Senses & Sensibility in the Right Place Proceedings of the 6

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SYNAESTHETIC ACCESS TO VISUAL CONTENTS:
AUDIO DESCRIPTION OF FILMS FOR VISUALLY IMPAIRED PEOPLE.
Dina Ricc)" Ph*D*
!lena Caratti" Ph*D*
Cibele +,sta-ante" Ph*D*
Politecnico di Milano" INDCO De.art-ent
School of Design" /ia D,rando 0%/a
&'(1% MI#N" Italy
dina*ricco2.oli-i*it
elena*caratti2.oli-i*it
cibele.rod,cao2yahoo*co-*br
Abstract:
3his .a.er ai-s to gi/e e/idence to a s.ecific area of research in the do-ain of
Co--,nication Design" ta4ing into consideration the relationshi.s and interactions that e5ist
a-ong different sensory -odalities and -ore in general their .erce.t,al beha/io,r in the
.rocess of access to co--,nicati/e artefacts or syste-s* 3his -eans to st,dy the sensorial
-odalities a/ailable to content access" their sensorial s.ecificity and their transferability on
different registers and -edia* It also entails the definition of the connections bet6een
sensorial characteristics" their ling,istic and .hysical .ro.erties" and the lin4 bet6een
.erce.tion and lang,age -ediated by technology and by co--,nicati/e artefacts or
syste-s*
In this .a.er" 6e .resent an a..lied research on a s.ecific design .roble- related to the
access of /is,al contents by /is,ally i-.aired .eo.le* In .artic,lar" 6e o,tline the -ain
characteristics and tendencies that occ,r 6hile ada.ting a fil- so that /is,ally i-.aired
.eo.le can access its /is,al contents*
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Senses & Sensibility in the Right Place Proceedings of the 6
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,dio descri.tion is the -ost co--only ,sed for- for this s.ecific ada.tation and" in the
case of fil-s7 it is achie/ed by adding /erbal a,dio8recorded .ieces of descri.tion in bet6een
the ga.s of dialog,e and/or rele/ant a,dio effects of a fil-* 3hese characteristics and
tendencies 6ere collected d,ring a case st,dy" .art of a PhD research and e5a-ined in the
didactic laboratory" co-.aring t6o /ersions of a,dio described fil-s" each in a different
lang,age* 3his is a rather e5.loratory research ,sed to identify ho6 t6o different a,dio
descri.tion /ersions of the sa-e fil- handle infor-ation 9e*g* dis.arities and contradictory
/erbal descri.tions of /is,al i-ages:7 6ith the -ain ob;ecti/e of trying to establish a
fra-e6or4 for -ethods of designing a,dio descri.tion*
In addition" 6e also .resent a brief research .ro;ect on Mojito* 3his is a short8fil- 6ritten and
directed by the Italian Stefano +r,no" 6hich 6as .rod,ced 6ith the intention of being either
only listened to or 6atched in its a,dio /is,al for-* 3he research 6as carried o,t 6ith &%
Design st,dents at Politecnico di Milano and e5.lores the .ossibilities and differences
bet6een the t6o -odes of e5.erience" -eas,ring the le/el of ,nderstanding of the gro,. in
each of these -odes* Res,lts fro- the t6o indi/id,al st,dies ha/e sho6n that there e5ists a
sinaesthetic effect 6hen 6atching fil-s 6itho,t act,ally seeing the-* 3he descri.ti/e 6ords
ind,ce this sinaesthetic effect 6hich in t,rn hel.s the /is,ally i-.aired to reconstr,ct the
original fil-<s /is,al in.,t and -essage* sinaesthetic a..roach is of great benefit 6hen
designing a,dio /is,al .rod,cts for the /is,ally i-.aired and 6ill o.ti-i=e a,dio /is,al
accessibility*
Keywords: synaesthesia, visual communication, audio description, visually
impaired.
1. INTRO!"TION
3he e.iste-ological co-.le5ity of Design 8 and in .artic,lar of Co--,nication Design 8
as4s for ne6 lines of c,lt,ral elaboration" ne6 ob;ecti/es" and ne6 coordinates in ter-s of
research" .ro;ect and ed,cation*
s Sil/ia Pi==ocaro 9&''>? 0%: asserts?
the thought of complexity crosses the designers problem at least at two
essential levels, that we may define as designing within complexity and
designing complexity.[... !oth levels are part of the discipline of "esign,
intended as one of those ma#ing disciplines that act on the physical world,
address human needs and generate the built environment.$
3he .roble-atic areas in the disci.lines of the Design .ro;ect concern the increasing
a-big,ity in the bo,ndaries a-ong artificial str,ct,res and .rocesses7 the increase of
social" econo-ic and ind,strial str,ct,res7 the increase of co-.le5ity in the syste-
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9needs" @,estions" ties:7 and the increase of the infor-ati/e contents 6hich can e5ceed
the .hysical s,bstance*
S,ch .roble-s .resent ne6 directions for research in the do-ain of Co--,nication
Design 6ith the conse@,ent transition fro- a -odel of research fo,nded Aon a
single disci.lineB to a Aresearch .rogra-B str,ct,red on an integrated syste- of disci.lines
foc,sed on different seg-ents of the society* 3his gi/es the .ossibility for designers to t,rn
their attention to .ro;ects 6ith a high le/el of co-.le5ity and social rele/ance*
#. "O$$!NI"ATION %&I'N AN A""%&&I(I)IT*
3he instr,-ents of criticis-" the .rinci.le of incl,si/eness and social e@,ality 9and
therefore an ethical /al,e of co--,nication: gain strength in the disci.lines of the .ro;ect*
Cio/anni +a,le 9&''$? ($: in his #e5icon abo,t Co--,nication Design e5.resses the
i-.ortance of the @,ality of co--,nication?
A%t the basis of everything there is the need, almost an obligation from the
"esign culture, of &uestioning the sense of their wor#. [... 'he &uality of an
individual communicative artefact, as a condition of departure, can no longer be
independent from the general &uality of communication and from the
perspectives of communication as a whole.$
In these ter-s" the Design of Co--,nication ta4es a critical" .rag-atic and social
di-ension 9beyond se-antics or synta5:" that can generate ne6 for-s of .rod,ction"
distrib,tion and a..lication of 4no6ledge*
3he .ro;ect actions can be directed to iss,es of e5tre-e need s,ch as large8scale .ro;ects
6ith a great social i-.act 9for e5a-.le social ca-.aigns or .,blic infor-ation: or can be
addressed to gi/e a sol,tion to e/eryday .roble-s 6ith a facilitating role 9for e5a-.le
i-.ro/ing the readability of infor-ation:*
Dorge Erascara 9&''%: s,ggests fo,r conditions that -ay hel. the de/elo.-ent of an
ad/anced research in Design? the .roble- sho,ld belong in the Design disci.line" the
-ethods ,sed sho,ld be -odelled to Design .ractices" the to.ic sho,ld be socially
rele/ant and the .rocess sho,ld in/ol/e its ,sers*
3he .rag-atic .,r.ose of Co--,nication Design redefines the disci.line in ter-s of
Aaccess designB" 6ith direction and -ediation" finali=ed to the fr,ition of co--,nicati/e8
infor-ati/e contents by a f,nctional and sy-bolic .ers.ecti/e" and 6ith an ,ndi/ersified
a..licability*
3h,s the designers< assign-ent is to ass,re that their o6n .rod,cts or ser/ices -eets the
necessities of a n,-ber of reci.ients 8 the a-.lest .ossible 8" inde.endent of age" social
le/el or .hysical and cogniti/e ability* 3his research a..roach does not only ha/e an
ethical or -oral /al,e" b,t also ser/es a legal .,r.ose for it tries to -a4e infor-ation
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accessible to e/erybody and ans6ers the de-ands of the -ar4et to address to a 6ide
range of cons,-ers*
Rosary Cracia and Fe/in Carey 9&''G: describe fo,r f,nda-ental criteria 6hich contrib,te
s,bstantially to accessibility* ccessible .rod,cts sho,ld?
8 be -,lti-odal 9incl,de gra.hics" te5t and a,dio:7
8 enable ,ser interface choices7
8 enable c,sto-isation and si-.lification7
8 be facilitated at e/ery stage of deli/ery 9creation" trans-ission and rece.tion:*
Eor AaccessibilityB 9defined also in ter-s of Incl,si/e Design" design for all" 6ith so-e
as.ects in co--on 6ith ,sability:" 6e can ta4e in consideration the definition e5.ressed
by Rosary Cracia and Fe/in Carey 9&''G:?
the capability of an information system to communicate content to a user with a
functional limitation which can only be overcome through additional hardware,
software or other adjustments$.
3his is the .ers.ecti/e of the research .ro;ect .resented in this .a.er*
+. &*NA%&T,%TI" A""%&& TO -I&!A) "ONT%NT&
Hhen there e5ist li-itations on infor-ation accessibility" it is of ,.-ost i-.ortance to start a
Co--,nication Design .ro;ect 6hich incl,des sti-,lation of all the senses 9Ricc)" &''%:*
3his is .artic,larly tr,e 6hen 6e are dealing 6ith li-its on sensory .erce.tion* 3hese li-its
-ay be ca,sed by a sensorial i-.air-ent" b,t can also be fo,nd in non8i-.aired .eo.le
6hen facing barriers" either en/iron-ental ones 9e*g* one cannot see beca,se it is dar4: or
technologic 9e*g* one cannot see so-ething beca,se it is too s-all:* In these cases a
s,bstit,ti/e sense can 6or4 as a -issing or te-.orarily non86or4ing sense*
3his s,bstit,tion is acti/ated by synaesthesia" 6hich 6e 4no6 is .hysiologically .ossible*
Recent ne,rological st,dies that ,se brain /is,ali=ation techni@,es Isee Sadato et al. 9(GG6:"
Frish Sathian 9Jangalad=e et al." (GGG:" Oli/er Sac4s 9&''0:K de-onstrate the .lasticity of
the brain and ho6" for instance" a tactile sti-,l,s -ay acti/ate the /is,al corte5 or e/en
.rod,ce /is,al -ental i-ages in absence of /is,al sti-,li* 3his ha..ens to blind s,b;ects"
6ho redirect their lost ca.acity to other senses* 3his is the sa-e as 6hat ha..ens 6ith
sighted .eo.le 6ho are te-.orarily de.ri/ed of /is,al access or 6hen they .erfor- a tas4
6hile blindfolded*
So-e e5.eri-ents designed to allo6 .eo.le to e5.erience sensory de.ri/ation 9e*g* art
.rod,cts or s.aces etc*: are aesthetically and scientifically interesting* 3hey .ro/ide the
o..ort,nity to st,dy and e5.eri-ent 6ith synaesthetic e5changes in co--,nication and
.ro/ide testi-ony to the .ossibility of synaesthetic access to infor-ation*
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s an e5a-.le 6e -ay re-e-ber the late (G$'<s Parisian e5hibition L(ands see* 3he
e5hibition organi=er" DaniMle Cira,dy" states that the e5hibit 6as born fro- the c,riosity of a
blind girl 6ho as4ed her AMisses" 6hat color is the 6indNB* +y then" Cira,dy said to disco/er
that Ao,r fi/e senses 6or4 @,ite badly 6hile the fo,r senses of the /is,ally i-.aired .erfor-
-iraclesB eno,gh to teach ,s ho6 to Afind the 6ay by follo6ing a certain s-ell" read a s-ile
on yo,r fingerti.s" feel the tiredness or s6eetness of one<s /oiceB 9)e mani guardano" (G%'?
G:*
3his e5hibit is the res,lt of the collaboration bet6een /is,ally i-.aired .eo.le" researchers"
architects" doctors of -edicine" sc,l.tors and ani-ators e5.eri-enting 6ith the .ossibilities
of the .erce.tion of art by the /is,ally i-.aired* 3his constit,tes a -o-ent of reflection on
the tactile sensory .o6er and on ho6 o,r co--,nicati/e s.ectr,- tries to inhibit it" 6here
the Ado not to,chB e/en stronger by then is still i-.erati/e* 3o,ch is allo6ed in
s,.er-ar4ets" b,t generally co-.letely .rohibited in -,se,-s*
In the follo6ing .ict,res 9fig*(8&:" there is a selection of i-ages ins.ired by this synaesthetic
-eta.hor .rod,ced by artists" gra.hic designers and directors* 3he Lseeing 6ith yo,r hands<
is treated as transference" as an e5tension of sight*
.Title o/ 0pe1 /ile sent as separate /ile2
Eig,re (* OOOOO**
Other e5.ositions follo6ed this .ioneering e5hibition" achie/ing great .,blic attendance* He
.artic,larly cite the itinerant e5hibition "ialogo nel buio 9Dialog,e in the dar4:" .re-iered in
Milan" Italy" in &''&* In this e5hibition" the /is,ally i-.aired g,ide the sighted into the
e5hibition<s dar4 roo-s and teach the- ho6 to recogni=e an ob;ect by to,ch" ho6 to find a
chair and sit on a chair 6itho,t falling off" ho6 to .,t s,gar in yo,r coffee and other e/eryday
actions*
3his e5.erience co-.els ,s to set o,r -inds to other references" other 6ays of .erce.tion"
action and beha/ior* It also sho6s ,s that it is not al6ays necessary to add infor-ation
indeed so-eti-es it is -ore efficient to s,btract infor-ation*
Title o/ 0pe1 /ile sent as separate /ile2
Eig,re &* OOOOO** .schema2
Cenerically" it is .ossible to disting,ish t6o -ain synaesthetic -odes in order to design
infor-ation access* 3he t6o follo6ing -odes coincide 6ith the artistic synaesthetic .ractices
9Ricc)" (GGG:?
(* the esthesic translation fro- one lang,age or registry to another7
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&* the esthesic synthesis 9Monti" (G%>: in 6hich different sensorial registries relate to each
other" 6or4ing in synchronicity*
+oth -odes re@,ire the search of analogies and affinities bet6een .heno-ena 6hich go
beyond the theory and into .ractice* Hhat se.arates the t6o is the -,lti-ediality 9esthesic
synthesis: and the non -,lti-ediality 9esthesic translation:* 3hat -eans that the esthesic
synthesis re@,ires one -ore stage in its .rod,ction" 6hich is the asse-bly of registries*
In the follo6ing sections 6e .resent t6o different e5a-.les" each ,sing a different
synaesthetic -ode* In section >" the esthesic translation or in Piety<s ter-s 9&''>? 0&:"
transre.resentation is a..roached in ,dio Descri.tion* In section 1" 6e disc,ss the
accessibility of a short8fil- in its a,dio/is,al and its a,dio for-s as esthesic synthesis*
3. A!IO %&"RI4TION O5 5I)$& 5OR -I&!A))* I$4AIR% 4%O4)%
3he ,dio Descri.tion of fil-s is achie/ed by adding a,dio8recorded .ieces of descri.tion in
bet6een the ga.s of dialog,e and/or rele/ant a,dio effects in a fil-* !ach of these .ieces 6ill
be called an insertion" a ter- de/elo.ed and ,sed in the lang,age syste- of ,dio
Descri.tion 9Piety" &''0? 1':*
Eollo6ing" there is a transcri.tion of a se@,ence of the -o/ie !lindness 9Meirelles" &''%: in
its !nglish a,dio described /ersion* 3he se@,ence is a dialog,e bet6een the characters
"ar#glasses and *ye+patch 9ti-e8code '(?>&?0':?
AD voice: Later, they it !y a "ire#
*ye+patch, -hat . hope is that we can go on living together, as we are, li#e this.
"ar#glasses, !lind/
*ye+patch, 'o me, nothing has been better. . want us to live together.
"ar#glasses, 'ogether with me or with everyone/
*ye+patch, "ont ma#e me say.
"ar#glasses, . wanna to #now.
*ye+patch, %re we alone/ .s anyone listening/
AD voice: The $ho%e &ro'( i itti)& aro')* the+, $atchi)& i) i%e)ce#
*ye+patch, 0ood1 . wanna live with you.
s 6e can see fro- the e5a-.le abo/e" a,dio descri.tion of fil-s foc,ses -ainly on stating
6hat is /is,ally being sho6n onscreen" s,ch as indications of ti-e 9AlaterB:" .lace 9Aby a fireB:
and .resence of characters 9Athe 6hole gro,.B:* ,dio describing a fil- 6o,ld th,s ha/e as a
core .rocess the ability of 6hat Piety 9&''0? 0&: calls Atransre.resentationB" re.resenting
i-ages into 6ords*
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Ero- a synaesthesic .oint of /ie6" one can say that the /erbal in.,t .rod,ced by a,dio
descri.tion sho,ld e/o4e -ental i-agery fro- the a,dience" g,iding it in a 6ay so that the
original fil- can be accessible to those 6ho cannot see it* 3his leads ,s to -any @,estions"
s,ch as the relationshi. bet6een i-age and te5t" the /ario,s .ossibilities of re.resentation of
a single i-age and the .o6er granted to the a,dio describer as the one 6ho is in charge of
.ro/iding infor-ation*
In a case st,dy 6hich co-.ares t6o a,dio described /ersions of the sa-e fil-" +,sta-ante
9&'('? ((18(6&: de-onstrates ho6 -,ch the .rocess of a,dio descri.tion /aries e/en 6hen
ha/ing the sa-e original .rod,ct as starting .oint* 3o the .,r.oses of synaesthesia" .erha.s
the -ost interesting finding of this research 6as fo,nd 6hile analysing the s,bstantial
difference in the a-o,nt of insertions bet6een the +ra=ilian and the !nglish /ersions of
+lindness* Hhile in the !nglish /ersion a A-ain e/entB that ser/es and adds to the
,nderstanding of the fil- as a 6hole is described" the +ra=ilian /ersion tends to brea4 this
A-ain e/entB into a series of s-aller e/ents" al-ost as if a .rocess 6as being described*
.(!&TA$ANT% /i1+.0p12
Eig,re 0* !5a-.le fro- the fil- +lindness
(
9ti-e8code ''?(6?0':*
Ero- the e5a-.le abo/e" it is .ossible to see ho6 e/ents described in the !nglish /ersion
9e*g* Agoes to the bathroo-B: 6ere bro4en do6n into -ore e/ents 9she first heads to6ards
the bathroo-" later she is in it:* Moreo/er" the si-.le act of .re.aring coffee is s.lit ,. and
described as i-ages a..ear onscreen? an o.en ta. filling ,. a 4ettle" the boiling 6ater" etc*
Hhich a..roach is -ore s,itable can be st,died -ore e5tensi/ely in order to ,nderstand ho6
one of the t6o /ersions of the descri.tion can better add to the ,nderstanding of the fil- as a
story and as a disco,rse or ho6 -,ch it can re.resent an o/erload of infor-ation*

6. AN %74%RI$%NT 8IT, T,% 5I)$ MO,ITO
Mojito 9+r,no" &''$: is a (68-in,te short8fil-" 4no6n to be the first fil- intentionally
.rod,ced to be ,nderstood both by reg,larly sighted and /is,ally i-.aired .,blics" 6itho,t
,sing reg,lar a,dio descri.tion*
3he fil-<s .lot already s,ggests its the-e? in Penice" a yo,ng -an affected by lo6 /ision
-eets nna" a .ainter* Qe decides to sho6 her ho6 it is to -o/e in the dar4" ,sing so,nd
and to,ch as -eans of orientation*
1
The Brazilian version in original language is Na cama, o mdico dorme. Sua mulher acorda e lhe d um beijo
no ombro. Lentamente, ela se levanta e dirige-se ao banheiro./ Ele abre os olhos. Ela no banheiro. / Uma torneira
aberta enche uma chaleira. A gua ervente derramada no !" de ca, o ca nas #$caras %ue ela leva !ara o
banheiro.
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Director Stefano +r,no e-.hasi=es the diffic,lty to 6rite a scri.t in 6hich s.o4en lines sho,ld
be /ery descri.ti/e" b,t yet not annoying or ob/io,s?
2rom the beginning the idea was to write a script which could be understood both
by who hears and sees and by who just hears. 3o, the biggest difficulty was to write
trying not to be obvious to who sees and hears, but at the same time not to let
behind who can only listen to it$ 9+r,no" &''G:
So-e dra-atic reso,rces 6ere ,sed to -a4e s,re the story 6o,ld be f,lly ,nderstood" one
of 6hich is the .resence of a narrati/e /oice* 3his reso,rce hel.ed to -a4e scene changes
and ga.s of ti-e .resent in the fil- clearer* It also -ade it .ossible to describe not only 6hat
.hysically ha..ens onscreen b,t also the characters< feelings and tho,ghts 6itho,t
de.ending on /is,al content*
References to the sense of to,ch 6ere intentionally added" belie/ing that in this 6ay the fil-
6o,ld get closer to a blind a,dience* In addition" 6hen it co-es to so,nd effects" so-e
.ieces of so,nd 6ere a-.lified and intentionally -i5ed in a 6ay it co,ld so,nd -ore /i/id and
self8e5.licable*
ccording to the director" there 6as no intention of -a4ing the sighted and the blind
e5.erience in 6atching the fil- e@,al" since it is i-.ossible for t6o .eo.le" sighted or not" to
ha/e the sa-e e5act e5.erience 6hen 6atching any fil-* In other 6ords" in this short8fil-"
accessibility is not a -atter of ada.ting an already e5isting -aterial" b,t .art of the creati/e
.rocess" -a4ing it a ,ni@,e e5a-.le of incl,si/e entertain-ent*
6.1. $ethodolo1y
Research 6as carried o,t in -id D,ne &'('" the &% .artici.ants 6ere the Design Conce.t
#aboratory st,dents at Politecnico di Milano 9.rofessors D* Ricc) and * +ell,scio" Design
Eac,lty:" -ost of the- on the first year of a Co--,nication Design -aster co,rse*
3he choice 6as -ade to not gi/e infor-ation abo,t the short8fil- .rior to 6atching it" stating
-erely that the fil- 6as .rod,ced 6ith the intention of being a..rehensible also only by its
a,dio trac4*
36o @,estionnaires 6ere .re.ared7 one to be filled in after only listening to the fil-" and a
second one for after the fil- 6as .resented in a,dio/is,al for-*
3he first @,estionnaire foc,sed on their le/el of ,nderstanding of Mo;ito" and on 6hat -ental
i-ages or i-.ressions of the Aa,dio fil-B they had* 3he -ain ob;ecti/e 6as to assess if the
.artici.ants< le/el of co-.rehension had risen fro- the /is,al in.,t and ho6 -,ch of 6hat
they had i-agined corres.onded 6ith 6hat they had later seen*
6.#. Results
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Hhile -ost .artici.ants fo,nd listening to the fil- a/eragely co-.rehensible" this changed to
co-.letely ,nderstandable once the a,dio/is,al for- 6as .resented 9fig*>:* 3his -ight be
inti-ately related 6ith the .artici.ants re.orted diffic,lty on an a,dio8only narrati/e 9fig* >:*
.(!&TA$ANT% /i13.0p12
Eig,re >* #eft? le/el of co-.rehension of .artici.ants 9a,toe/al,ation:* Right? ADid yo, ha/e any
diffic,lty in follo6ing an a,dio8only narrati/eNB*
Hhen as4ed to describe sensations 6hich the short8fil- ind,ced the- to feel" the -a;ority of
.artici.ants 9&': e5.ressed that the fil- .rod,ced both negati/e and .ositi/e feelings in the-
9e*g* ha..iness" sadness" an5iety and tran@,illity:" 6hile eight .artici.ants considered only
negati/e as.ects 9an5iety" sadness and -elancholy:*
#ater" 6hen co-.aring 6hat they had heard 6ith 6hat they had finally seen" -ost
res.ondents stated that not all of 6hat they had i-agined corres.onded to the original fil-*
lternati/ely" 6hen as4ed abo,t 6hat they belie/ed that the /is,al .art added or s,btracted
6hile 6atching the short8fil-" there 6ere t6o ans6ers that occ,rred -ost fre@,ently* 3he first
one 6as that the a,dio hel.ed the- ,nderstand the linearity of the story better* Many
res.ondents also stated that by only listening to the story they had an o..ort,nity of .aying
-ore attention to the a,dio a/ailable and to e5ercise creati/ity" 6hile in the a,dio/is,al
.resentation the story 6as Aalready thereB? by .resenting the /ideo" the narrati/e 6as -ore
si-.le" the act of 6atching it 6as -ore rela5ed" b,t there 6as less roo- for creati/e
i-agining*
9. "ON")!&ION
3here are al6ays great e5.ectations on the res,lts d,ring the data analysis of any
e5.eri-ent* In the case of Mojito" it 6as .ossible to ass,re that it t,rned o,t to be an
e5tre-ely /al,able e5ercise to hel. st,dents ,nderstand the intricacies of interaction
bet6een i-age and so,nd" and" as Chion 6o,ld say" to disco/er the AL/is,alists< of the
earB and the ALa,diti/es< of the eyeB 9(GG'? ((1:*
E,rther-ore" the fact that so-e scenes 6ere re.orted to be better ,nderstood and
/is,ally s,ggesti/e 6hen only listening to its a,dio 6hile others 6ere not" tells ,s that
narrati/e co-.rehension and its ca.acity of ind,cing /is,al i-agery de.ends on an
ade@,ate a..lication of a,dio* 3hat incl,des its -,sical co-.osition7 the so,nd and its
9
Senses & Sensibility in the Right Place Proceedings of the 6
th
UNIDCOM/ID! International
Conference" #isbon" 6
th
" $
th
%
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October &'((
relationshi.s to both a-bience and characters7 a-bience" ob;ects and action noises" the
narration or a,dio descri.tion of scenes and e/ents and" si-.ly said" a good design* In
other 6ords" for /is,ally i-.aired .eo.le to ha/e efficient accessibility to fil-s is
de.endent on a good orchestration of different lang,ages or rather the .resence of a
designed Asynaesthetic co-.ositionB bet6een these lang,ages*
Re/erences:
* +a,le" Cio/anni* &''$* #essico* 4ulture visive. 4ontributi per il design della comunica5ione"
edited by P* +,cchetti" Milano? Poli*design" ..* (G(8&0G*
* +r,no" S* 9&''G" D,ly &%:* Personal inter/ie6* 9C* +,sta-ante" Inter/ie6er:
* +r,no" S* 9Director:* 9&''%:* Mo;ito? lRaltra l,ce del cine-a IMotion Pict,reK* Italy*
* +,cchetti" Paleria* &'('* Pac4aging design? .ercorsi disci.linari* #a @,alitS del .ac4aging*
Siste-i .er l<accesso co-,nicati/o8infor-ati/o dell<i-ballaggio" by !ri4 Cira/egna" Milano?
Erancongeli" ..* ((8(G*
* +,sta-ante" C* 9&'(':* Eil- a,dio descri.tion? a co--,nication design .ers.ecti/e*
Milano? PhD in Ind,strial Design and M,lti-edia Co--,nication tesi* Politecnico di
Milano*
* Caratti" !lena*
* Chion" Michel* (GG'* )audio+vision. 3on et image au cin6ma" Paris? Nathan*
* Erascara" D* & Hin4ler" D* &''%* On design research" in "esign 7esearch 8uarterly, 0?0"
D,ly &''%" htt.?//666*drs@*org/iss,es/dr@080*.df 9accessed ,g,st Gth &''%:
* Cracia" R** & Carey" F* IC3 accessibility" in htt.?//666*creati/e8net*co*,4/bo,t8
Design/+,siness8!ssentials/IC38ccessibility8by8Rosario8Cracia8and8Fe/in8Carey/"
9accessed D,ne &1th &''G:
* Q,ll" D*M* (GG'* 'ouching the 7oc#. %n *xperience of !lindness 9tr* It* .l dono oscuro. 9el
mondo di chi non vede" Milano? Car=anti" (GG&:*
* #e +reton" D* &''6* #e sa/e,r d, Monde* Une anthro.ologie des sens" Paris? MTtailiT*
* )es mains regardent* (G$$* Paris? Centre Ceorge Po-.ido,*
* Mar4s" #*!* (G$%* 3he Unity of the Senses* Interrelations a-ong the -odalities" Ne6 Uor4?
cade-ic Press*
* Merlea,8Ponty" M* (G>1* :h6nom6nologie de la perception" Paris? Calli-ard*
* Monti" Cla,dia* (G%>* Fandins4y e altre sinestesie* )espressionismo e il suo doppio.
3tudi sullavanguardia" +rescia? Sha4es.eare & Co-.any" ..* 608%1*
* Piety" P* D* 9&''0:* ,dio Descri.tion" a /is,al assisti/e dico,rse? n in/estigation into
lang,age ,sed to .ro/ide the /is,ally disabled access to infor-ation in electronic te5ts*
Hashington" DC? Master of rts in in Co--,nication" C,lt,re and 3echnology 3hesis *
10
Senses & Sensibility in the Right Place Proceedings of the 6
th
UNIDCOM/ID! International
Conference" #isbon" 6
th
" $
th
%
th
October &'((
* Pi==ocaro" S* &''>* Design e co-.lessitS* in Paola +ertola" !=io Man=ini* "esign
Multiverso" Milano? PO#I*Design*
* Ra-achandran" P*S* Q,bbard" !*M* &''$* #a feno-enologia della sinestesia* 3inestesie e
:rogetto edited by D* Ricc)" Progetto Crafico" n* ('" ..* (1>8(6(*
* Ricc)" Dina* (GGG* 3inestesie per il design. )e intera5ioni sensoriali nell;epoca dei
multimedia" Milano? !tas*
* Ricc)" Dina* &''0* Magie dei sensi? /edere .er sinestesia* %d occhi chiusi nel museo"
edited by R* Poggiani Feller" C* DRgostini" Proceedings" +erga-o" &1 ottobre &''&"
Soro.ti-ist International dRItalia/Cl,b di +erga-o e M,seo Ci/ico di Scien=e Nat,rali V!*
CaffiV" +erga-o? Sta-.eria Stefanoni" ..* ($8&%*
* Ricc)" Dina* &''%* 3entire il design* 3inestesie nel progetto di comunica5ione" Ro-a?
Carocci*
* Ricc)" Dina* &'((* ccesso sinestesico ai conten,ti /isi/i? -odi" for-e" str,-enti del
.rogetto di co-,nica=ione. )e figure retoriche della vita &uotidiana. 3inestesie e monostesie,
prospettive di studio a confronto" tti del con/egno edited by M* CatricalS" Ro-a 9in .ress:*
* Sac4s" Oli/er* &''0* #<occhio della -ente* %delphiniana" &% no/*
* Sadato N* et al* (GG6* cti/ation of the .ri-ary /is,al corte5 by +raille reading in blind
s,b;ects* 9ature 0%'? 1&681&%*
* Jangalad=e" * !.stein" C*M* Crafton" S*3* Sathian" F* (GGG* In/ol/e-ent of /is,al
corte5 in tactile discri-ination of orientation* 9ature* >'(? 1%$81G'*
11