralympic
Games in dressage, a test of ability of ride and horse
to communicate and work together through a series of
complex moves.
³Riding a horse is something that gives me an
immense freedom. In a [wheel]chair, you have a lot of
barriers on the ground. But you get on a horse and
none of those barriers are there. The horses are your
legs for you. And they know that.´
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The following three images come from my home
town²Washington, DC.

In the last year of the Clinton administration, I began

developing an audio described tour of the White
House. Those plans were disbanded after 9/11²there
is no longer a self-guided tour of the White House.

But the Obama administration may find a way to have

me pick up where I left off²and you can help!

Write 100-word (give or take) descriptions of each of

the next three images. Remember²start with the
general and move to the specific; don¶t forget our AD
Fundamentals.

Then join us back in the Discussion Room. |ÑÑ

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The next four slides are visual ³jokes´. But if you
can¶t see, you won¶t find them very funny.

Your job is to make them funny for an audience who is

depending on your words²and your delivery²
to create the comic effect.

How will you structure your phrases to accomplish

that? In voicing your descriptions, how will you use
certain inflections, volume, pitch to convey your
meaning?!

Write 100-word (give or take) descriptions of each of

the next four images.

Then join us back in the Discussion Room.

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Not too long ago, I developed an audio described
tour for Washington, DC¶s International Spy
Museum.

Let¶s observe two stations on that tour and take

time to develop descriptions for them in the same
format we¶ve been using.

We¶ll review them in the Discussion Room and then

I¶ll share my own descriptions of the exhibits.

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 Bug Desk

Now, to the right, is a desk about three feet wide and two
feet deep. A text panel warns us to ³Shh! Someone¶s
listening! Spy agencies have developed scores of
ingenious devices to eavesdrop on enemy
conversations.´

On the desk is a display of eavesdropping devices²tiny

microphone-transmitter combinations may be concealed
almost anywhere²hidden in a cigarette lighter and
telephone mouthpiece. Each item is cutaway so you can
feel the bugs. They are at the top of the desk: the lighter
is at 11:00 and the phone at 1:00.

(Continued «)
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Just above and behind the phone, within a bookshelf, is a
framed picture of former Secretary of State Madeline
Albright. Reach forward and examine the frame²notice
anything out of the ordinary?

On the shelf above the one with the picture frame is a

row of books²with unusual binding. And to the left of
these shelves, jutting out from the wall, is power outlet
adaptor. How does it differ from one you might find in
your own home?

A skilled agent selects the right device to suit a particular

place or to pick up certain sounds. With digital
technology, modern bugs are more compact than ever,
often as thin as a human hair!
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At the end of the hallway is a life-size black-and-white
photo portrait of Mata Hari. Her dark-haired is topped
with a bejeweled tiara and she is costumed exotically:
fabric drapes her left shoulder and her right arm is
raised with her hand at her tiara; her top is bare save
for jewel-encrusted arm and wrist bands and
brassiere. Her midriff is exposed and the lower
portion of her body is swathed in additional folds of
fabric.

A placard tells us that she was a ³Legend in Her Own

Mind--Mata Hari embodied all the romance of
espionage. This exotic dancer turned World War I spy
supposedly seduced diplomats and military officers
into giving up their secrets. But history shows that
most of her exploits took place only in her
imagination.´ |?

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 But maybe we¶ve tackled too much²these are
complex images!

Let¶s take a breath and focus on simple

geometric shapes²a breeze!

I will email you each an image. Please post

your consise descriptions in the Discussion Room.

I¶ll then ask one of your colleagues to reproduce the image

based on your description.

But before we let the games begin, consider

(and take to heart!)
Williams Ivins¶ words:
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 As a screening mechanism designed to cull applicants
for positions as a full-time media describer, I would
have applicants view the following image and describe it
in 25 words or less.

You try it²then let¶s meet in the Discussion Room.

Then I¶ll share with you a variety of the descriptions

submitted by prospective describers over the years.

|-
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³A robed figure on a beige building holds a
trumpet under a lightning streaked sky.´
³Looking upward, a sculpted figure playing a
long trumpet emerges against a lightning filled
sky.´
³Looking skyward, lightening [sic] illuminates
stone building¶s massive sculpted façade of
person, flowing robes, blowing horn.´
³An angelic statue, complete with robes and
wings, plays a trumpet against a stormy sky.´
³Lightening [sic] bolts streak across the sky. A
prominent building features a statue blowing a
horn.´
³Pale stone building façade in relief, angel
blowing trumpet, viwed from ground toward a
stormy sky.´
³Looking skyward up the wall; lightening-pierced
[sic]
night illuminates bas relief angel playing ancient
trumpet.´
³We are at the base of a gargoyle-carved building
under a stormy sky.´

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