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It was concluded yesterday, the second level of the course stimulation on basal held by Teresa Whisoka, held at the new headquarters of Visual Rehabilitation Center cel Vercellis in Via Dante, 71.
The course was a success and a broad consensus by the participants.
In the next year, probably, will also be held another day of investigation reserved for those who have freguentato the two previous sessions, and considering the number of requests could be programmed even a first-level course. Those who have
freguentato courses can leave their comments will be greatly appreciated. Sincerely


Luigi Cerruti

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Fujisan, the roof of Japan

At about 113 km from Tokyo is the Mount Fuji (Fujisan) the border between the prefectures of Shizuoka and Yamanashi, near the coast on the Pacific Ocean island of Honshu.

It is the mountain most high in Japan. More precisely it is a high volcano 3776, with the snow-capped for nearly 10 made all year. Considered a symbol of Japan since ancient times by `, Mount Fuji and is the place that all Japanese would climb at least once in their lifetime.

Despite his imposing appearance, perfectly conical shape, the top almost always snow-covered el `distinctive blue color that offers those who admire it from afar, the Fuji does not offer an area of \u200b\u200boutstanding beauty presenting mainly lava, rocks and desolate landscapes, apart from some courses starting in the middle of the vegetation. What is striking `but the Fuji is precisely this aspect which the moon casts its guests in a different dimension ' that, despite resting places, the many tourists and a few inevitable sign of progress, makes the climb a very special experience. The view from the summit you can admire all the hard work pays off then without really giving the feeling of being on the roof of Japan. Reach the summit at dusk or at dawn is clearly our recommendation!

The season officially begins on 1 July to 31 August.
During this season, resting places and shelters are open. At these stations, parking is possible to stop and rest, eat or drink can also be booked to stay for the night.
In reality it may rise even at other times as long as `access are not blocked due to excessive snowfall or other character limit air pollution. These limitations can be there during the official season, particularly in the early days of the season in which official put the snow is often not yet sufficiently loose to allow a climb in complete safety.

It is necessary to point out that outside the official period is practically impossible to get in touch with any form of aid in case of accidents because even the summit weather station can provide this kind of help and certain altitudes, even mobile phones ensure proper operation.

Get on Fuji's not difficult because it is fundamentally difficult paths that do not require, however, she is the use of climbing equipment, ropes and everything is. It is therefore a serious trek that should not be underestimated, however, `.

advise you to follow the climb in good shape, maybe after a few weeks of preparation if you do not perform physical activity constant.

Another important aspect is definitely the time planning. Depending on the processes undertaken to reach the summit can take several hours and if it is not programmed to stay at one time the shelters to see the sun rise then the risk is more common to arrive at the top and having to back down after sunset in complete darkness. In this case it is necessary to take out an electric battery, better than from the front to leave your hands free as another important tool, especially in the descent, appears to be the stick (sold on the spot), traditional or trekking be. To complete the basic equipment `a pair of walking shoes or hiking boots and thermal clothing in layers that will help you to deal with the extreme temperature that there is` between the first phase of the climb and the summit.

If these are the fundamental tools, we can not `But do not even recommend dark glasses, gloves, a hat or cap, sunscreen to protect high water or energy drinks and energy bars and food in easy to digest '. All of course in a backpack size is not excessive.

It is still possible to buy many of these food items and also in the various stations to stop but the price goes from station to station and it is advisable to arrive prepared. Speaking of money, it's better to have changed the money in small denominations or better in coins.

There are four routes and starting points for climbing Mount Fuji:

From Station No. 5 - Fujinomiya Trail.

Quote of the starting point: about 2,400 m
Ascent: about 4 hours and 20 minutes
Descent: about 2 hours and 30 minutes

From Station No. 5 mt. - Gotemba Trail

Quote of the starting point: about 1,440 m
Ascent: about 6 hours and 20 minutes
Descent: about 3 hours and 10 minutes

From Station No. 5 mt. Trail-Subashiri

Quote of the starting point: about 2,000 m
Ascent: about 5 hours and 10 minutes
Descent: about 2 hours and 40 minutes

Kawaguchiko (Fujiyoshida) Trail / Yamanashi Prefecture

Quote of the starting point: about 2,305 m
Ascent: about 5 hours
Descent: about 3 hours and 20 minutes

These four stations are accessible by car or by shuttle bus.

These four tracks add a "fifth way", ie to walk around the Ohachimeguri crater on the summit of Mount Fuji.

For further information Notify the site that we think the most complete among those present on the Internet that address the topic `Mount Fuji. practically indispensable. It is in English and offers in addition to all the information you need is to go to that area to tackle the climb also a forum, a blog and daily updates on weather conditions as well as a section with `real-time updates by those who are preparing climbing the mountain or who `s had just made.

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Ise Jingu, the heart of Shinto

The city of Ise, or more properly Ise-shi, is located in the Kansai region, in the south of the island known as central Honshu, in Mie prefecture.
Certainly `main attraction is its Ise Shinto temple: Ise Jingu, inserted into the vast area of \u200b\u200bIse Shima National Park and consists of two main complexes and more than 100 temples and shrines minor .
L `Ise Jingu, the shrine which is built inside in 260 AD, is the main temple in the Shinto tradition, the most important, comparable to St. Peter for the Catholics or to Mecca for the Islamic faith. The main temple (Naiku) is dedicated to the goddess Amaterasu and the second (Geku) to the deity of housing, food and clothes.

Unlike all the great places of worship but the world is the main temple at Ise is built entirely of wood with interlocking structure where there is a single nail was used and is completely disassembled and rebuilt every 20 years in . This is necessary because the temple, built with untreated wood, might disappear in a few decades. The steps to build the new temple began eight years before the end because the materials must be completely new and obviously we start by pruning and sawing trees and then obtain the necessary facilities.

It is also fascinating as the "heart" of the temple is actually made up of one of the three sacred imperial jewels which contains: the "ancestral mirror" that together with the "sword" and the "jewel" is the symbol of imperial power conferred by the sun goddess Amaterasu to the emperor through the possession of these objects.

outfitting of the new temple and the dismantling of old, placed on two separate but adjoining land, thereby requiring removal of the sacred mirror of a temple to another following a `silent and solemn ceremony that S engu No Gi which would not disturb the deity that lodges itself in the mirror (the Shinto religion is basically a animist shaman of mold that has a pantheon of tens of thousands of small and large deity harbored virtually everywhere from small rock to the mountain, the river covered all `old doll from the shrine of the family).

go to the Temple of Ise, besides the unquestionable historical and cultural interest and the place however, is also the occasion to visit the large park that surrounds it, a real oasis of ancient Japan, where the walking paths and the high trees we encounter in courses of water, wooden bridges, dozens of small temples and shrines, stone staircases, lanterns and giant carp ponds populated by colorful. Speaking of animals is possible to find even in the sacred from the roosters 'tails' long and colorful, and other birds protected by the monks of the complex.

Since then a place of interest throughout the area of \u200b\u200bthe temple and the park is very organized and there are places to eat and rest, from Okageyokocho, the area that plays a district of a small village old Japanese where there are dozens of souvenir shops and typical food where it is possible to stop drinking a cup of tea, eating cakes or to make a real meal before heading off or at the end of the visit.

recommend as periods for the visit is certainly an spring el `autumn. Even of the summer (outside of July, the rainy season) due to the dense vegetation of the surrounding forest is possible to visit the temple and the park without suffering too much the typical hot and humid Japanese.

From April 5 to 6 and September 22 to 24 are held festivals (matsuri) of the temple while in the Last week of July Fireworks in the city of Ise, with parades and traditional events.

The area around the city of Ise is also famous as a resort area in particular Arre of Kashikojima and Toba-equipped maritime location famous for the goodness of seafood and also, in the case of ` Toba area, for the AMA, the pickers pearls. It is here that is playing the famous company Mikimoto. To get to Ise starting from the city of Nagoya, Kyoto or Osaka you can take the company's dedicated Kintetsu Isuzugawa and get off at the nearest station to the main sanctuary.

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Beyond the visual confirmation - cap. 6

This is the last chapter of the book by Maria Stefania Dolcino Bolis "Beyond the visual confirmation." CHAPTER SIX



The use of artistic heritage from the blind: painting

introduction to this book, expressed the desire to extend the possibilities of artistic expression the blind to creative movement and use of space in as independently and direct. I hope, through the reflections and experiences I gradually told, it has opened some new glimmer in anyone involved in the education of children in situations of low vision or blindness, and all those who are dedicated to young people in situations of disadvantage. In this chapter, speak instead of an artistic expression less accessible to those who do not have the sense of sight - figurative painting - and, briefly last experimental work that, in this regard, I brought forward for that specific complexity and the many artifacts that includes reference to another possible publication.
poses a painting, for many reasons, quite impassable barriers for the blind. The first order is physical also investigating a table with hand painted, in fact, one can not deduce any information about what is represented. This is due to the fact that the painting shows a three-dimensional reality on a two-dimensional reality: a table, a sheet of drawing, a painting, a wall ... Other barriers are purely sensory order and therefore very difficult to overcome: the reality experienced in tactile mode of perception and therefore the most appropriate person to blind, is very different from the reality lived in opera visually interprets figurative paintings as well as our eye perceives.
As I have said in previous chapters, the visual reality is a distorted reality, whose message becomes true, qualitatively and dimensionally, only thanks to the delayed and revised on a mental level. The perspective distortion, the information given by the chiaroscuro, the infinite possibilities of placing several volumes on a single plane, are in fact the synthesis of our previous experiences visual, motor, kinesthetic, and not accessible to those who do not have a heritage which also includes sensory perception.
A year ago I was invited by the President of UNITA. C. Vercelli, Luigi Cerruti, to design a mode of presentation of some paintings at the Museum Burgundy cases in the same city, so that they could be enjoyed by the blind. The idea appealed to me, but the awareness of value of the wide gaps between the visual and tactile perception, led me at first, to consider the simple realization of the description selected works of prose. Along the way, however, proposed to his wife Paola and Luigi Cerreti vaccine, both blind young age, a pattern in relief of one of the selected works. They were enthusiastic and suggested I groped for "something more" to create the catalog for the Blind Art Gallery Burgundy.
I began to work on the tactile representation of some plates and painted a series of individual transactions that could be made on the visual representation in order to make it usable, at least in part, on a touch. The overlaps of volumes, the first thing needed to be reorganized and, where possible, eliminated; the light and shade were neglected perspective deformations and reduced as much as possible: all in favor of a didactic clarity and greater fidelity to the volumetric and positional representations of the subjects, rather than with their pictorial interpretation. So I got a product that could be enjoyed even by those who should have an equity purely tactile perception and therefore suitable to decode messages correctly models, with or without the aid of sight.
For several months I have worked on this study, leaning on the Blind Regional Center for Documentation of Turin, where I have achieved, with the invaluable assistance of Mrs. Anna Lodi, and tactile boards for the rework of the selected works, and attempts to thereafter, reaching a product that brought a number of blind users, has proved to be unsatisfactory.
The first Catalogue of the Art Gallery for the Blind Burgundy, consists of twelve prose descriptions and tables for relief; reports of motivation for the choices made for its implementation, operating instructions, will be presented to the public by the end of 2001 and I hope you can help the art world to open to the wider public who have a sensory kit so peculiar as that of the blind.
I hope that the experimental nature of this work is a prerequisite to observe in its merits and its limitations, simply because is the expression of a sincere desire to research and innovation of cultural facilities in our country that are turning more often and more constructively to a public dl within which there must be no discrimination of any kind.

With the hope that the reading and study of this text was of benefit to many people, please leave your comments, or start a discussion in the Forum 's Italian Union of the Blind and Visually Impaired at:
http://www.uicvercelli.it/
or go directly to Forum:
http://www.uicvercelli.forumgratis.org/

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Beyond the visual confirmation - cap. 5

is the fifth chapter of the book by Maria Stefania Dolcino Bolis: "Beyond the visual confirmation." CHAPTER FIVE



Start with a creative design, plastic-kinesthetic, spatial


In presenting this work, addressing the question of instrumentation in the artistic, with a sentence of Irene Prat, my teacher of Art from 1963 to 1966 and later counselor and dear friend, who insisted on reminding me that "something" sooner or later I would be able to express, in a manner satisfactory to me, perhaps the day, discouraged, without hesitation I would use the tool. And at that moment when he told me one day of her youth, she was able to express "how she felt." Felice Casorati exactly as he planned, his teacher.
A very simple is often more than enough. The main thing is that it is congenial to the user.
In a blind person, in particular, may be advisable to use a single instrument, carefully chosen by student and teacher, in relation to the expressive needs of the learner. This is to allow a free and spontaneous use so as to make one with the artist's body.
Where the end is the expressive interpretation, live, reality, the artist can not and should not be conditioned by instruments outside the corporation. The acquisition of the total mastery of an instrument, in fact, amounts to the use of a body part directly involved in artistic expression: it is an example finger painting and dance.
The expression is a reflection of a simultaneous perception, or the act making the plays revived in space and time. A tool, just one, but used with skill, limiting the dispersion and concentration every intellectual and expressive quality on the intention of filtering reality through his own sensibility and its mode of perception.
Art is the synthesis of a subjective interpretation of the world, life, where the decoding of proprioceptive sensations and emotional, is made explicit by a "product" can also be accessed by others, but essentially faithful to the expressive artist:
an abstraction, then, what is subjective into something more universal, and in analog form, for the most part, or praxis.
Once you get a convincing conception of space, highly thoughtful, knowledgeable and well anchored to its way of being and of understanding reality, we can confidently begin to study formal space and set a re-creative, ever, and a design after the original, always working, deeply perceptive on your system: about themselves then, and the relationship you have with the environment.
art derives from this report, the synthesis of several functions mutually inseparable, descendants of sensory information are born already packed, fused intimately with each other, in spite of the different channels at the recipient.
But as the acquisition of complete mastery of an instrument is equivalent to using a body part, surely the acquisition of the absolute control of posture, allow the use of corporeality as a means of expression, whether the goal is realized in a free movement, which aims to evolve its own, such as dance and mime, is to be realized in a creative movement, aimed a production "external" to their own body space, such as substance and form, such as sculpture or any other plastic reconstruction.
's so that the embodiment of the will was the instrument of expression, it favors the slope and inferred concreteness. So, from
through a creative, itself becomes art.
In search of the peculiarities of spatial form, I tried to define "the way" it is necessary to tell a young
training to channel his innate curiosity, or desire to learn, and his natural tendency to "seek answers"
through the use of tactile-kinesthetic channel, mainly in search of significant lines and which define the geometry of a space through the "metaphor" of bodily movement.
In initiating a creative conception of space, more extra-visual, I suggest the operation of this reciprocal. I start from the outline of a shape, trying to synthesize them, playing with the utmost sincerity can the mental image I have of this.
modeling plastic part from the need to create or to express a harmony of formal relations, then again through movement, not "lose", this time, but tended to rebuild in a personal way and therefore also possibly change the relationship
intrinsic shape, it makes the act creative-expressive. Note that in the case of the blind and those who want a formal verification "beyond visual confirmation", draws from the experience tactile sensitivity and purpose, and is able to recompose "in volume", due to the kinesthetic awareness of the artist . More profoundly, the ability of these uses, to make a valuable insight at a subtle level, therefore, to dig in its essence, in its experience in its own way of interpreting reality space, formal, psychological and perceptive. To understand therefore what is the essence of a life, for your chance to listen, connect, remember.
And the more the shape deviates from the interpreted its stereotypical definition, the more, presumably, the artist will follow his
personal assessment of reality, which will surely be shared, who owns his own sensory heritage.

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Beyond the visual confirmation - Chapter 4

apologies for the delay, we take the periodic publication of the book into chapters by Maria Stefania Dolcino Bolis "Beyond visual confirmation.

I take this opportunity to inform you that given the extremely positive outcome of the course on "Sttimolazioni baseline" will soon be scheduled during the second level and if there are other requests you can also repeat the first. CHAPTER FOUR



The importance of listening to themselves introspective investigation and reconstruction formal and spatial


"Learning is so inherent in man, it's almost involuntary" - says Jerome S. Bruner, and again: "It must be education if the one who learns and progresses." These two observations help me to introduce a new reflection.
I believe that education, especially education and to listen, is the link between observation, research, analysis and interpretation of reality, or "way of life" that reality.
The general perception - or rather the perception of global consciousness - is the first step toward deep introspection that considers "what you hear, not only in perception, but also a subtle level.
This focus, which may be innate, but that is almost always caused or at least developed at different levels, must be cultivated through education, to enable the achievement of full and harmonious development, which, consequently, will lead to creative thinking, and finally to the expression. Through it, the person can reach a standard of living intimately truly free, original and constructive.
Every human being is equipped with a heritage which must be properly oriented from an early age, to achieve awareness of their own way of being.
Here I would simply like to stress the vital importance that education, in bringing the individual to raise awareness of its own emotional and psychological identity, through listening to their inner being subjected to different stimuli, cognitive, environmental, cultural, emotional and relational. Of course, different ways of perception can give rise to different ways of interpreting reality.
This does not mean that reality is subjectivity in practice, it means that the same phenomenon may have more mental images, all conform to the object and all respondents to a certain truth of perception.
For example, I now try to build the description of two different mental images of the same object, the first time identifying with a sensory able-bodied child, who will work hard to tactile investigation after an initial visual assessment satisfactory, and the second time identifying with a blind child, who can assess the shape of an object, only
touching. The object I choose is a ball, or rather to be precise consider two yellow balls, identical to the eye but a hard rubber and foam, and a third ball of green foam.
Mental images of the two children will therefore be:

- yellow balls: yellow object ball, bounce, size
date - soft ball: spherical object, soft and springy, bouncy, date and size

as is evident, both are in accordance with the object and corresponding to different truth of perception of children.
Comparing two by two, before the two yellow balls and then the two soft balls, the two children give conflicting responses: the two yellow balls in fact the child will have an investigation of visual function, say that they are equal, while the tactile child who has operated a survey say that they are different. II will be contrary to the two soft balls, touch both of the same consistency, but the sight of a different color. But in the absence of light - that is forcing the two children to use the same sensory channels in the survey - you will agree responses. All things being equal cognitive, perceptual and attention, you will have very similar mental images, perhaps the same, and in different conditions have different mental images, because the condition is different from where you look at the reality


Listening to him understood as attention to their ability to receive and re-elaboration of the stimuli, it is not conditional, as we have seen, only the quality of sensory channels, but also depends on the quality of cognitive and psychomotor skills of the subject. We
already spoken at length about the bias of visual perception, and we have already explored the discourse on quality of reprocessing perceptual bias in cases of cognitive impairment. The failure is given in such cases, the inability to transform, without adequate mediation, the stimulus to a message that can improve the mental image and the overall observed reality. Here, the educator - the mediator - has the delicate task of identifying the "missing link", ie the type of channel or cognitive or sensory impairment, which is not activated, the process of assimilation of the concept of a learning or different, is orientated
to work so as to allow the access of young gradually and thoroughly to the next level of knowledge.
remember in this connection the case of David, a carrier of a genetic syndrome with features of mental deficiency. The boy, a lively and interested in a particular geometric-mathematical disciplines, had difficulty in spatial orientation and motor coordination, but learned a good skill with the symbolic content and seriation.
reaching the study of plane geometry, I found myself faced with the challenge to make him understand the difference between perimeter and area. A lanyard and meters were useless for him to understand the concept of perimeter, or earned exercises with colored paper and grid of the most simple to make him understand the concept of surface area. To no avail paste colored paper squares and triangles to highlight the area, or serve the same outline shapes with crayons or wire wool, to realize the concept of perimeter. For him, the two separate linear and shallow, adds nothing to what he perceived as triangle, square, hexagon: area and perimeter
were two words that correspond to the two formulas and nothing more. Knowing the difficulties of the boy, clumsy and disorganized in the movement, I considered that the same problem just nell'incompleta maturity of the body schema, and that he could not transfer into the deep, nor the form, called the consistency of the figures that, yes, could store, discriminating against the geometrical, but could not do in their body.
This is, however, for most of us, an almost unconscious mind, and only if we are obliged to clarify it, rationalizing.
I decided to conduct David, to use a different way of perception, enabling him to use the body as a receptor, excluding it to visual stimuli. Prepared tablets of varying geometric shape, - of course already known to him, "and suggested them to him, asking him to close his eyes and
to" guess "the form. He recognized them all. Then I proposed to put the blindfold over his eyes, made him choose a tablet, a square, and then I recommended to use one finger to make an 'experiment. He
do this with some embarrassment, then repeated it several times, slowly brought out of my hand, to dwell on a vertex, then the entire extension of one side, then another on top, until he concluded that there were four vertices and four sides. "This is the perimeter, David, thin, thin, you can tap with your finger." Removed the blindfold, he repeated the same operation on each picture and then wrote, almost without realizing it, the perimeter of the formula in his notebook "is equal to the perimeter side side side ...". So I gave him a bunch of stirrers invite him to compose a strange figure with a strange edge. Without hesitation, he did what I had requested and then patiently and with great joy, each rod measured and calculated the perimeter of the figure. A few days later we repeated the experiment using, for inspecting the figure, no more than a fingertip, but the open palm of the outstretched hand, caressing it, then, in confirmation, David placed the little square on his cheek. The area can be touched for lying. From that day the boy made no more confusion. He made the very concept, through an identification body, which had found its way through the channel tactile-kinesthetic.
It 's a difference between what I understand, in words, and I understand in fact, the concept is recorded as existing, but not as personal enrichment. The attitude of the learner is, despite the apparent attention, passive. Only staff can rework the proposal to transform learning into knowledge. If in the elaboration, discussion is followed unaa reasons why each learner to work in a certain way, here is that learning becomes active, the individual is forced to confront himself with his past experiences, with his new conquest and his cognitive limitations. So to make a first point on his way to learn and understand his way of links and content.
In the case of minorities, this step of quality learning, this approach to "listen", is even more important because it allows you to explicitly exploit the talents of the pupil, to gradually bring the conscious choice of means and methods of study that are more congenial.
adequate education in listening to him, therefore leads to an awareness of their own way of being through the consideration of their mode of reception and transfer of these images in mind. It leads to a maturity decoder, which needs to be undertaken and the attention to the reflection of his own arrangements for its implementation.
conclude my discussion with two other Ausbel thoughts and Bruner, "The learning is significant because it taught actively and dynamically transforms the subject's cognitive structure", "meaningful learning is powered by intrinsic reasons, that is inherent to its own activities."


will soon be published the fifth chapter.

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beyond visual confirmation - cap. 3

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beyond visual confirmation cap.2

today hoping to please all those operators who are engaged in the field of inclusive education for pupils with SEN and in particular visual impairment, we publish ilSecondo Chapter of Maria Stefania Dolcino Bolis: "Beyond 'the visual confermma. CHAPTER TWO


The ability to analyze and summarize touch on the matter and form



Who owns the integrity of the senses - sight, hearing, smell, taste, touch and kinesthetic sense-difficult, because of the naturalness which is the reciprocal compensation, pause to ponder the collaboration by the sensory receptors in the brain.
Even less frequently is considered to have great weight of the experience gained through sensory perception, the same type of reception and interpretation.
Consider, for example, a child of four years already conscious of a certain positional relationship between objects, already owner of a certain concept of shape and size, yet devoid of the awareness that our eye perceives a distorted reality. E 'likely to draw a flower with an approximate shape of a flower, as well as be able to play a child - himself? - Already has a functional form. Perhaps he will also relate the two, but "in his own way", not as the eye sees them. You can size them according to a cutting emotional, psychological, functional, social, but certainly not objective, not according to a mathematical aspect ratio.
His mind, driven by the experience of a continuous rehabilitation, will develop their ability to receive in the brain, until experience and maturity nervosa have reached a level of mutual confirmation. At that moment the consciousness of the effect of perspective with which our mind, through the visual channel, perceives reality, even justify any previous experience as an incidental fact, not yet accepted as a result of a very precise way of processing environmental stimuli by sensory receptors.
The blind child, on the basis of an ever more tactile experience, this way compensate with other forms of evolution. So every target cognitive understanding of reality, will built step by step on mental reworkings of experience acquired through the sense of touch, backed by the kinesthetic, by hearing and smelling; experience that in this case will be "pinned" waiting for a good time to turn them into postulates.
The compensation of the lack of formal perception "Remote" or purely visual, however, occurs through acquisition of a different space. This is structured in a particular expertise which should be encouraged, at least until the boy, not only to understand the value and purpose.
Because the mind can rework the correct formal concepts, experiences tactile and positional handbooks aimed at the knowledge of certain Items must be guided so as to increase the quality at the same time they will be classified on the basis of a sufficient quantity so that you can build a "rule" in shape, position or function.
One may therefore say that each of the levels of perception has achieved the synthesis of a series of revisions, which, by trial and error, have produced a different degree of knowledge and certainly higher.
knowledge that it is very difficult to understand for those to whom the sense of sight is no defect in this respect, it may even become an interference. For example, if you do not have the sense of hearing, touch membrane type skin sheepskin, stretched over a frame, you can certainly draw some knowledge of percussion instruments. Although, in fact, the visual image of the drums is very different in form-vision from that of a flayed skin, the sense of touch recognizes current experience (what you feel under the fingertips) the 'affinity between the two objects. Of course, if you can not touch the object, and in the absence of loudness, for the subject is certainly more difficult to detect a resemblance.
In the same situation, a blind person, using a light touch inspection - even a vague shredding - correlerà the two objects through the essence refines them. In this If the visual image is totally vicarage from the hearing. In both cases, however, reveals the tactile inspection is crucial for defining objects, and how the tactile image is prevalent, than the visual and aural, in their definition.
It can be inferred that: The general perception is given by the summation of the various mental images that complement each other and, simultaneously, by the assurance gained from the experience, which offset each other and sharpen one another.
Here's another example: the visual image of a circle positioned at an angle of 45 ° to the horizontal plane is an ellipse, but only the overlapping tactile experience kinesthetic and allows the viewer to evaluate the slope, consequently established that tilt more depth than give a distorted image that would occur on planes perpendicular to the spatial reference system. This image, in effect, is "natural", but only the complex web of feelings and patient before proprioceptive, and exteroceptive of space, will allow an objective assessment, defining the real position of the object as "remote" and despite the obvious contradiction of the message exclusively visual.
The tactile image comes also from a formal research experience deep, rich and, par excellence, since proprioceptive Targeted identification of themselves with a form that is by its very essence.
writes Maurice de Sausmarez 1: "You could draw only tactile indications following [...] training to transfer themselves in the presence of a substantial form." Of course, as regards the control of any graphic production, this refers to those who have the sense of sight intact, but I would not see drawbacks to such an experiment, when referring to a plastic reproduction of the object, even for those who have possibility of low or no visual feedback. In fact I strongly believe that in the sculpture, the view may come to disrupt the goal of reproducing the three-dimensional, because from the point of changing light and according to the orientation of the light source, the shape takes on different values, creating and denying volumes that contribute to the ambiguous form "absolute" 2.
The tactile sensation of space by the perception of existing formal relationship first with yourself - and more precisely with our bodies as regards the environment, "man-size", and with our hand with regard to the formal units minimum "a measure of hand" - then part of the object 3, and finally in the relationship between form and space that contains or that it is defined.
The auditory perception, combined with perceptions of temperature, olfactory, gustatory and kinesthetic, cognitive process completes the construction of a certain "image" of mind, which can be "fully aware of the overall experience or knowledge of a material aspect of reality 4.
"It is clear that the blind will get increasingly accurate representations more will use his body as a receptor of stimuli," wrote Luciano Paschetta, and again: "The haptic-kinesthetic perception establishes and guarantees the possibility of knowledge of the blind " 5.
Even in disadvantaged person on a psychic level, the sense of touch is crucial for the assimilation of form as something of their own, lived. It also is consistent in its value of direct experience for the immediate feedback that is good as long as the carrying capacity, operates proprioceptive. The child "hears" with her own body, becomes part of the same shape and quality of the material, in the most instinctive and natural, without having to rely on logical comparisons, he can come to structure a mental image, perhaps in part Perhaps the skin, but already consistent with the nature of the object.
I still worthwhile to note that unlike the visual sensation, the tactile feeling better captures the spatial aspect in small objects, and requires Instead of a piecemeal analysis - then a reconstruction involving spatial delayed - in the larger objects, that is not containable between the two hands or at least not relate easily with the average size of our body. This is due to greater mastery of the proprioceptive sense, allowing us to identify with a form when we are able to synthesize it. I do not think that it is inappropriate to treat with the "glance" view, the mental image that immediately comes tactile inspection of an object "microscopic."
capacity for analysis and synthesis of tactile, so I mean the ability to relate properly the intrinsic relationship of form, proportion, consistency, temperature, surface finish, weight gain, "size" of any object, as detected through the sense of touch and with any other sensory experience that is defined by channels that are not strictly visual, which can give rise to different mental images.


Card: analysis of an object.
observation tour of its capabilities (performed in class)
Objective: To streamline the perceptions and translating them into information
Features Item: inspected by hand, in this case is a small wooden prism

Ins. "Inspect the form and tell me what it is. "
Sara: "It 's a small parallelepiped.
Ins. "Be more precise ".
Sara:" It 'a triangular base.
Ins. "Well, then it is a prism. Now tell me what material is ".
Sara:" E 'Wood. "
Ins." Why? ".
Sara:" Why is wood.
Ins. "Try to explain what particular do you think that is wood.
Sara: "Has the surface a bit 'striped in some points."
Ins.: "I'll help ... If it was iron ...?".
Sara: "It would be heavier."
Ins. "Well, then what?".
Sara: "It would be rusty.
Ins." Strive to imagine that the metal ...".
Sara: "Cool."
Ins. "See, with a bit 'of attention to the feelings that you have streamlined the object produces in you and give you information about its features: its shape, the material is made, its weight, its surface, its temperature and its size " .


will soon be published on the third chapter.
In the meantime, your comments are always welcome.


Louis
Information:
info@centrocresci.it

Website:
www.centrocresci.it
1 M. de Sausmarez, Basic Design: The Dynamics of visual form, Calderini, Bologna, 1974.
2 to create "absolute" means the form in the absence light or exposed to light and total uniform provided that, from the point of view, corresponds to the absence of depth, this being given just by the contrast of light and shade.
3 For example, the relationship between weight and size, which gives immediate information about the density of the material which forms the object.
4 For knowledge means: the intrinsic and extrinsic.
5 L. Paschetta - G. Oberto, the blind child in every school, Omega, Torino, 1983, where "haptic" is the perception that comes from the tactile sensations of the hand.
Even in disadvantaged person on a psychic level, the feeling Touch is essential for the assimilation of form as something of their own, lived. It also is consistent in its value of direct experience for the immediate feedback that is good as long as the carrying capacity, operates proprioceptive. The child "hears" with her own body, becomes part of the same shape and quality of the material, in the most instinctive and natural, without having to rely on logical comparisons, he can come to structure a mental image, perhaps in part Perhaps the skin, but already consistent with the nature of the object.
I still worthwhile to note that unlike the visual sensation, the tactile feeling better captures the look small objects in space, and requires instead a fragmented analysis - then a reconstruction involving spatial delayed - in the larger objects, that is not containable between the two hands or at least not relate easily with the average size of our body. This is due to greater mastery of the proprioceptive sense, allowing us to identify with a form when we are able to synthesize it. I do not think that it is inappropriate to treat with the "glance" view, the mental image that immediately comes tactile inspection of an object "microscopic."
capacity for analysis and synthesis of tactile, so I mean the ability to relate properly to the inherent relationships of form, proportion, texture, temperature, surface finish, weight gain, "size" of any object, as detected through the sense of touch and with any other sensory experience that is defined by channels that are not strictly visual, that can cause different mental images.


Card: analysis of an object.
observation tour of its capabilities (performed in class)
Objective: To streamline the perceptions and translating them into information
Features Item: inspected by hand, in this case is a small wooden prism

Ins. "Inspect the form and tell me what it is. "
Sara: "It 's a small parallelepiped.
Ins. "Be more precise."
Sara: "It 'a triangular base."
Ins. "Well, then it is a prism. Now tell me what material is".
Sara: "E 'Wood."
Ins. "Why?".
Sara: "Why is wood."
Ins. "Try to explain what particular do you think it's wooden.
Sara: "Has the surface a bit 'scratched in places."
Ins. "If it'll help ... iron ...?".
Sara: "It would be heavier."
Ins. "Well, then what?".
Sara: "It would be rusty."
Ins. "Strive to imagine that the metal ...".
Sara: "Cool."
Ins. "See, with a little 'attention to the feelings that you have streamlined the object produces in you and give you information about its features: its shape, the material it is made, its weight, its surface, its temperature and its size.


will soon be published on the third chapter.
In the meantime, your comments are always welcome.


Louis
Information:
info@centrocresci.it

Website:
www.centrocresci . it

Witty Rsvp Wording - Alice In Wonderland

Beyond visual confirmation of the cap. 1

resume publication of the book by Maria Stefania Dolcino Bolis, "Beyond the visual confirmation."
this text we consider very useful not only for professionals but can be a valuable support for all those who come for the first time on problems related to school integration of children with visual impairment. CHAPTER ONE


Mastery of the body schema


During growth the child matures, the concept of body image, a concept that evolves with the development of all physiological and cognitive functions in relation to its environmental and cultural integration.
With the knowledge of its physical structure and functional, the boy takes note of its potential vitality, creativity and relationships. In
boy who is blind, or with intellectual disabilities or motor, the ability of spatial relations, physical objects, environments and people, can be severely restricted if in the early yearsof life, he is encouraged to seek the relationship and familiarity with the environment and all that it contains.
course in early childhood skills of relationship will be extended primarily to people in the family, and before that, the relationship with her mother - the first area where the creature must be able to differentiate themselves by identifying as a person with specific characteristics - and, below , objects of primary necessity. Will gradually acquired the first reports of use of space, so a prior knowledge of this, combined with a first strictly functional evolution (eating, dressing, moving, particularly in confined spaces, walking, bathing, playing) in the case of the child who is blind, was largely tactile. At the same time develop the ability to report, namely the ability to gradual acquisition of affective autonomy, better described as the ability to organize themselves in space and time, controlling more and more emotional tensions in order to rationalize the way of life and self ' environment.
With the school placement and the first approach to reading and writing 1, the child tends to concentrate its ability to perceive the acquisition of decoding skills and production of written texts. He is often deeply gratified by the cultural school that offers, along with how much comes from personal relationships with peers. He now knows and knows how to use the space strictly necessary to live and have the essential emotional relationships, and above all is the master of the first essential means to learn, communicate, and create rich spiritually. In
blind boy, everything that has acquired so far, apart from the superficial knowledge of the object, he has been transmitted orally, so, for example, the bodily experience of comfort or discomfort, of being still and of 'be in motion, retracing a route of known by themselves, or the inner experience of being happy or sad, in the presence of strangers or friends. All that is usually learned through visual transmission, the guy blind or visually impaired, he has to learn through the senses, and partly through the oral description of teachers, peers and sometimes by the intervention of random strangers. What is reported, however, has the distinction of being filtered, interpreted by others can not therefore be transmitted or learned
a truly objective or, more precisely, personal.
Even with intellectual disabilities or mobility, and therefore in all cases in which the perception is limited - either for lack capacity decoder, mnemonic or logical, for an effective reduction of motor potential which results in a reduced experience of movement - the child can not reach with the only means that it has, the quality of cognitive age. We'll talk more in depth with these specific cases, addressing the topic of spatial conception.

During adolescence the individual research, often with major crises, the definition of their personality. In this sense, then, and as I said in the introduction, I think the school should provide the tools and make known the means that can allow an adequate search of themselves and their own human and social identity.
The boy who is blind, more than others, may feel overwhelmed by depending on others and still want to feel, as much as his peers, "great", adult, free to express itself according to its nature, is not totally satisfied by friends and many things to learn: she wants to be master of himself. E 'at this stage of evolution to occur, with urgency and arrogance, the need to be able to manage its corporate and the environment.
I think I on track to understand this new time of growth, saying that in it, the young man who is blind, if he wants to make a qualitative leap of cultural autonomy and integration environment, has call into question the whole concept of space prprio earlier. In
blind child, the transition from sensation to sensation proprioceptive and exteroceptive occurs spontaneously when directly through the senses, he acquires or awareness of perceiving and belong to the outside world. The view in the formation of this concept is the way to get immediate feedback of bodily sensations, psychological, and anatomical nerve, regardless of personal will to make that finding, or the level of individual consciousness: "The body is a privileged space perceived from within, "said André Lapierre 2" and that, little by little, we organize and structure report on its axis [...]. Then you can project themselves outside. It will then be possible to situate the objects in relationship to itself, in reference to his body, and later we will define itself in relation to objects. Only after you have consolidated these two stages the child will be able to organize the world outside of himself, that is to place objects in relation to each other, but always with an implicit reference point and more or less conscious of its own body space.
In the absence of the sense of sight, what are the procedures and timing of formation of the concept of the body, understood as a body that perceives itself in its external projection, and then as the body integrated integrantesi a field beyond himself? Up to that point may be helpful: the explanation and examples transmitted orally? And as far as the records will be meaningful and internally persuasive nell'esempliflcazione? What value will have the terms related to space, movement and the relationship of the form with the space that contains it?
The boy who is blind is related, even more than his companions, at that point of reference implied in their body space, has made very good use, in fact, to gain mastery of their tactile sense, reading and writing Braille and proper posture in relation to itself and in relation interpersonal sphere limit for everyday life. I think you make the call every time there is a need to reorganize your space, if only in exchange for hours of lessons or in the change of activity or party.
Here, at this point that I wonder when and how, in the young blind person begins to form the view object as an entity that has its own structure, with reference points outside the human body space, and in any case independent of any extrinsic fact that those features are its "own" a matter of proportion and mutual relationship with other objects.
And I also wonder how, in the absence of an adequate education "Space" understood as the movement led education, together with the specific vocabulary, which is flanked by the immediate feedback tactile-kinesthetic (posture, movement, texture and physical size of the object and space), the individual may form a real concept of space , time - and therefore the move - especially outside their area of \u200b\u200bthe body.

do not know if I get the idea, but willing to conclude the discussion on the first requirement, describe briefly what was discussed, as well: for rich and deep mastery of the body schema mean the ability to organize time and space, no longer constrained by the intrinsic qualities of an object, but extended to wider world of relationships between objects. Among them is also included their own body seen as a moving object - or in any spatial relationship with one or more other objects - is seen as a proportion of body size in relation with these - that is, in relation to space that contains it.

The publication of the next chapters will be made weekly.
If you feel your comments are welcome.

Information:
info@centrocresci.it
or:
luiscer@tiscali.it
In the case of a visually impaired boy, the perception and decoding is also refining the use of touch, with Braille.
2 See André Lapierre, The concept of locomotion and its evolution, Madrid, 1976.