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This is an ADLAB PRO video.

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ADLAB PRO is a project funded
by the European Union.

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This video is made available to you
on a Creative Commons licence.

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This is Chris Taylor
from the University of Trieste,

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and in this video
from the ADLAB PRO project

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I will be moving into how to
actually create ADs for static arts.

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This is Unit 3 (AD for static arts)
in Module 4

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(Semi-live or recorded AD
for static arts and environments).

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General information should be provided

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on the historical background
to the work, and the artist.

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Questions of movement
and period and style

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e.g., a description of the techniques
used, should be given.

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These considerations,
listed on slides 2-4,

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are taken liberally
from the 2012 ADLAB guidelines

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compiled by Josélia Neves.

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The aspects shown are all important
for an understanding of the exhibit

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but must be presented
briefly before moving onto

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the description proper.
but must be presented
briefly before moving onto

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the description proper.

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In general help
the person with sightloss

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(which we will now
refer to as the PSL)

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to build up an image (colours, shapes,
position of objects, and so on).

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Here the selection of the elements
to describe is all important.

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Firstly choose only those elements
that are indispensable

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for a recreation of the visual, using
vivid but not jargonistic vocabulary.

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Then add as much or as little
information as the listeners need

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or seem to want. Be prepared
to stop if concentration sags.

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Where possible, offer
the chance to touch the exhibits.

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AD is a genre distinguishable
from other types of text.

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The various features of this genre,
as shown in the following slides,

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need to be recognized.

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This slide refers to
the general features of AD

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associated principally
with screen translation.

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Some of these features (vivid lexis,

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exclusive use of the present tense
for the actual description,

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short, paratactic, declarative sentences,
a more than usual use of verbs)

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are also common to static art AD.

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This slide also refers to the
general features of AD

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associated principally
with screen translation.

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But some of these features (cohesion,
repetition, anaphoric reference,

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a more than usual use of
non-finite verbs in theme position,

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isolated noun phrases) are also
common to static art AD.

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Thus, many of the features
pertaining to AD in general

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apply also to static arts AD.

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However, there are some important
differences.

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Static art AD allows
for a freer approach.

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The questions of concision,
timing and synchronisation,

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though not entirely irrelevant, can be
tailored to the task in hand.

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Screen AD generally requires
the use of short, simple, paratactic

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sentences, while static art AD is
not subject to such strict limitations

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the tendency to be prolix and highly
detailed should be avoided however,

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it could cause confusion and boredom,
and not provide a similar experience

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to that of the sighted patron.

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The describer must decide
how long and detailed

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the description can be
and how to best recreate the image

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without overburdening the listener.

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Timing is of paramount
importance in screen AD

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where the text has to be inserted
between stretches of dialogue,

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but in static art AD
this is unnecessary.

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However, if a visit is scheduled
to last , for example, one hour,

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then time on each exhibit must be
calculated accurately and judiciously.

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The same logic applies
to the question of synchronization.

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It is sufficient to make sure
that the time spent on one exhibit

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does not jeopardise
the timing of the rest of the tour.
It is sufficient to make sure
that the time spent on one exhibit

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does not jeopardise
the timing of the rest of the tour.

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What is important is
that judicious decisions be taken

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to identify the elements
to describe,

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in order to not overburden,
confuse or bore the listener.

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While for AD in general
the use of appraisal

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(that is personal interpretations,
subjective description)

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is either frowned upon
or acceptable in small doses,

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in describing works of art,

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especially those considered
worthy of description,

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it is difficult to avoid using
expressions of approval, pleasure

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and personal interpretation.

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Within reason the exhibit
to life for the PSL.

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There are differing opinions
among theorists and practitioners

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regarding the amount of appraisal
permissible in an AD,

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but this division
(between the entirely objective

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and the more liberal approach)

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has been mostly reserved
for screen AD policy.

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The phrase ‘a beautiful girl’
in film translation

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is a subjective opinion
and should be avoided.

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But describing artworks as
‘magnificent’ or ‘remarkable’

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and colours as ‘voluptuous’
would seem to be more acceptable,

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take for example ‘these magnificent
17th century tapestries’.

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In the example shown in the slide

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‘… the walls are covered
with rich, cream-coloured silk,

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hand painted with floral patterns
to achieve a perfect oriental style’.

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The describer has made
a personal interpretation

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in describing the achievement
of a ‘perfect’ oriental style.

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It might also be pointed out that the
museum guidebook also uses this term.

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And it is perfectly legitimate to use
such sources sparingly,

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in integrating one’s description.

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It is now time to consider
what the description should look like.

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Analysing existing ADs and commenting
on them is a good way

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to ease into the creation process.

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Have the linguistic and textual
features of the genre been applied?

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Is there sufficient,
or too much, appraisal?

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Making a checklist of the various
criteria required of a static art AD

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is a useful technique
in beginning an analysis.

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Are the features described
suitable for the audience?

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Are they art lovers, ordinary members
of the public, the elderly, children?

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Have the linguistic and textual
features of the genre been applied?

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And again is there sufficient,
or too much, appraisal?

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The painting shown on this slide
is ‘Woman with a Dog’

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by the Italian painter
Giuseppe De Nittis.

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found in the Revoltella Museum
in Trieste.

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The preparation
of this presentation

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was supported by ADLAB PRO.
Audio Description:

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A Laboratory for the Development
of a New Professional Profile

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financed by the European Union
under the Erasmus+ Programme,

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Key Action 2,
Strategic Partnerships.

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Project number:

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2016-1-IT02-KA203-024311.

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The information and views
set out in this presentation

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are those of the authors
and do not necessarily reflect

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the official opinion
of the European Union.

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Neither the European Union
institutions and bodies

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nor any person acting
on their behalf

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may be held responsible
for the use

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which may be made of
the information contained therein.

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This was an ADLAB PRO video.

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ADLAB PRO partners are:
University of Trieste,

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Universitat Autònoma
de Barcelona,

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University of Antwerp,
Adam Mickiewicz University,

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RTV Slovenia,
Utopian Voices,

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Soundfocus and Royal National
Institute of Blind People.

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ADLAB PRO was funded
by the European Union.

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This video was made available to
you on a Creative Commons licence.