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Introduction: American media-accessibility pioneers in the 1970s and 1980s not only sparked interest in the academic study of audio description, they also originated many practical techniques, protocols, theoretical perspectives, guidelines, and standards that persist in the fabric of this type of work decades later. In this study, we located and analyzed source documents for two oft-mentioned innovators—Gregory Frazier and Margaret Pfanstiehl—to shine light on their individual perspectives through a historiography of their foundational writings and associated media. Method: This analysis was conducted on publicly available source documents, such as Frazier's landmark thesis and also included a trove of Pfanstiehl's personal correspondence, as a way to establish particular points of theoretical and historical interest. Results: We found that despite the prominent place of Frazier and Pfanstiehl in audio description lore, neither actually published much writing about what they did and why they did it. Some of what they wrote has been selectively repeated, but other parts have been forgotten. In that respect, this research method could be used to more precisely trace and identify where particular practices emerged, under which theoretical perspectives, and complications. It also can help to show how these ideas were documented and tested during their emergence and domestication, as a way to gauge procedural rigor as well as validity of related findings. Discussion: Audio description scholarship needs theoretical anchors, but it also needs systematic testing of assumptions inherent in those theoretics, which this study helps to identify. Implications for Practitioners: Audio describers invariably will encounter the moment when an assertion of "this is the way we do it" collides with the curiosity of "why?" To promote best practices, the field has to understand where practices came from, how they developed, and as Frazier recommended, put those ideas to "objective" tests. [ABSTRACT FROM AUTHOR]

Audio description (AD), narrative description of key visual elements for visually impaired or blind audiences, is provided in English in the United States; however, Spanish-language AD is almost nonexistent. Because Spanish is the most spoken and fastest growing non-English language in this country, training translation students to provide AD in Spanish fills a gap for the visually impaired Latino population. This article shows how a project on AD for the theater was used in a community-based course at Montclair State University (New Jersey), what challenges we encountered, and how those challenges were overcome. I also provide a step-by-step program plan to help implement such initiatives. In addition to learning about AD, I guided my students to reflect critically upon language, arts, and accessibility in the multicultural reality of the United States. [ABSTRACT FROM AUTHOR]

Introduction: Audio description (AD) in museums is crucial for making them accessible for people with visual impairments. Nevertheless, there are limited museum-specific AD guidelines currently available. This research examines current varied international practitioner perspectives on museum AD, focusing on imagery, meaning, emotion and degrees of objectivity, and the regional differences (Europe and United States) in AD traditions, in order to better understand how AD can be used to enhance access to museums. Methods: Forty-two museum describers from 12 countries responded to a questionnaire requiring fixed-choice and free-text responses about the purpose and construction of museum AD. Results: Inference tests showed that European describers agreed more strongly than American describers that AD should "explore meaning" (U = 91.00, N 1 = 24, N 2 = 14, p =.03), and "create an emotional experience" (U = 89.50, N 1 = 24, N 2 = 14, p =.03), rating the use of cognitive prompts as more important (U = 85.50, N 1 = 21, N 2 = 14, p =.04). Qualitative data enriched this understanding by exploring participant responses on the themes of mental imagery, objectivity and interpretation and cognitive prompts. This highlighted broader agreement between regions on mental imagery, but more acceptance of interpretation in AD from the European respondents. Discussion: American and European describers' opinions differ regarding the purpose of AD: whether it is about conveying visual information or whether broader interpretations should be incorporated into descriptions for audiences with visual impairments. Implications for practitioners: These findings indicate that further discussion is needed regarding the purpose of museum AD and, in particular, the way in which objectivity is contextualized. They raise questions about AD providing visual information and/or seeking to address a wider museum experience, including the stimulation of curiosity or emotion. [ABSTRACT FROM AUTHOR]