LISTEN UP! Providing Accessible Interpretation with Audio Chris Evans, Regine Kennedy, & Bill Patterson
The planning process for any interpretive project considers the place-specific historical, cultural, and natural resources in order to develop relevant messages and, subsequently, media. In order to successfully make use of interpretive media, we must link interpretive messages with the right media type.
With audio, visitors listen in to another world. As a communicative media, audio appeals to auditory learners, helps to contextualize a place, provides a means to reach multiple audience groups, and has the potential to transport visitors to different times, seasons, or places.
WHAT’S THE DIFFERENCE? AUDIO DESCRIPTION AUDIO NARRATION Audio description describes the content and setting of an Audio narration complements other interpretive elements, interpretive program in order to provide individuals who are such as wayside signs, scenic views, or other interpretive exhibits. visually impaired with the information that is available to First person narratives, oral histories, and interviews with people sighted visitors. associated with a story or site all offer unique benefits. WHOSE VOICE SHOULD VISITORS HEAR? Actors Non-Actors Oral Histories A famous actor lends name recognition Choosing a narrator with a personal These stories are not narrated by and a public personality to the story connection to the site lends authenticity to professionals, but told by people with that he or she narrates. A non-famous site interpretation that cannot be provided firsthand knowledge. As a result, these voice actor may be a less costly and more by actors. histories are inherently subjective, but accessible option. also have a high level of authenticity.
HOW IS AUDIO CREATED? Pre-Production: Production: Post-Production: scripts, voices, & histories recording & determining clean up & sharpen Scripts are researched, drafted, and level of quality Filler speech is edited and sound effects finalized; narrators are selected; and oral A studio, on-site, or a private home are and background music may be added. histories are identified. It is during this all potential venues to record narration Audio effects are applied to shape the step that the interpretive information is and oral histories. Always try for the best sound and prepare the final output. Audio created. This phase often takes the longest. recording quality possible because no descriptions should avoid additional amount of post-production can fix a sounds and effects. poor quality original recording.
Audio Track 1
x Corresponds with Kiosk Panel 2: Taken Away x Purpose Statement: To convey the background of the executive orders and expand on the removal process. x Content is based on the George Takei video on YouTube, “George Takei on Japanese concentration camps.” (http://www.youtube.com/watch?v=oUrpIFp7EMA) and his interview on NPR's Here and Now (http://www.allegiancemusical.com/blog-entry/my- interview-nprs-here-and-now)
Narrator: George Takei
Welcome to the former Rohwer Japanese American Relocation Center.
I’m George Takei. You may know me as Mr. Sulu from Star Trek. You may not know that I spent a part of my childhood here at Rohwer behind barbed wire.
I remember that terrible day when American soldiers came to our California home to order us out. I was five years old at the time. I remember that they carried bayoneted rifles. I remember the tension. I remember my mother crying. I didn’t really understand what was going on, but I will never forget.
We were rounded up and put into concentration camps surrounded by barbed wire and armed guards in towers.
There were no charges, there were no trials, and there was no due process.
My father told me that we were going on a long vacation to a place called Arkansas. That sounded exotic to me. We were put on a train with other Japanese Americans and it was a grueling, long, long trip.
We arrived in Rohwer after three days and two nights on the train—sitting day and night on hard, wooden seats. It was late summer and the sunlight glinted off each barb on the wire—flashing like sharp, deadly gems strung out along the new fence. We passed tall guard towers with armed soldiers staring down at us. Beyond the fence we could see internees who had arrived earlier, lined up and waving forlornly. Beyond them were rows upon rows of black tar-paper-covered barracks all lined up with military precision.
What you see here today is not what we saw when we arrived. The barracks have been demolished or moved, the internees moved away after the war, the guard towers have been taken
Rohwer Japanese American Relocation Center Audio Transcripts 1
HOW WILL VISITORS HEAR THE AUDIO? Built-In Audio Hand-Held Devices Remote Access Audio can be built into interpretive Audio can be delivered to visitors through Audio tracks may be used to entice exhibit structures or a site’s infrastructure. hand-held devices that are rented or potential visitors to visit a site. Podcasts Alternatively, audio feeds can be provided free-of-charge, or through a and CDs offer easily accessed options transmitted short distances through visitor’s own device, such as a smartphone for visitors whether they are on-site or FM radio broadcasting which visitors or MP3 player. Hand-held devices can be at home. can listen to in their car. triggered automatically or manually.
Visit 106group.com/news.htm to download the paper and presentation