This document provides an overview and syllabus for an audio description course. The course is taught by Joel Snyder and covers key concepts of audio description including observation, editing, language skills, and applying description to theater, film, visual art, and other media. The course consists of 12 sessions that include lectures, viewing audio described media samples, and practicing description skills. The goal is to train describers in techniques for making visual elements verbally accessible for blind or low vision audiences.

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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 vision—the
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 us—people 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,“
the photographer, John Schaefer, coins the phrase
"visual literacy." Schaefer refers to the need to
“increase your level of awareness and become an
active ‘see er’." The best describers will truly notice
all the visual elements that make up an event.
What
do you see
in this
image?

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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 words—objective, 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 “sashay,” “stroll,” “skip,” “stumble,”
or “saunter”?

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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. “Speak the speech trippingly” as Hamlet says—
after you read each one aloud, click on the button
following the line to hear me give it a try.

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“Make 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.

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National Shropshire Sheep Association.
“Are you copper-bottoming them, my
man?” “No, I’m aluminuming ‘em,
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,
whether we like it or not.

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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
websites—
-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:
-live theater productions;
-in video/film;
-with visual art exhibits;
-and 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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* FRACTURED UNIVERSITY ** FRACTURED UNIVERSITY *
presentspresents
““AUDIO DESCRIPTION:AUDIO DESCRIPTION:
The Visual Made Verbal—The Visual Made Verbal—
Arts AccessArts Access
for People who are Blind”for People who are Blind”
with Joel Snyderwith Joel Snyder
President, Audio Description AssociatesPresident, Audio Description Associates
Director, Audio Description Project,Director, Audio Description Project,
American Council of the BlindAmerican Council of the Blind

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What better way to begin our work together than with
description of two visual images:
“The 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, “Why dost thy heart turn away from mine?”
At right, a man at a microphone speaks: “Basically,
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: “Many opera companies
now provide interpreters for the culturally impaired.”

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“Red 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, “Brown.” In the next panel, as Rover’s tail
taps, Red notes, “Orange, Red, Yellow.” In the following
panel: “Red, Orange, Yellow, Yellow.” Next, Red turns
toward us, eyes wide, and tells us: “Dogs 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: “Yellow, 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 first ongoing
audio description
service.
Joel Snyder uses an FM steno mask
microphone and transmitter to describe
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."

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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
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 “The Color of Paradise,”
played THREE TIMES
- first, without description -- no video
- second, with description -- no video
- third, with description and video
GO TO THE MESSAGE BOARD AFTER
THIS EXERCISE TO REGISTER
YOUR THOUGHT and
OBSERVATIONS
Refer to annotated script
following third time

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“AD 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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“I am a blind parent of a sighted child.
“We watch Sesame Street almost everyday … The
descriptive component gives me an opportunity to discuss
with my child the silent action that is occurring on the
screen. I always enjoyed Sesame Street as a child myself,
but I really find the production even more fun now that I
can participate fully in the programming given the audio
description service.
“My daughter and I can watch Sesame Street and I am
never left wondering about the action of the characters.
We can both laugh along together when Big Bird is
searching for Ernie and Big Bird keeps bumping into a hay
stack. With the description, I can view the show with the
same information that the sighted world is receiving.”
Karla Hudson

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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.
:
VISIT:

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AD in the Performing Arts and
Museums
Back in the “live” 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
of a small pocket calculator.
That’s me—describing a live show!

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38AD users—Seattle-based Denise and Berl Colley.

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“Blind” Karaoke—a 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 NOTESPROGRAM NOTES
- - music / volume adjustmentmusic / volume adjustment
- - opening statementopening statement
- - basics: title, author(s),basics: title, author(s),
lead characters, producer,lead characters, producer,
director/choreographer,director/choreographer,
set/costume designersset/costume designers
- - background: play/playwrightbackground: play/playwright
- - list of sceneslist of scenes
- - castcast
- - creditscredits
- - description of sets/costumesdescription of sets/costumes
- - concluding statementconcluding statement

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IntermissionIntermission
- - openingopening
- - description ofdescription of
sets/costumessets/costumes
- - further backgroundfurther background
- - concluding statementconcluding statement
View “Theatre Without Limits” DVD at:

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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
visitors.
How would you describe this
image? What are the gloves
made of?

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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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--FM / infra-redFM / infra-red
-audio cassette-audio cassette
-CD-CD
-digital wand-digital wand
-area trigger-area trigger
AUDIO TOUR AUDIO TOUR
DELIVERY MECHANISMSDELIVERY MECHANISMS
FOR MUSEUMSFOR MUSEUMS

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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, “Excuse me, but what you doing
in a museum? You can’t see any of the exhibits.”
! ! ! ! ! ! ! ! !
His response? “I’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 — 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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MyopiaMyopia

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HyperopiaHyperopia

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Macular DegenerationMacular Degeneration

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GlaucomaGlaucoma

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StrabismusStrabismus

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AstigmatismAstigmatism

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CataractCataract

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Retinal DetachmentRetinal Detachment

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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 …

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STEVIE AND TIGER
Stevie Wonder and Tiger Woods are in a bar. Woods turns to Wonder
and says: "How is the singing career going?"
Stevie Wonder replies: "Not too bad! How's the golf?" Woods replies:
"Not too bad, I've had some problems with my swing, but I think I've
got that right now."
Stevie Wonder says: "I always find that when my swing goes wrong, I
need to stop playing for a while and not think about it. Then, the next
time I play, it seems to be all right.”
Tiger Woods says: "You play golf?"
Stevie Wonder says: "Oh, yes, I've been playing for years."
“I get my caddy to stand in the middle of the fairway and call to me. I
listen for the sound of his voice and play the ball towards him. Then,
when I get to where the ball lands, the caddy moves to the green or
farther down the fairway and again I play the ball towards his voice.”
Woods, incredulous, says to Stevie: "We've got to play a round
sometime. When would you like to play?"
Stevie says, “Pick a night.”

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The Blind Pilot
I was flying from San Francisco to Los Angeles. By the time we took off, there had been a 45 -minute
delay and everybody on board was ticked.
Unexpectedly, we stopped in Sacramento on the way. The flight attendant explained that there would
be another 45 -minute delay, and if we wanted to get off the aircraft, we would reboard in 30 minutes.
Everybody got off the plane except one gentleman who was blind.
I noticed him as I walked by and could tell he had flown before because his Seeing Eye dog lay quietly
underneath the seats in front of him throughout the entire flight. I could also tell he had flown this very
flight before because the pilot approached him and, calling him by name, said, "Keith,
Keith replied, "No thanks, but maybe my dog would like to stretch his legs."
Picture this: All the people in the gate area came to a complete standstill when they looked up and
saw the pilot walk off the plane with the Seeing Eye dog! The pilot was even wearing sunglasses.
we're in Sacramento for almost an hour. Would you like to get off and stretch your legs?”

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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 “disability.” I call it
“attitude impairment,” or “hardening of the
attitudes” (attitudinal sclerosis).
We all need to acknowledge that our attitudes—built
up over time like plaque in the veins and aortas of our
psyche—can 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.

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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 first—with low or no vision and a
wide range of abilities.
Strive to “See 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 “able-ism”, any sense of separateness between those
who can see and those who cannot. “To be able" is a relative
condition the great majority of Americans are only “Temporarily‑‑
Able Bodied" (TABs) anyway!‑
One moment Christopher Reeve was “able-bodied”—the next minute,
he wasn’t. But he was still Christopher Reeve.

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Speaking of “supermen” …
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 description—
OBSERVATION

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Four Fundamentals of Audio Four Fundamentals of Audio
DescriptionDescription
OBSERVATION – “You 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 – “less 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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““Those who have never sufferedThose who have never suffered
impairment of sight or hearingimpairment of sight or hearing
seldom make the fullest use ofseldom make the fullest use of
these blessed faculties … theirthese blessed faculties … their
eyes and ears take in all sightseyes and ears take in all sights
and sounds hazily, withoutand sounds hazily, without
concentration and with littleconcentration and with little
appreciation.”appreciation.”
Helen KellerHelen Keller

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play HOLMES videos

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““Seize what we see.”Seize what we see.”
John RuskinJohn Ruskin
“See with exactitude.”“See with exactitude.”
Johann Wolfgang von GoetheJohann Wolfgang von Goethe

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Go to DISCUSSION ROOM

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Four Fundamentals of AudioFour Fundamentals of Audio
DescriptionDescription
 OBSERVATION – “You 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 – “less 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:
“What 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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““The great struggle of art is toThe great struggle of art is to
leave out all but the essential.”leave out all but the essential.”
Oliver Wendell HolmesOliver Wendell Holmes

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““Sometimes to accomplishSometimes to accomplish
more, you have to see less.”more, you have to see less.”
Accenture ad featuring TigerAccenture ad featuring Tiger
Woods focusing on a putt (DFWWoods focusing on a putt (DFW
airport)airport)

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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;
-use of color;
- 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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Four Fundamentals of AudioFour Fundamentals of Audio
DescriptionDescription
 OBSERVATION – “You 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 – “less 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."
““I have only made this letterI have only made this letter
longer because I have notlonger because I have not
had the timehad the time
to make it shorter.”to make it shorter.”
Blaise PascalBlaise Pascal

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It's critical to maintain a degree of objectivity—
describers sum it up with the acronym –
W. Y. S. I. W. Y. S.W. Y. S. I. W. Y. S.

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““WHAT YOU SEE ISWHAT YOU SEE IS
WHAT YOU SAY”WHAT YOU SAY”

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

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So you don't say
"He is furious" or "She is upset.“
Rather,
"He's clenching his fist" or "She is crying.“
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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Always remember—Always remember—
“We don’t see things as they“We don’t see things as they
are, we see them as we are.”are, we see them as we are.”
Anais NinAnais Nin

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Or put another way—Or put another way—
“What we see depends on the“What we see depends on the
history of our lives and wherehistory of our lives and where
we stand.”we stand.”
Walter LippmanWalter Lippman

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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, “labeling” – “naming” is not describing.
Labels lead us to pigeon-hole and we tend to then
dismiss the thing we see.

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““Seeing is forgetting the nameSeeing is forgetting the name
of what one sees.”of what one sees.”
Paul ValeryPaul Valery

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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
“inner vision” that results in a linguistically vivid
evocation of the scene being viewed.
In other words, there aren’t any elephants there —
but you may evoke them in order to convey a
particular image — (the height of the Washington
Monument!).
BECAUSE …

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““Vision is the art of seeingVision is the art of seeing
things invisible.”things invisible.”
Jonathan SwiftJonathan Swift
and …and …

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““You cannot depend on yourYou cannot depend on your
eyeseyes
when your imaginationwhen your imagination
is out of focus.”is out of focus.”
Mark TwainMark Twain

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Which suggests a question:
Does vision
depend on
sight?

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Go to
DISCUSSION
ROOM
Audio Description — 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
wonderful things outside this window. The nurse responded that the man was blind and could not
even see the wall. She said, “Perhaps he just wanted to encourage you.”
[J.S. — 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:
“Imaginary Art Show Opens”
“A new art show called The Exhibition To Be
Constructed In Your Head is relying on the power of
the imagination to create its artworks. “
Go to the following URL for the rest of the story:
http://news.bbc.co.uk/2/hi/entertainment/1229586.stm

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Four Fundamentals of AudioFour Fundamentals of Audio
DescriptionDescription
 OBSERVATION – “You 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 – “less 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 aloud—don’t
change their order—and with your voice alone,
change the meaning so you convey a sense
that is quite the opposite of the “original.”

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WOMAN WITHOUTWOMAN WITHOUT
HER MAN ISHER MAN IS
A SAVAGEA SAVAGE

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GOT IT?
The wonders of punctuation—it allows us
to make visible what I hope you were able
to accomplish with your voice alone.
Here goes …

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WOMAN:WOMAN:
WITHOUT HER,WITHOUT HER,
MAN IS AMAN IS A
SAVAGE.SAVAGE.

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Let’s try one more—
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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THAT THAT ISTHAT THAT IS
IS THAT THAT ISIS THAT THAT IS
NOT IS NOTNOT IS NOT

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

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THAT THAT IS, IS;THAT THAT IS, IS;
THAT THAT IS NOT,THAT THAT IS NOT,
IS NOT.IS NOT.

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SUMMARY
Effective describers must learn to—
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!

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Let’s try it—
Take five minutes to study each of the three following
Images (15 minutes total). Note—
- 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 — on its side, a round decal reads
“ADAPT — 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 “strut” like the other girls could.
“If I ever write my autobiography, I’m going to title
it: ‘I 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 — his left arm, sinewy, sculpted, extends left —
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.
“I 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 — 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.
“Riding 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 town
—Washington, 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 9/11—there
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 off—and you can help!
Write 100-word (give or take) descriptions of each of
the next three images. Remember—start with the
general and move to the specific; don’t forget our AD
Fundamentals.
Then join us back in the Discussion Room.

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The East RoomThe East Room

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The Oval OfficeThe Oval Office

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Dolley MadisonDolley Madison

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The next four slides are visual “jokes”. 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 words—and your delivery—
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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““What’s up?”What’s up?”

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““Flash!”Flash!”

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““My!”My!”

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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 “Shh!
Someone’s listening! Spy agencies have developed
scores of ingenious devices to eavesdrop on enemy
conversations.”
On the desk is a display of eavesdropping devices—tiny
microphone-transmitter combinations may be concealed
almost anywhere—hidden 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 frame—notice
anything out of the ordinary?
On the shelf above the one with the picture frame is a
row of books—with 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 “Legend 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 much—these are
complex images!
Let’s take a breath and focus on simple
geometric shapes—a 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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““The moment anyone tries to seriously describeThe moment anyone tries to seriously describe
an object carefully and accurately in words hisan object carefully and accurately in words his
attempt takes the form of an interminably longattempt takes the form of an interminably long
and prolix rigamarole that few persons have theand prolix rigamarole that few persons have the
patience or the intelligence, to understand. Apatience or the intelligence, to understand. A
serious attempt to describe even the most simpleserious attempt to describe even the most simple
piece of machinery … a kitchen can opener …piece of machinery … a kitchen can opener …
results in a morass of words, and yet the shaperesults in a morass of words, and yet the shape
of that can opener is simplicity itself compared toof that can opener is simplicity itself compared to
the shape of a human hand or face.”the shape of a human hand or face.”
William M. Ivins, “Prints & Visual Communication”William M. Ivins, “Prints & Visual Communication”

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

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DVD Video Excerpts for Audio Description analysis
and practica—
-“The Origins of Sherlock Holmes” (earlier)
-“Proof” (earlier)
-FOX News—”Shrek III” (earlier)
-“Phoenix Dance”
-“The Miracle Worker”
-“Blue Planet”
-Theatre Without Limits (earlier)
-“Ned’s Declassified”
-“The Empire Strikes Back”
-“Native Son”
-“Mystery”—Hercule Poirot
-“Wings”
-Pretty Woman”—WGBH and RNIB