Mermaid Barbie Doll 1970

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/

Information:
info@centrocresci.it

Curtain Rods San Antonio

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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