Table 5 - uploaded by Agnieszka Szarkowska
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... 4. The acceptance of TTS AD as an interim or permanent solution by gender TTS AD as interim TTS AD as permanent Gender yes no don't know Yes no don't know Women 100% - - 79% 14% 7% Men 83% - 17% 50% 16% 34% n=20 There seem to be no clearly discernible correlations between the preference for TTS AD as an interim or permanent solution in terms of participants' age (Table 5). Interestingly, participants from elder age groups seem to be slightly more willing to see TTS AD as a permanent solution than those from younger age groups in the study. ...
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Over the last decade consumers have witnessed a dramatic increase in the use of low fidelity, discrete vibrotactile feedback to enhance or replace audio stimuli in entertainment systems. However, use of high-resolution continuous vibrotactile displays remains quite uncommon. The Emoti-Chair is a high-resolution continuous vibrotactile display that...
https://ddd.uab.cat/record/117134
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Citations
... Od lat zagadnienie interpretacji w audiodeskrypcji jest kością niezgody (Szarkowska, Jankowska 2012). Wciąż toczy się debata, czy w audiodeskrypcji opisywać tylko mimikę, czy raczej nazwać emocje, które się przez nią manifestują. ...
... Po drugie Polska jest krajem o wysokim imporcie zagranicznych programów telewizyjnych, gdzie większość -jeśli nie wszystkie -zawierają tłu maczenie czytane przez lektora. Założono, że taka praktyka utrudnia wprowadzanie dodatkowego opisu audio jako kolejnej ścieżki dźwię kowej (Szarkowska, Jankowska 2012). Z tego powodu dostęp osób niewidomych i słabowidzących do filmów zagranicznych jest bardzo ograniczony, a tym samym wyklucza tę grupę z pełnego uczestnictwa w kulturze i dostępie do kinematografii. ...
... Zgodnie z doniesieniami z badań (Chmiel 2012;Szarkowska, Jankowska 2012;Chmiel, Mazur, 2014) w polskich salach kinowych często audiodeskrypcja odczytywana jest na żywo. Prezentacja ta może przybrać formę otwartą lub zamkniętą. ...
Book: “Visual education of blind people in the field of art” discusses the issues of access of the people with visual impairment and blindness to visual works of art and the strategies of visual literacy. This is an important issue because blind people, operating in the same social and educational space as the seers, cannot be excluded from the social discourse on visually perceived phenomena, and the information deficit resulting from the iconosphere should be filled on the basis of compensation mechanisms through good practices of making the sphere of visual representations available.
The book is aimed at theoreticians and practitioners in the field of fine arts, pedagogy, special education, typhlology, philology and translation studies, interested in intersemiotic and intersensory translation of works of art, in order to support blind people in accessing them.
... Although most AD reception studies do inquire about the type of respondents' vision dysfunction, only some of them look specifically into the type of visual impairment as a factor potentially modulating preferences. For example, Szarkowska and Jankowska (2012) examined the reception of AD delivered through speech synthesis and found that persons with blindness were more likely to support the idea than those with low vision, though the differences were not vast: 80% and 70%, respectively, were willing to accept it as a permanent solution (Szarkowska & Jankowska, 2012, p. 91). compared how participants with blindness, low vision and without visual impairment responded to a film clip in three conditions: without AD, with standard AD and with cinematic AD (i.e., one which accounts for filmic language). ...
Audio description (AD) is a type of translation involving the transfer of images into words, whose primary target audience are persons with sight loss. However, in reality audio description users are a heterogeneous group with various dysfunctions ranging from congenital blindness to low vision. These users might differ in their preferences for audio description. In order to investigate this issue, we designed an AD reception study in which we conducted questionnaire-based in-depth interviews with 50 persons with congenital blindness, non-congenital blindness and low vision. The participants watched audio described film clips and answered questions about their preferences regarding general viewing habits, character naming and objectivity, describing facial expressions and colours, using similes and metaphors, explicitation and intertextual allusions. We predicted that the type of vision dysfunction would modulate those group preferences that may be shaped by the existence or lack of residual vision and visual memory, such as video-AD synchronisation or the use of explicitation and intertextual allusions. Our findings suggest that group differences are not as strong as expected. We conclude that AD should strive for middle-of-the-road solutions, at the same time allowing for alternative versions targeted at specific audiences.
... Examples of the more specific reception research include testing how intonation impacts AD comprehension (Cabeza i Cáceres 2011) as well as whether AD users are willing to accept alternative solutions in AD, such as first-person AD (Fels et al. 2006) or the use of synthetic voices (Szarkowska and Jankowska 2012). There were also a number of studies that tested the respondents' sense of presence and immersion into the story world (e.g. ...
The chapter discusses audio description (AD) which is an audiovisual translation method whereby images are translated into words. AD is primarily created with blind and visually impaired persons in mind, though it can also benefit people with no sight loss. The chapter starts with the definition of AD and its typologies, as well as with the discussion of its primary and secondary target audiences. This is followed by presentation of the main AD types: screen AD, (semi-)live AD and museum AD. Next, a short historical overview is offered, followed by the theoretical foundations and research which includes text-based, reception and experimental studies. The chapter ends with some didactic implications and an attempt to predict some future trends including those related to the Universal Design (UD) paradigm and the idea of an inclusive society.
... As well as high quality AD [22], this will positively impact the sense of presence [23] and, as a result, the user's immersion. In addition, previous studies have shown that text-to-speech is not as engaging as human voiced AD [24]. In order to provide an engaging experience, different solutions will have to be tested with visually impaired gamers. ...
In films and TV shows a verbal commentary is included in order to help visually impaired people follow the plot, access information on set design and costumes as well as other visual aspects of the production. This verbal commentary is known as Audio Description (AD). Newer media experiences are still to catch up in terms of access services, and live streamed gaming is an example of that. Live streamed gaming is an emerging form of entertainment where video games being played are streamed in real time to thousands of spectators. Visually impaired people are already using text-to-speech software on the text chat of live streamed services; however, this technology does not exist on the video stream yet. This PhD project takes a user-centered approach to the study of the application of audio description to live streamed video games, by analysing its use from both theoretical and technological standpoints.
... A simple dubbing technique that is commonly applied is known as a voice-over [5], [6], [7]. Another method that can be applied for dubbing is text-to-speech, as reported in the study [8], [9], [10], [11]. This technique is very efficient and does not require a voice source. ...
Dubbing is a term used to describe filling in the sound on film or video. Voice conversion can be done to support dubbing, for purposes such as obtaining a child’s voice for dubbing on children’s films. However, problems frequently occur with this process, including difficulty finding children’s voice resources and difficulty getting children to express the desired tone and mood while recording. Therefore, in this study, we propose a method for creating a cross-gender and age voice conversion from adult voices to children’s voices. The feature extraction method that is used is Linear Predictive Coding, and the modeling method is the Hidden Markov Model. The parts synthesized are fundamental frequency (F0) and spectral content. From the simulation test, the best results for the voice conversion are achieved by Linear Predictive Coding order 19. The best state of Hidden Markov Model modeling is the 5th state. F0 Root Mean Square Error of adult men to children after the conversion increased by 57.7%, while the F0 Root Mean Square Error of adult women to children after the conversion increased by 15.29%. Root Mean Square Error Cepstral after conversion increased by 43.69%. A subjective test was also performed in terms of the mean opinion score. In terms of similarities, mean opinion score testing for Hidden Markov Model has an average value of 2.64, and in terms of quality, testing mean opinion score for Hidden Markov Model has an average value of 3.23. It is hoped that this proposed method can be used in real terms for dubbing in the film industry, especially for Indonesian dialogue.
... Subsequent projects were soon to follow. Dro_ zd_ z-Kubik [6] tested TTS AD for a dubbed feature film, Mączyńska [16] analysed the combination of TTS AD with audio subtitling for a non-fiction film, Walczak and Szarkowska [39] explored the application of TTS AD for an educational animation series for children, and Szarkowska and Jankowska [27] studied TTS AD to a foreign fiction film shown with Polish voice-over. More recently, in Catalonia, Fernández-Torné and Matamala [8] implemented TTS AD to dubbed feature films. ...
This article presents a study aimed at assessing an application offering audio description for mobile devices. By means of questionnaires, three features of the application were evaluated: usability, utility and quality. Fifteen blind and visually impaired volunteers participated in the study, which took place in real-life conditions—during a film festival screening. The results indicated positive ratings of all three assessed features, but also pointed to specific elements that could be subject to improvement. Overall, the application was considered as having good potential. Modifications were introduced, and the application is currently fully operational. The application can be used as a tool for providing improved access to cinema content, making cinema accessible for all.
... In recent years, AD has received growing interest from researchers. However, most of the research concentrates on the textual aspect of AD, while the audio component has been largely neglected and so far studied only by a limited number of researchers (Fryer, 2010(Fryer, , 2016Remael, 2012;Szarkowska & Orero, 2014;van der Heijden, 2009van der Heijden, , 2011 especially in the context of text-to-speech AD (Fernández-Torné & Matamala, 2015;Fryer & Freeman, 2014;Linder & Martínez, 2011;Szarkowska & Jankowska, 2012;Walczak, 2011). Researchers have also shown some interest in the AD reading rate (Díaz-Cintas, 2006;McGonigle, 2007;Fels & Udo, 2009;Cabeza-Cáceres, 2013;Fryer, 2016;Vercauteren, 2016). ...
The study discussed in this article was carried out as a pilot study to assess the process, resources and data management scheme (Thabane et al., 2010) to be used in a large-scale experiment on filmic audio description (AD) reading rate. As part of this study we defined the reading rate in filmic AD context. We described the characteristic features of Polish filmic AD scripts and recordings and examined the reading rate of Polish AD for three Polish fiction films: a comedy, a drama, and an action film. We calculated the average length of breath pauses and the maximum, minimum and average reading rate measured in characters per second (CPS) and words per minute (WPM) – two measures commonly used in audiovisual translation. The main finding of this study is the validation of the research procedure for testing the AD reading rate. We also computed the average reading rate for Polish filmic AD (179 WPM) and discovered that it changes depending on the film genre (167 WP for drama, 182 for comedy and 189 for action). When it comes to breath pauses in Polish AD, we calculated their average length at 190 ms – a value much lower than expected for breath pauses in Polish. The results of our study are discussed in the context of research on the speech tempo.
... While a significant portion of AVT research on reception was initially conducted in the realm of psychology, reception studies have now increasingly become a thriving sub-area of AVT. Significant empirical work has been conducted in various branches of the broadening landscape of AVT, such as subtitling (Alves Veiga, 2006;Antonini, 2005;Caffrey, 2008;Cavaliere, 2008;Gottlieb, 1997;Perego et al., 2015Perego et al., , 2016Tuominen, 2012;Widler, 2004), voice-over (Di Giovanni, 2012;Kizeweter, 2015;Szarkowska & Laskowska, 2015), audio description (Chmiel & Mazur, 2012;Fryer, Pring, & Freeman, 2013;Kruger, 2012;Ramos, 2015Ramos, , 2016Ramos & Rojo, 2014;Szarkowska & Jankowska, 2012;Wilken & Kruger, 2016), subtitling for the deaf and hard of hearing (Miquel Iriarte, 2014;Romero-Fresco, 2015;Szarkowska, Krejtz, Pilipczuk, Dutka, & Kruger, 2016), non-professional subtitling (Orrego-Carmona, 2014 and video game localization (Fernández Costales, 2016;Mangiron, 2016;O'Hagan, 2009). As the aforementioned contributions have shown, and as similarly noted by Chiaro (2014, p. 205), subtitling and accessibility have won the lion's share of AVT reception studies. ...
Dubbing is Iran’s main modality for translating audiovisual content. There has been, however, relatively limited research on public recipients of dubbing in Iran. This article reports the results of a mixed-methods study that uses qualitative data to create a quantitative instrument to survey the reception of Persian dubbing among a selection of Iranian lay viewers (n = 477). In the qualitative phase, using focus group interviews (n = 5), a pool of items on dubbing reception is generated and used to design an original questionnaire. The quantitative survey results indicate that the reception of Persian dubbing could be manifested in six broad dimensions: technicality, agents, faithfulness, censorship, domestication and preferences. Most notably, technicality, including character synchrony and isochrony, is the highest-rated and most valued quality standard by participants. It is also revealed that dubbing reception does not vary significantly across gender, or with regard to different fields of study as a factor, except for two dimensions – technicality and domestication.
... This study, the first of its kind in Poland, pointed to the untapped potential of TTS AD and paved the way for subsequent projects. Drożdż-Kubik (2011) analysed the application of TTS AD to a dubbed feature film, Mączyńska (2011) combined TTS AD with audio subtitling for a non-fiction film, Walczak and Szarkowska (2012) tested TTS AD for an educational animation series for children, and Szarkowska and Jankowska (2012) applied TTS AD to a foreign fiction film with Polish voice-over. All these studies show that natural voices are generally rated higher than synthetic voices, but also indicate that users are ready to accept synthesized narrations. ...
... Each clip lasted approximately 10 minutes and contained three audio tracks: original (English), voice-over (Polish) and AD (Polish). Voice-over and AD scripts were produced by professionals, recorded and mixed in a professional studio (for more on synchronising foreign language dialogue with AD see Szarkowska and Jankowska, 2012, 2015a, 2015b. ...
This article presents a study that was aimed at assessing presence and emotional experience of blind and visually impaired users when exposed to emotive and non-emotive content with Polish audio description (AD) delivered with two voices: human and synthetic. The results show that AD narrated by a human prompted significantly higher levels of presence for drama and was assessed by participants as significantly more interesting and less confusing. Presence rates for documentary were similar, with no statistically significant differences in relation to AD voice type. Levels of interest and confusion were comparable for both voices, with a slightly higher result for interest for the clip with AD delivered by the synthetic voice. Overall, the respondents preferred human-narrated AD for drama, but did not show a preference between synthesized and human-narrated AD for documentary. The findings are of direct practical relevance both to the industry and to academia, as they provide important information on how to select voices for audiovisual productions in practice, and suggest that AD reproduced with a synthetic voice is an effective and viable solution for voicing documentaries.
... Pomimo umiejscawiania audiodeskrypcji w obrębie przekładoznawstwa do chwili obecnej w badaniach nad audiodeskrypcją niemal nie stosowano metodologii badań przekładoznawczych. Większość prowadzonych badań miała charakter stosowany i koncentrowała się głównie na proponowaniu praktycznych rozwiązań dotyczących szkolenia audiodeskryptorów [Matamala, Orero, 2008], szerszego dostępu do AD [Jankowska, 2014;Szarkowska, 2011;Szarkowska, Jankowska, 2012], badań recepcji [Chmiel, Mazur, 2011;Vandaele, 2012], narratologii [Kruger, 2010;Malzer-Semlinger, 2012;Vercauteren, 2012] oraz tworzeniu wytycznych pisania AD Chmiel, Mazur, 2012;Remael, Reviers, Vercauteren, 2014]. ...
The article presents the issue of using strategies developed in Translation Studies to describe culture-bound elements in audio description. In the first part, the authors discuss the place of audio description in Translation Studies and especially within the field of audiovisual translation and Jakobson’s categories of intersemiotic, intralingual and interlingual translation. Then research on audio description carried out within the framework of Translation Studies and research on culture-bound references in audio description is presented. Finally, the authors present how translation strategies can be applied in audio description of culturebound elements.
Artykuł przedstawia zastosowanie strategii zaczerpniętych z teorii przekładu do opisu elementów kulturowych w audiodeskrypcji. W pierwszej części artykułu przedstawiono kwestię miejsca audiodeskrypcji w przekładoznawstwie, a szczególnie w obrębie tłumaczenia audiowizualnego oraz Jakobsonowskich kategorii tłumaczenia intersemiotycznego, interlingwalnego oraz intralingwalnego. Następnie omówiono podjęte do tej pory przekładoznawcze badania nad audiodeskrypcją oraz nad transferem elementów kulturowych w audiodeskrypcji. W ostatniej części zaprezentowano i omówiono na przykładach strategie opisywania
elementów kulturowych w audiodeskrypcji.
