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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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Hello. This is Elisa Perego

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from the University
of Trieste, Italy,

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and in this ADLAB PRO video
I will explain

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the difference between
live and recorded AD

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in terms of writing
and delivery strategies.

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This is Unit 5
"Live and recorded AD"

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in Module 4
"Semi-live or recorded AD

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for static arts and environments".

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The way AD is delivered is crucial

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and can have a strong effect

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on the emotional experience
of the visitor, as well as influence

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the whole aesthetic
experience of an artwork.

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Factors such as the tone
and prosody of the narrator’s voice,

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the pace of the narration,

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the way pauses are used
are therefore determining.

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In fact, as AD, I quote,

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“is received aurally
by the audience,

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it carries more than
purely semantic information”.

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Both live and recorded AD

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are crucial access services

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to museums and galleries.

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However, they are different
in terms of preparation

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and delivery strategies,

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and they are used
in different contexts

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and with different AD types.

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Live AD in museums
requires the presence

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of a trained human guide,
who needs to be acquainted

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with the requirements
of the audience with sight loss

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and who knows well
the specific content to be described.

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If a multisensory
experience is available,

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and it includes
for instance a touch tour,

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the guide will also
need to be acquainted

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with the theoretical
and practical aspects

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of tactile exploration.

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Not all museums
or galleries offer live ADs.

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The decision to opt
for recorded rather than live AD

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might be determined by the lack

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of adequately trained
human guides,

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the need to reduce costs,

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or the wish to offer an access
service in several languages,

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at any time, yet bearing
in mind the quality issue.

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Although professional recording
in a studio is preferable,

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good results can be obtained also
in a semi-professional setting.

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As shown in the picture,
in Trieste,

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we used my silent office,
a good audio recorder,

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a shotgun mic
operated by a technician,

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and a stand for the voice talent.

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After recording,
we processed the audio files

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using a free audio editing
software that enabled us

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to cut and joint
the different tracks,

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to add the necessary pauses
between tracks,

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to eliminate noise,
and finally,

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to adjust the volume level
to make it more consistent.

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In terms of preparing
and writing live and recorded ADs,

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keep in mind that the former
will just need a rough planning

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rather than
a pre-prepared script

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because they
will be delivered on the fly.

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In fact, you might just need
some notes recording, for instance,

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titles, ages of the exhibits

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and some key phrases
that you want to use.

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As a result, live ADs,

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typically delivered
by the audio describer,

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will end up being
slightly informal in style

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and will adapt
to the requirements of the audience.

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If you deliver an AD live,
remember that people with sight loss

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might appreciate some pauses

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to have the time
to absorb the information,

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or ask you some questions,
before moving on.

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Recorder ADs,
on the other hand,

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will need a tighter
logical structure

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to be followed by listeners
with ease and pleasure.

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They will be smooth,
linear and coherent,

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and they will follow
a fairly formal style,

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closer to the style of written
rather than spoken language.

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Now, here’s a tip.

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Write any difficult pronunciations

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into your AD script phonetically

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and keep sentences short,
to avoid slips

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and costly retakes
when recording.

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Overall, you can also consider
giving a short summary

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at the very beginning
of the narration

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of what you are going to describe.

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In general, the AD should favour
a narrative approach,

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where, I quote,
“facts and description

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work towards a ‘story’
about what is being presented”.

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A narrative style
will also help the reader

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to use imagination
to visualize situations,

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to remember information
more easily,

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and to retain it
for a longer time,

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and to be able
to enjoy thoroughly.

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The AD of visual arts
is not free from constraints

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that mainly have to do
with the attention span of visitors

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and the ultimate objective
of a museum experience,

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that is, enjoyment.

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So both in live and recorded AD,

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do not indulge with the length
of your description.

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Consider the physical fatigue

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and possible
boredom of a visitor

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standing in front
of a work of art,

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and do not produce ADs

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longer than approximately
a couple of minutes.

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Remember too,
that a person with sight loss

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does not want
to have to spend longer

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in front of an exhibit
than their companions.

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I hope the basic differences
between live and recorded AD

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are now clearer. Bye!

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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.