Top of Page Describe the organism s used in the study. This includes giving the 1 source supplier or where and how the orgranisms were collected2 typical size weight, length, etc3 how they were handled, fed, and housed before the experiment, 4 how they were handled, fed, and housed during the experiment. In genetics studies include the strains or genetic stocks used.
This kind of description enables persons who are blind or visually impaired to form a mental image of what they cannot see. Verbal description has been used to make visual information accessible in film, television, and, more recently, in museums.
In museums, verbal description may be used before, after, or during a standard gallery tour. Having a lecturer who can respond to particular questions and engage museum visitors in thought-provoking conversation is one way of providing descriptions of works of art.
Additionally, descriptions may be provided in the form of an audioguide, enabling museums to develop an archive of narratives for specific works of art. In the best scenario, these two resources are used in a complementary manner.
The following guidelines comprise a basic methodology that museum educators and art teachers can use to create successful verbal descriptions of painting, sculpture, and architecture, as well as works in other media.
These excerpted passages suggest a few of the ways an educator can create successful verbal descriptions of visual art.
While not necessarily descriptive, this basic information provides blind and visually impaired individuals with the same information available to sighted viewers. Additionally, object-label information places the work in an historical context and establishes a foundation for much of the information that follows.
The example below is a straightforward way of imparting the information.
This sculpture is from ancient Egypt, and the artist is unknown. The work has been given the title Scribe Statue of General Horemhab. The sculpture was made during Dynasty 18, around to B.
The medium is granite. The work measures 46 inches high, or centimeters. Relative size is particularly useful because everyone can identify with the size of a familiar object. Subject, Form, and Color The basic object-label information is followed by a general overview of the subject matter and composition of the work.
Generally, a coherent description should provide visual information in a sequence, allowing a blind person to assemble, piece by piece, an image of a highly complex work of art. First describe the explicit subject, that is, what is represented in the work. For example, "This painting features a recycled Savarin coffee can filled with about eighteen paintbrushes.
Include in this description the color tones and the mood or atmosphere. Many people who have lost their sight have a visual memory of colors. We see two nudes, a man and a woman, in obvious emotional distress, walking from the center of the painting to the right across a bleak brown landscape free of any vegetation.
Above them, we see an angel wearing bright-red robes, carrying a sword, hurrying them on their way. They are leaving Paradiseas the title suggests.
Within the barely suggested gate on the left, we see rays of light, which represent the presence of the Lord. These light rays resemble straight lines that are pulled together at one end, as they would be in a broom. The man and the woman are being banished from Paradise.
The warm peach flesh tones of their bodies contrast with the blue sky. Orient the Viewer with Directions Specific and concrete information is required to indicate the location of objects or figures in a work of art.
A useful directional method is to refer to the positions of the numbers on a clock. Most blind people are familiar with this method of providing direction. Also, when describing a figure depicted in a work of art, remember that the image is the equivalent of a mirror image.
Right and left can be very ambiguous terms unless they are qualified.
Accordingly, you should describe the figure according to its right or left, and always qualify this description. Describe the Importance of the Technique or Medium Sometimes, there is an important relationship between the implicit content and the technique or medium employed to make the work.
Detailed information on these topics enables a blind viewer to understand the ways in which meaning, style, or both are generated from the materials.
Technique and medium are functions of each other, and, typically, discussion of one must include the other. Because this kind of information can be very technical, you may want to ask blind viewers how interested they are in this subject.
The first passage below describes the impact of the oil-painting technique on the art of the northern Renaissance. The second passage, in a discussion of King Khafra and Horus B.
In the fifteenth century, artists such as Robert Campin and Jan van Eyck realized the advantages of the oil-painting medium. With oil paint, colored pigment is suspended in a viscous oil medium that is slow to dry.A narrative or story is a report of connected events, real or imaginary, presented in a sequence of written or spoken words, or still or moving images, or both.
The word derives from the Latin verb narrare, "to tell", which is derived from the adjective gnarus, "knowing" or "skilled".. Narrative can be organized in a number of thematic or formal categories: non-fiction (such as definitively. Refer to Appendix A Flow Chart.
In order to increase efficiency in hiring and retention and to ensure consistency and compliance in the recruitment and selection process, it is recommended the following steps be followed (also refer to Staff Recruitment and Selection Hiring Checklist).Details for each step include the minimum recommended best practice to attract a talented and diverse.
Why a Scientific Format? The scientific format may seem confusing for the beginning science writer due to its rigid structure which is so different from writing in the humanities. One reason for using this format is that it is a means of efficiently communicating scientific findings to the broad community of scientists in a .
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In The Prince and the Pauper, Mark Twain paints a word picture of King Henry VIII using descriptive language. Before him, at a little distance, reclined a very large and very fat man, with a wide, pulpy face, and a stern expression.
His large head was very grey; and his whiskers, which he wore only around his face, like a frame, were grey also.