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
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