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

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Adelaida Castro Navarrete
Adelaida Castro Navarrete

¿Cómo transmitir el Patrimonio Cultural tangible a las personas ciegas respetando su Conservación? Su conocimiento es un derecho constitucional y es fundamental para la educación de todo individuo. Por ello, el objetivo de esta investigación es acercarles ese Patrimonio, salvar esa distancia a través de diversos acercamientos multisensoriales de los rasgos visuales, protegiendo los originales. XVIII Congreso Internacional de Conservación y Restauración de Bienes Culturales http://www.congresointernacionalconservacion.es/

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Protection of artworks in the event of accessibility for people with visual impairments. La protección de las obras de arte en caso de accesibilidad para personas con discapacidad visual. Ade Castro
Why should blind people have access to Art? - Constitucional right. - Common cultural codes. - Inclusion. - All can be disabled. - Knowledge source. - Creativity, imagination. - Their own interpretation of Art.
Interpretation: - Haptic. - Verbal. - Body language. - Multisensory.
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).
Multisensory Smell Hearing Taste Vision Touch Body language
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.

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

  • 1. Protection of artworks in the event of accessibility for people with visual impairments. La protección de las obras de arte en caso de accesibilidad para personas con discapacidad visual. Ade Castro
  • 2. Why should blind people have access to Art? - Constitucional right. - Common cultural codes. - Inclusion. - All can be disabled. - Knowledge source. - Creativity, imagination. - Their own interpretation of Art.
  • 3. Interpretation: - Haptic. - Verbal. - Body language. - Multisensory.
  • 4. 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.
  • 5. NUDE HANDS. Blind boy feeling original marble sculpture. Arqueological Museum, Seville (Spain).
  • 6. NUDE HANDS. Tactile exploration of an original sarcophagus. Egyptian Museum in Cairo.
  • 7. NUDE HANDS. Direct handling of a medieval religious figure. British Museum, London.
  • 8. NUDE HANDS. Prehistoric mammoth tusk. Arqueological Museum, Colleferro (Italy).
  • 9. CLEANED WITH ALCOHOL GEL. Exploration of original sculptures of XX c. MNCARS, Madrid (Spain).
  • 10. Gloves The best: - Nitrile. - Latex (posible allergic reaction). - Cotton (too much transpirable).
  • 11. WITH GLOVES. Feeling “Cumul I” by Louise Bourgeois. Centre Pompidou, Paris (France).
  • 12. WITH GLOVES. Original bronze sculpture. MoMA, New York (USA).
  • 14. EXACT COPIES. Replicas at “The Touch Gallery”. Louvre Museum, Paris (France).
  • 15. EXACT COPIES. Ancient Greece Art. Tactual Museum for the Blinds, Athens (Greece).
  • 17. SCALE COPIES. A model of the Taj Mahal. Museo Tiflológico, Madrid (Spain).
  • 18. SCALE COPIES. Three-dimensionals models. Tactile Museum "Omero", Ancona (Italy).
  • 19. Tactile graphics or adaptations.
  • 20. TACTILE GRAPHICS. Cellulose acetate raised of Picasso s artwork. Centro Pompidou, Paris (France).
  • 21. TACTILE GRAPHICS. Thermoform of “La Virgen de los Cartujos”. Fine Arts Museum of Seville (Spain).
  • 22. TACTILE GRAPHICS. Swell paper. Floor plan. Fine Arts Museum of Seville (Spain).
  • 23. TACTILE GRAPHICS. Silkscreening (transparent ink). “Art History Through Touch and Sound” (AEB).
  • 24. TACTILE ADAPTATION. Three-dimensional relief (P. della Francesa). Anteros Tactile Museum of Painting, Bologna (Italy).
  • 25. TACTILE ADAPTATION. Natural textures. “Hands who see paintings”. Fine Arts Museum of Seville.
  • 27. HAPTIC TECHNOLOGY: CYBER GLOVES. “Tangible 3D”: NTT Comware,Tokyo.
  • 28. HAPTIC TECHNOLOGY: CYBER GLOVES. “CyberTouch”: touch feedback for virtual reality. CyberGlove Systems Corp.
  • 29. HAPTIC TECHNOLOGY: TOUCHABLE VR. “Airborne Ultrasound Tactile Display”. University of Tokyo.
  • 30. HAPTIC TECHNOLOGY: TOUCHABLE VR. “Touchable Holography”. University of Tokyo.
  • 31. Verbal or Written information - Verbal descriptions. - Large print. - Braille.
  • 32. BRAILLE & LARGE PRINT. Signage Braille and Large print. Metropolitan Museum, New York (USA).
  • 34. BODY LANGUAGE. Dramatic interpretation or Mimesis. Fine Arts Museum of Seville (Spain).
  • 35. BODY LANGUAGE. Dramatic interpretation or Mimesis. “Lady with an Ermine”, da Vinci. Art Beyond Sight.
  • 36. Visual aids - Magnifiers. - Large print images. - Hand-held telescopes.
  • 37. VISUAL AIDS. Magnifying glass and Electronic Magnifier. Arqueological Museum of Seville (Spain) (left).
  • 38. Multisensory Smell Hearing Taste Vision Touch Body language
  • 39. MULTISENSORY: SMELL. Smell boxes. Arqueological Museum of Seville (Spain).
  • 40. 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.
  • 41. 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.
  • 42. 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.