scholarly journals MULTIMODAL METAPHORS IN VERBAL DESCRIPTION

2021 ◽  
pp. 129-133
Author(s):  
Елена Владиславовна Александрова
Keyword(s):  
Verbal Description ◽  
Cognitive Mechanisms ◽  
Audio Description ◽  
Impaired People

Статья посвящена анализу метафор в аудиовизуальных произведениях. Метафора, построенная на взаимодействии аудиального и визуального канала получения информации, понимается в работе как аудиовизуальная метафора. Последовательный анализ аудиовизуальной метафоры позволяет представить верную вербализацию метафор и образов в аудиовизуальных произведениях при создании аудиодескрипции - словесного описания для незрячих. Являясь инструментом смыслопорождения, такая метафора призвана актуализировать связи между языком и мышлением. The article dwells on the analysis of metaphors in audiovisual content. Multimodal metaphors in films, understood as audiovisual metaphors, represent a combination of elements referring to different channels of information and semiotic codes, and require special attention when compiling the script of audio description for sight-impaired people. Multimodal audiovisual metaphor is viewed not only as a part of the imagery of the film but also as a tool facilitating cognitive mechanisms.

scholarly journals Transmettre aux aveugles le comique d’une production multimédia. Étude d’un cas

2021 ◽  
Vol 48 (4) ◽  
pp. 65-77
Author(s):  
Teresa Tomaszkiewicz
Keyword(s):  
Visually Impaired ◽  
Visual Data ◽  
Audio Description ◽  
Visually Impaired People ◽  
Impaired People ◽  
Film Comedy

In this paper the author demonstrates the limits of audio description in the transfer of the humorous effects of a film comedy which constitute the “semantic dominant” of this kind of production. The analysis is illustrated by examples from Philippe de Chauveron’s film, À bras ouverts (2017). In this form of intersemiotic translation, the lack of certain visual data can block the possibility of understanding the comic by blind or visually impaired people. The author tries to propose some solutions to this problem in the form of creative audio description.

scholarly journals Audesc: Translating Images into Words for Spanish Visually Impaired People

2004 ◽  
Vol 49 (2) ◽  
pp. 264-277 ◽  
Author(s):  
Ana I. Hernández-Bartolomé1 ◽  
Gustavo Mendiluce-Cabrera1
Keyword(s):  
Special Needs ◽  
Visually Impaired ◽  
Minority Groups ◽  
Translation Studies ◽  
Social Sector ◽  
Blind And Visually Impaired ◽  
Audio Description ◽  
Visually Impaired People ◽  
Impaired People ◽  
Audiovisual Translation

Abstract Although audiovisual translation is a relatively new field within Translation Studies, it is widening its perspectives to recent areas. Some of them are particularly concerned with minority groups, such as sensory impaired people. Specifically, the blind and visually impaired constitute an unexplored group. In this paper we introduce the system of “audio description,” which translates images into words to make audiovisual products accessible to this special-needs social sector. Since not much literature on the topic is available, we will provide the background and some general procedures for this type of intersemiotic translation. However, our greatest interest will be Audesc, the Spanish audio descriptive project developed by ONCE (the Spanish Organisation for the Blind), mainly applied to the cinema and the theatre. Finally, our paper hints at attaching the audio describer’s role to the audiovisual translator’s.

scholarly journals Fostering the Aesthetic Pleasure: The Effect of Verbal Description on Aesthetic Appreciation of Ambiguous and Unambiguous Artworks

2021 ◽  
Vol 11 (11) ◽  
pp. 144
Author(s):  
Emanuela Mari ◽  
Alessandro Quaglieri ◽  
Giulia Lausi ◽  
Maddalena Boccia ◽  
Alessandra Pizzo ◽  
...  
Keyword(s):  
Aesthetic Experience ◽  
Response Times ◽  
Total Sample ◽  
Verbal Description ◽  
Aesthetic Appreciation ◽  
Audio Description ◽  
Aesthetic Pleasure ◽  
State Of Mind ◽  
The Aesthetic ◽  
Retest Session

Background: Aesthetic experience begins through an intentional shift from automatic visual perceptual processing to an aesthetic state of mind that is evidently directed towards sensory experience. In the present study, we investigated whether portrait descriptions affect the aesthetic pleasure of both ambiguous (i.e., Arcimboldo’s portraits) and unambiguous portraits (i.e., Renaissance portraits). Method: A total sample of 86 participants were recruited and completed both a baseline and a retest session. In the retest session, we implemented a sample audio description for each portrait. The portraits were described by three types of treatment, namely global, local, and historical descriptions. Results: During the retest session, aesthetic pleasure was higher than the baseline. Both the local and the historical treatments improved the aesthetic appreciation of ambiguous portraits; instead, the global and the historical treatment improved aesthetic appreciation of Renaissance portraits during the retest session. Additionally, we found that the response times were slower in the retest session. Conclusion: taken together, these findings suggest that aesthetic preference was affected by the description of an artwork, likely due to a better knowledge of the painting, which prompts a more accurate (and slower) reading of the artwork.

scholarly journals Insights From Mental Model Theory and Cognitive Narratology as a Tool for Content Selection in Audio Description

2021 ◽  
Vol 4 (3) ◽  
Author(s):  
Gert Vercauteren
Keyword(s):  
Daily Practice ◽  
Theoretical Explanation ◽  
Target Audience ◽  
Verbal Description ◽  
Visual Elements ◽  
Content Selection ◽  
Audio Description ◽  
Cognitive Narratology ◽  
Slumdog Millionaire ◽  
Sight Loss

One of the main questions in audio description (AD) to which no systematic answers have been provided yet, is how to decide what information you include in your description and – if there is not enough time to describe everything – how you prioritize that information. In the present paper I want to propose an answer to this problem by asking the question: how do audiences process (filmic) stories and what information do they need to process them? The basic idea underlying this question is that people process and interpret stories by creating mental models (Johnson-Laird, 1983) of these stories. The paper explains how these models are created, what information is necessary to create them and what is optional, thus helping describers to decide what information in their description is “need-to-have” and what is “nice-to-have”. The theoretical explanation will be applied to the opening of the film Slumdog millionaire (Boyle, 2008), to illustrate how the theory works and can be used in daily practice. Lay summary Audio description (AD) for film is a service for people with sight loss that weaves a verbal description of visual elements and unclear sound effects they do not have access to, between the dialogues of the original production. Since this description cannot interfere with the dialogues, there often is very little time for AD and describers will have to decide what to include and what to leave out of their descriptions. In this article, I present a way to tackle this problem, based on the basic idea that films generally tell stories and that the audio description should allow the target audience to recreate that story in their minds. More specifically I focus on two questions, namely a) how do audiences mentally recreate stories and b) what elements do they need to do so. Insights into these two questions will show audio describers what information the target audience needs to recreate the story told in the film, and hence will help them to decide what information they really need to include in their AD. After a theoretical exploration of these two questions, the approach will be illustrated by means of a concrete example, taken from the film Slumdog millionaire (Boyle, 2008).

scholarly journals A Docent’s Perspective: From Tour Guide to Advisor

2013 ◽  
Vol 33 (3) ◽  
Author(s):  
Donnelly Wilburn
Keyword(s):  
Key Words ◽  
Visual Art ◽  
Low Vision ◽  
Mental Image ◽  
Art Museum ◽  
Verbal Description ◽  
Tour Guide ◽  
The Past ◽  
Audio Description

This is a personalaccount of a dedicated museum docent who lost her vision in 2007, but retainedher passion for art. For the past five years, she has been an advisor on theSeattle Art Museum’s docent committee for access. She discusses what a museumcan do to enable her to form a distinct mental image of an artwork and a deepconnection to the artist.   Key words: Blind museum access, blindness, low-vision, Seattle Art Museum, verbal description of visual art, audio description

Use of Tactile Maps by Blind and Visually Impaired People

1997 ◽  
pp. 4-12 ◽  
Author(s):  
Simon Ungar ◽  
Angeles Espinosa Bayal ◽  
Mark Blades ◽  
Espernaza Ochaita ◽  
Christopher Spencer
Keyword(s):  
Reading Strategies ◽  
Visually Impaired ◽  
Instructional Methods ◽  
Spatial Knowledge ◽  
Verbal Description ◽  
Map Reading ◽  
Blind And Visually Impaired ◽  
Visually Impaired People ◽  
Impaired People ◽  
Tactile Maps

Most research on tactile maps has focused on aspects of map design and methods of construction. Relatively little attention has been paid to theway in which blind and visually impaired people actually use tactile maps for everyday way finding tasks. This paper reports on studies carried out in Madrid and Sheffield which consider how people gain spatial knowledge from tactile maps. In the Madrid study, participants were introduced to an urban area by one of three instructional methods: direct experience, tactile map or verbal description. Those who learned the area with the map were considerably more proficient in following the route unguided than were participants who received the other two instructional methods. However the different methods had little effect on the participants' overall representation of the space. It is possible that the map reading strategies used by the participants were effective for gaining practical route-based knowledge but did not give the participants an overall spatial representation of the area. To explore this possibility further, the Sheffield study considered the effect of individual differences in map reading strategies on the type of mental representation which visually impaired people acquire from a tactile map. It was found that those participants who acquired an accurate and full representation of the map used different map learning strategies from those who performed less well. We suggest implications of these studies for the education and rehabilitation of blind  and visually impaired people.

scholarly journals Värinkuvaus maalaustaiteen kuvailutulkkauksessa

2020 ◽  
pp. 242-267
Author(s):  
Veera Hatakka
Keyword(s):  
Visual Art ◽  
Visually Impaired ◽  
Art Museums ◽  
Methodological Framework ◽  
Cognitive Linguistic ◽  
Audio Description ◽  
Visually Impaired People ◽  
Impaired People

This paper addresses the variation within color expressions in modern Finnish and the processes behind their semantic structures in audio description of visual art. Visually impaired people are entitled to experience art in its all aspects and for this purpose, museums offer audio described guidance in their exhibitions. Audio description is intersemiotic translation where visually observed parts of the work are translated into language. The study is based on audio description manuscripts from four Finnish art museums that are analyzed in comparison to the contextual aspects. The theoretical and methodological framework of this study is cognitive linguistic. Results of the analysis indicate that there is a wide-ranging diverse within color expressions, and their meanings differ based on the contexts where the expressions are used. These observations are discussed in relation to the existing guidelines regarding audio description.

scholarly journals Getting the Picture: My Experience with Described Art

2013 ◽  
Vol 33 (3) ◽  
Author(s):  
Craig Werner
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Verbal Description ◽  
Art Appreciation ◽  
Blind People ◽  
Audio Description ◽  
Blind Children ◽  
Key Words Blindness

<p>In the latter half of the twentieth century, blind children were given little--if any--instruction in art appreciation and criticism.&nbsp; This lamentable gap in their education made it difficult for them not only to appreciate pictures but also to understand artistic conventions.&nbsp; The author relates instances of how he came to grapple with the meaning of artistic movements and how they could be enhanced by realizing their connections with parallel movements in music.&nbsp; A consistent process by which art can be elucidated to blind people should include explaining the basics of what is going on in the picture, putting the work in an artistic context, elaborating on seemingly minute but important details, and discussing any critical controversies about the work's interpretation.&nbsp; Commendable work is being done in helping the blind appreciate art, but more needs to be done.</p><p>&nbsp;</p><p>Key words: Blindness, blind museum access, verbal description of art, audio description.&nbsp;</p>

The bottleneck may be the solution, not the problem

2016 ◽  
Vol 39 ◽  
Author(s):  
Arnon Lotem ◽  
Oren Kolodny ◽  
Joseph Y. Halpern ◽  
Luca Onnis ◽  
Shimon Edelman
Keyword(s):  
Working Memory ◽  
Language Acquisition ◽  
Recent Theory ◽  
Cognitive Mechanisms ◽  
Selection Pressures ◽  
Biological Trait ◽  
Memory Bottleneck

AbstractAs a highly consequential biological trait, a memory “bottleneck” cannot escape selection pressures. It must therefore co-evolve with other cognitive mechanisms rather than act as an independent constraint. Recent theory and an implemented model of language acquisition suggest that a limit on working memory may evolve to help learning. Furthermore, it need not hamper the use of language for communication.

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