SHAPE 2017 TateExchange Book FINAL Draft - Flipbook - Page 10
teaching audio description to individuals, it connects the viewer to the visual
in a more meaningful way and encourages the viewer to spend a lot more
time seeing and engaging with the art work.
The problem with audio description, if you have no experience, is that it can
be complex. Visual words are everywhere in our everyday language. This
is a problem when delivering audio description– we are so used to using
visual terminology to reference everything. It can be quite frustrating when
you have sight loss. Particularly with phrases such as, ‘you can see in the
foreground’. You don’t need to exclude words that reference sight, but be
careful how you select them. For example, rather than saying, ‘as you can see
over there’, just use, ‘in the centre’ or ‘in the image’.
I feel that a foolish person doesn’t listen, and working in this field I can’t begin
to tell you how many times I’ve observed professionals in art and culture
presume they know ‘best’ and neglect to involve a blind person in a central
role and listen to their perspective. It’s wise to listen: you discover more and
there is always a time to promote your own interpretation. I’d say leave with
an open mind and enter with the intention to listen; don’t make assumptions
about how blind and partially sighted people approach and experience art.
One size does not fit all is the message I give repeatedly.
Often, I do feel it’s the messenger who gets the brunt of this in a training
or new meeting context, and we must work quite hard sometimes to
engage professionals. Disabled people have opinions and perspectives, and
these can clash with a sighted person’s perspective or a gallery’s rules, but
often compromise can be made and collaboration take place if each side
understands the other’s needs. It shouldn’t feel like a battle, but at times it
can feel like being on the front line.
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