SHAPE 2017 TateExchange Book FINAL Draft - Flipbook - Page 21
Collaboration is Key!
In 2009 I worked with an artist who was a trained audio describer on the
Natural History Museum’s World Wildlife Photographer of the Year audio
description. This consisted of a gallery description and 30 of the photographs
being described. We collaborated on all elements of the description;
this involved us navigating together around the gallery and created the
description, then my collaborator worked on draft descriptions of the
photographs and I contributed to these final descriptions in a small way,
maybe just bringing them into focus, or using a few more dymanic words,
asking for some assumptions to be explained in the description. This was a
very rewarding project as I felt as if the visually impaired visitors were being
represented with the creation of the description rather than having something
created as a ‘fait accompli’.
I also worked with an autistic artist in Brighton in 2011, where we created the
audio description between us. Again, she was extremely aware of her artwork,
but the description was born of our dialogue: I came in to question, sometimes
to simplify or expand points and create a cohesive overall impression.
Lesson to be learnt: more profound descriptions are created with the diversity
of the people working together. Create it with us and not for us!
Creative Audio Description, Interpretation and Narration
Within the visual arts, we are lucky that creative approaches can be
utilised. When describing for theatre or TV, it is essential that the pure
audio description is used; however, when describing artworks (especially
contemporary work) a creative approach that also utilises elements of audio
interpretation and narration can be welcomed.
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