la protección de las obras de arte en caso de accesibilidad para personas con discapacidad visual

La protección de las obras de arte en caso de accesibilidad para personas con

discapacidad visual.

Ade Castro

Protection of artworks in the event of accessibility

for people with visual impairments.

- Constitucional right. - Common cultural codes. - Inclusion. - All can be disabled.- Knowledge source. - Creativity, imagination.- Their own interpretation of Art.

Why should blind people have access to Art?

- Haptic.

- Verbal.

- Body language.

- Multisensory.

Interpretation:

Haptic exploration

of originals- All people can touch.

- Only blind people can touch.

- Limitation of numbers of visitors.

- Alcoholic gel to clean hands.

- Change originals periodically.

NUDE HANDS.Blind boy feeling original marble sculpture.

Arqueological Museum, Seville (Spain).

NUDE HANDS. Tactile exploration of an original sarcophagus.

Egyptian Museum in Cairo.

NUDE HANDS. Direct handling of a medieval religious figure.

British Museum, London.

NUDE HANDS. Prehistoric mammoth tusk.

Arqueological Museum, Colleferro (Italy).

CLEANED WITH ALCOHOL GEL. Exploration of original sculptures of XX c.

MNCARS, Madrid (Spain).

Gloves

The best:

- Nitrile.

- Latex (posible allergic reaction).

- Cotton (too much transpirable).

WITH GLOVES. Feeling “Cumul I” by Louise Bourgeois.

Centre Pompidou, Paris (France).

WITH GLOVES. Original bronze sculpture.MoMA, New York (USA).

Exact copies

EXACT COPIES. Replicas at “The Touch Gallery”.Louvre Museum, Paris (France).

EXACT COPIES. Ancient Greece Art.

Tactual Museum for the Blinds, Athens (Greece).

Scale copies

SCALE COPIES. A model of the Taj Mahal.

Museo Tiflológico, Madrid (Spain).

SCALE COPIES. Three-dimensionals models.

Tactile Museum "Omero", Ancona (Italy).

Tactile graphics or adaptations.

TACTILE GRAPHICS. Cellulose acetate raised of Picasso´s artwork.

Centro Pompidou, Paris (France).

TACTILE GRAPHICS. Thermoform of “La Virgen de los Cartujos”.

Fine Arts Museum of Seville (Spain).

TACTILE GRAPHICS. Swell paper. Floor plan.

Fine Arts Museum of Seville (Spain).

TACTILE GRAPHICS. Silkscreening (transparent ink).

“Art History Through Touch and Sound” (AEB).

TACTILE ADAPTATION. Three-dimensional relief (P. della Francesa).

Anteros Tactile Museum of Painting, Bologna (Italy).

TACTILE ADAPTATION. Natural textures.

“Hands who see paintings”. Fine Arts Museum of Seville.

Haptic technology

HAPTIC TECHNOLOGY: CYBER GLOVES. “Tangible 3D”:

NTT Comware,Tokyo.

HAPTIC TECHNOLOGY: CYBER GLOVES.“CyberTouch”: touch feedback for virtual reality.

CyberGlove Systems Corp.

HAPTIC TECHNOLOGY: TOUCHABLE VR.“Airborne Ultrasound Tactile Display”.

University of Tokyo.

HAPTIC TECHNOLOGY: TOUCHABLE VR. “Touchable Holography”.

University of Tokyo.

Verbal or

Written information

- Verbal descriptions.

- Large print.

- Braille.

BRAILLE & LARGE PRINT. Signage Braille and Large print.

Metropolitan Museum, New York (USA).

Body language: mimesis, drama,

movement.

BODY LANGUAGE. Dramatic interpretation or Mimesis.

Fine Arts Museum of Seville (Spain).

BODY LANGUAGE. Dramatic interpretation or Mimesis.

“Lady with an Ermine”, da Vinci. Art Beyond Sight.

Visual aids

- Magnifiers.

- Large print images.

- Hand-held telescopes.

VISUAL AIDS. Magnifying glass and Electronic Magnifier.

Arqueological Museum of Seville (Spain) (left).

MultisensorySmell

Taste

Touch

Hearing

Body language

Vision

MULTISENSORY: SMELL.Smell boxes.

Arqueological Museum of Seville (Spain).

Links:

- ONCE.

- Museo Tiflológico.

- Art Education for the Blind (AEB).

- Living Paintings Trust.

- Museo Tattile Statale Omero.

- Museum of Tactile Antique and Modern Painting.

- RNIB.

References:- ART EDUCATION FOR THE BLIND (1998). Art History Through Touch and Sound [audio-libro]. New York: Optical Touch Systems; American Printing House for the Blind.

- CASTRO NAVARRETE, Adelaida (2005). “Diseño de una experiencia didáctica: Las Manos que Ven La Pintura. Visita guiada al Museo de Bellas Artes de Sevilla para público invidente”. En: Museo, arte y ceguera: interpretación del arte plástico para la percepción y comprensión del público invidente de un museo. [Investigación del DEA no publicada]. Sevilla: Facultad de Bellas Artes, Universidad de Sevilla, pp. 246-346.

- ROJAS-SEBESTA, Clara Inés (2003). "Conservation Concerns. A Brief Overview of the Conservation Considerations Surrounding Tactile Acces to Art". En: Art Beyond Sight: A Resource Guide to Art, Creativity and Visual Impairment. Art Education for the Blind. Nueva York, pp. 214-215.

adecastro7@gmail.com

@adecastro7

slideshare.net/adecastro7

Arte, Cultura visual y Ceguera

Doctoranda y miembro del Grupo de Investigación S.O.S. Patrimonio HUM-673, Dpto. de Escultura e Hª de las Artes Plásticas. Facultad de Bellas Artes de Sevilla.