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
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