Art and Culture: Access Greece
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June 2015
THEMATIC
I
S
Art
S and Culture:
U
E new inclusive territories
Edited by Dannyelle Valente
& Philippe Claudet
22
Reading Committee:
Terra Haptica
International Journal Anneke Blok,
of Visual Disability Royal Dutch Visio / Netherlands
and Inclusive Practices Valérie Chauvey,
Researcher of Sociology / France
Maria Clara De Almeida Carijó,
Universidade Federal do Rio de Janeiro / Brazil
The international journal Terra Haptica, created by Gustavo Ferraz,
Les Doigts Qui Rêvent (Dreaming Fingers) in 2010, Universidade Federal Fluminense / Brazil
associated since 2012 with the ACTE Institute (CNRS Anna Galiano,
8218 - University of Paris 1 - Sorbonne), focuses on Université Lumière Lyon 2 / France
the socio-cultural, communicational and cognitive Josée Lanners,
aspects of the visual impairment. Fondazione Robert Hollman / Italy
Supported by a scientific committee, each thema- Nathalie Lewi-Dumont,
tic issue is composed of two sections: a section de- INS-HEA / France
voted to Research, in which articles are submitted Fabienne Meyer,
to a reading committee; and a section devoted to Hochschule der Künste / Berne
“Report of experience”, providing a voice for practi- Eva Rolim,
tioners and users. Universidade Federal de Pernambugo / Brazil
Mariana Schmitz,
Each issue is published in English and in French (in Université Lumière Lyon 2 / France
French some months after the English one). Bruno Sena Martins,
Universidade de Coimbra / Portugal
Anne Theurel,
Founder & director: Université de Genève / Switzerland
Philippe Claudet Arnaud Witt,
Université de Bourgogne / France
Scientific coordination of this issue: Suzette Wright,
Dannyelle Valente American Printing House for the Blind / USA
Scientific Committee: Graphic chart: Solène Négrerie
Layout: Mathilde Pilard-Joyault, Anaïs Brard
Bernard Darras,
Université Paris 1, Panthéon-Sorbonne / France Proofreading: Philippe Claudet, Suzette Wright,
Dannyelle Valente
Charles Gardou,
Université Lumière Lyon 2 / France
Édouard Gentaz,
Université de Genève / Switzerland Opinions expressed in signed articles are those of
Yvette Hatwell, the authors. Likewise any advertisement is the
Université Pierre Mendès-France, Grenoble / France responsability of the advertiser. Neither necessarily
Virgínia Kastrup, carries the endorsement of the publisher or the
Universidade Federal do Rio de Janeiro / Brazil Editorial Advisory Board. All rights reserved. This
Bertrand Verine, journal may not be reproduced, in whole or in part,
Université Montpellier 3 / France including illustrations, in any form (print, photocopy,
Annie Vinter, microfilm or electronic).
Université de Bourgogne / France
Suzette Wright, Les Doigts Qui Rêvent – Journal Terra Haptica
American Printing House for the Blind / USA 11 bis, rue de Novalles, BP 93, 21240 Talant,
France
+33 3 80 59 22 88
philippe.claudet@wanadoo.fr
© Terra Haptica - #5 June 2015
3
CONTENTS
Editorial
Dannyelle Valente
p. 9 - Aesthetic Accessibility and Tactile Images of p. 64 - The Inner Look: the Visually Impaired and
Works of Art their Perceptions
Raquel Guerreiro, Virgínia Kastrup (Brazil) Fabiana Vinagre (Brazil)
p. 18 - Communication of the Five Senses in Brazilian p. 74 - The Golden Age - Painting for All. Making
Cultural Spaces: Strategies of Mediations and the Previously Unheard, Unseen and
Accessibility for People with their Differences Unimaginable Accessible
Viviane Sarraf (Brazil) Gregor Strutz (Germany)
p. 27 - The Inclusion of People with Visual p. 80 - Designing in Collaboration with Blind
Impairments in Art Museums, a Study Case in and Visually Impaired People to Produce
the Modern Art Center in Lisbon Inclusive Exhibitions
Patrícia Roque Martins (Portugal) Anastasia Kalou (Greece)
p. 37 - Participatory Research for the Creation of p. 89 - The Golden Section or the Science Day as
Haptic Designs an "Inclusive Day" - The Exhibition of Audio
Angelica Martinez de la Peña (Mexico) Tactile-Pictures
Javorka Milković (Croatia)
p. 44 - Quebec Cultural Institutions in Visual
Handicap Situations
Claire Nigay (Quebec) p. 99 - Brief history of Les Doigts Qui Rêvent
p. 52 - Message in Braille : a Poetry Book to Inspire
the World of the Visually Impaired p. 100 - Contents of the first 4 issues of Terra
Bruno Brites (Portugal) Haptica
© Terra Haptica - #5 June 2015
44
EDITORIAL sighted, the girl was in a situation of failure: she was
ineffective, impaired. Either she played the part of
a dancer for the sighted, or she failed. The ‘or’ is a
Art and Culture: new inclusive disjunctive conjunction, a conjunction of exclusion,
territories of alternative; it separates, it segregates” (p.27).
Dannyelle Valente1 The hegemony of the visual in intervention
practices for blind individuals, highlighted by
Moraes in this story about dance, is even more
In the first chapter of the book Exercices visible in attempts to make the contents of visual
de voir et du non-voir : art et rechercheAvec culture accessible to blind people. This story takes
les personnes en situation de handicap visuel, us back to an experience that was, as for Moraes,
(Moraes & Kastrup, 2015, 1rst ed. 2008), Marcia revealing in terms of issues and questions that guide
Moraes reports of her experience in participative our research on tactile pictures (Valente & Darras,
observation with a theater workshop involving 2013; Valente, 2012). In 2007, we participated in a
young people with visual impairments in Brazil. workshop about reading tactile pictures proposed
On this occasion, the group was preparing a show. by a museum. The raised line drawings embossed
Moraes attended the rehearsals, and a young girl on paper represented the details of an historic
who played the role of a ballet dancer caught her building. Mediators guided tactile perception of the
attention. Despite her great motivation, the young pictures: "At the top you have the dome, beneath
girl failed each time she tried to reproduce the the front door" and so on. Each person who was
movements and the dance steps requested by the blind was sitting next to a sighted person who was
trainer: “Raise your arms”, “Turn lightly”. Critics to play a leading role in the understanding of the
intoned after each attempt, "Arm should not be content, guiding the other’s fingers on the parts of
lifted like this, attention, make your belly flat, no, the images corresponding to those described by
this is not how a ballerina turns, attention to your the main mediator.
feet, ballerinas are walking on tiptoes” (Moraes, At one point in the session, a blind
2015, p.27). The young girl tried in vain to repeat person spoke. She welcomed the communication
the actions announced by the sighted trainers but experience and sharing that was proposed but
without actually incorporating them. The visual regretted that the pictures were still very hard
rules set out for "what is a good dancer" had no to read by someone who does not share this
meaning at all for her. But the girl persisted because perceptual universe. This intercession encouraged
she wanted to play her role well. She wanted to other participants to speak and testify as to the
be a beautiful dancer both for herself and for the task’s difficulty. The cognitive overload required
sighted audience. to understand the visual rules of transposing from
At this point in the story, Moraes draws 3D to 2D transformed what should have been
the reader's attention to the "and" that is revealed a moment of discovery and pleasure into a real
in this context to be of great importance: the girl headache.
wanted to be a beautiful dancer for herself "and" That day, these people came to the museum.
for the sighted "... with this simple ‘and’ the girl This is not a small task since going somewhere
sought to make clear that the dancer expected entails, even today, for a person with disabilities,
by the trainers did not include the blind, did not that they set up logistic (taxi, carer, a companion,
allow the ‘and’ to come on stage. Indeed, it was map, plan to navigate the metro with few sound
rather the logic of ‘or’ that dominated in this or tactile landmarks, etc.). Why were they there?
case, that is to say, as long the dancer presented Certainly from a desire to be in a place of accessible
herself exclusively according to the criteria of the culture and legitimate envy of opportunities for
1
Dannyelle Valente is doctor in Arts & Design from the University Paris 1 Panthéon-Sorbonne. Her work is about
haptic design, tactile pictures, and inclusive approaches to visual culture for blind people. She has already published
several articles and book chapters on these topics and was the editor, with Bernard Darras, of a collective book
"MEI 36 Disability & Communication" (2013). Her more recent research concerns the development of an innovative
method of tactile picture conception in the frame of Participatory Design. dannyelle.valente@gmail.com
© Terra Haptica - #5 June 2015
5
cultural sharing, exchange. But faced with content Roque Martins presents a case study conducted at
made BY and FOR sighted, they claimed the the Modern Art Centre of the Calouste Gulbenkian
same "and" of the ballet dancer. Once again, the Foundation in Lisbon, with a group of people with
approach is based mainly on the disjunctive logic visual impairments. The participants agreed there
of "or": either these people learned to decipher are challenges in how to "see differently" the works
the rules of visual representation proposed in these of three Portuguese artists. The author presents
pictures, or they failed in the project of sharing. Like some strategies and multi-sensory mediation
the ballet dancer, they demanded an alternative, a materials developed to improve the meeting
type of intervention that would belong to the space between visitors and the works of art.
between blind and sighted, not to the unidirectional In the remainder of this issue, the Canadian
path sighted for blind. research conducted by Claire Nigay as part of a
This Terra Haptica #5 is devoted to the theme PhD in Information Science at the University of
of artistic and cultural accessibility, presenting the Montreal seeks to identify the socio-cultural and
research and field experience of those who question physical barriers yet to overcome for a true inclusion
this hegemony of the visual in projects attempting of people with visual impairment in cultural
to mediate art, culture and books for people with institutions. Her scientific approach is based on
visual impairment. Their work offers new methods the critical approaches coming from the Disability
of intervention, new services or products which are Studies and the emancipatory research approach
closer to the perceptual experience of blind people that gives a central place to the users (considered
while at the same time, serving to create bridges of as experts of use). The steps of the data collection
communication and sharing between sighted and include participative observation of use situations
blind. and focus groups.
The Brazilian researchers, Raquel Guerreiro The next article of this section comes from
and Virginia Kastrup, present an analysis of tactile Mexico. Angelica Martines de la Pena, also author
reproductions of works of art for persons who of El diseño háptico a paradigma diferente (2011)
are blind. It is shown that the process of decoding is particularly devoted to the problem of designing
tactile reproductions of visual content in museums raised line drawings for blind people. The author
restricts the discovery of artworks to its informative presents the first results of research supported
character. The article presents ways to foster truly by her PhD investigating whether drawings of
aesthetic accessibility to blind people, particularly sighted children could provide useful elements
through contemporary art. "By removing it [art] for the design of tactile drawings for blind people.
from the place of being something to be appreciated According to Angélica Martines de la Pena, the way
by the eyes to something that can be felt by the blind people try to represent objects in drawings has
entire body, contemporary art has elements of some similarities to the graphic patterns repertory
diverse sensory sources that, merged or not, allow of children. Some drawings produced by sighted
us to play with our senses and explore the works in children are presented as well as the comments of
an inventive manner. (Guerreiro & Kastrup, in this blind people about them.
issue, p.16) This section closes with a research and de-
Based on studies in communication and sign project. As part of a design master at the Uni-
semiotics, the article of Viviane Sarraf, researcher versity of Dundee, Bruno Brites designed the book
and director of Museus Acessiveis Inc., analyzes "Message in Braille", an adapted version in Braille
the accessibility strategies of museums and cultural of the book of poems Messagem by Fernando Pes-
centers. First, the author presents the state of the soa, one of the greatest Portuguese poets. The pro-
literature regarding sensory communication and ject "Message in Braille" is earned an Honorable
a discussion about the dominance of vision in Mention in Books Competition from the Internatio-
Western culture. Four examples are then presented nal Design Awards 2013 and recently the 1rst Prize
of museums and cultural centers in Brazil and Engenheiro Jaime Filipe 2014 from the Portuguese
Europe which are exploring sensory communication National Institute for the Rehabilitation. The book
in their mediation practices. was tested with users through interviews and focus
Continuing the theme of museums and groups.
new inclusive practices, the article by Patricia
© Terra Haptica - #5 June 201566
Report of experience This accessible exhibition project is based on the
principles of inclusive design seeking not only the
One of the major ambitions of the journal benefit of people with disabilities but for all visitors
Terra Haptica is to be a space for exchange and in general.
scientific cooperation in the field of visual disability. The last article of this section presents
The journal was created in answer to the need an educational project "Sounds around us" led by
to strengthen the dialog between research and Javorka Milković at Pećine Elementary School in
practice and to be able, finally, to connect the voices Rijeka, Croatia, under the leadership of "The Golden
of all of the actors and experts in the field of tactile Section" association. This project, presented on The
perception, image, art, language and the science Science Day, counted with the participation of blind,
of education. Its priority is to create a synergy partially sighted and sighted children. In a first step
among different actors whose scientific work and the blind children (10-15 years) have been working
field experiences contribute to improving inclusive around the sounds and produces tactile pictures.
practices involving books, culture, and education. Workshops with groups of sighted children were
The section titled “Report of Experience” then made around the same theme. The final step
gives a voice not only to practitioners, educators, was the presentation of the children's work during
and users but also to cultural mediators, artists, and The Science Day.
illustrators who work in designing new devices, ser-
vices and practices intended for blind people. In 2013, at the launch of our first
The first article of this section signed by the international call for contributions for the Terra
Brazilian Fabiana Vinagre, presents a project fea- Haptica journal, we received an impressive number
turing a multi-sensory “object-book” constructed of proposals from all over the world: Chile, Mexico,
from the testimonies and feelings of blind people Canada, Brazil, India, Croatia, Germany, Portugal,
based on poems of Manoel de Barros, a great Bra- France, and the USA. Two issues have been
zilian poet. The illustrations in this book invite the published as a result of this first call for papers:
reader to a true sensory discovery. this issue on the theme of art and culture and
The next contribution in this section issue #4 devoted to the topic of tactile pictures and
presents the article of Gregor Strutz about the education, published in 2014.
multi-sensory guidebook "The Golden Age". The Terra Haptica was born to be a space of
book is presented as a pioneering work in the field exchange, of dynamic international synergy around
of Design for All in Germany. The aim of this project the topic of visual impairment and inclusion. The
is to give persons who are blind the opportunity variety and richness of the research and work
to discover the works of art as independently as experience presented in five issues of Terra Haptica
possible. “The book’s subject matter has been is for us proof that we are on the right path. Terra
uniquely arranged, designed and dovetailed for Haptica is now inhabited by several nationalities and
being looked at, read, touched and/or listened to in an increasing number of viewpoints and disciplines
one exemplary art book.” (Strutz, in this issue, p.74) which meet and gather for a common goal: to build
The third field experience comes from a new society, multicultural and multi-sensory, able
Greece as part of a cultural accessibility project to include while respecting the cognitive, cultural
led by Anastasia Kalou founder of the consulting and semiotic individualities of everyone.
firm and Access Greece design whose mission is to
promote access to art and culture to people with We wish you a very rich and successful
disabilities. This article presents particularly the journey in Terra Haptica.
theoretical and methodological approach used in
the framework of a project of accessibility of the
temporary exhibition "Myrtis: face to face with
the past" to people with visual impairment. This - TH-
project revealed the importance of the involvement
of the blind public in the project of accessibility
and this from the very beginning of the project.
© Terra Haptica - #5 June 20157
References
• Moraes, M. (2015). RechercheAVEC: politique ontologique et
déficience visuelle In M. Moraes & V. Kastrup (Eds.) Exercices de
voir et du non-voir : art et rechercheAvec les personnes en situa-
tion de handicap visuel, Talant : Les Doigts Qui Rêvent, pp. 31-55.
• Valente, D. & Darras, B. (2013). Communication graphique et
cécité : étude sémiotique pragmatique de la production et l’inter-
prétation de signes figuratifs produits par des jeunes non-voyants,
In B. Darras & D. Valente (Eds) MEI 36 Handicap & Communica-
tion, 77-91.
• Valente, D. (2012). Dessin et cécité : étude de la communication
graphique des jeunes non-voyants, Sorbonne University Paris 1,
PhD Thesis in Design and cultural studies coordinated by Bernard
Darras.
• Martinez de la Peña, A. (2011). El diseño háptico : un paradigma
diferente, Leipzig: EAE.
Editor's note:
Dannyelle Valente's thesis is available on Corpus Tactilis Collec-
tion : Valente, D. (2015). Le dessin du bout des doigts - Étude de
la poduction et de la lecture de dessins tactiles par des personnes
non-voyantes, Talant : Les Doigts Qui Rêvent.
© Terra Haptica - #5 June 2015080
8
Anastasia Kalou (Greece)
Designing in Collaboration with Blind and Visually Impaired People
to Produce Inclusive Exhibitions
Designing in Collaboration with Blind and Visually Impaired People to
Produce Inclusive Exhibitions
Anastasia KALOU1
The purpose of this paper is to present the underlying theories, the methodology used and
disseminate the outcomes of our work to adapt an international travelling exhibition and render it
accessible to blind and visually impaired visitors.
“Myrtis: face to face with the past” is an international travelling exhibition presenting the
interdisciplinary journey from excavations to scientific research and reconstruction of Myrtis’ face, an
11 years old Athenian girl of the 5th century B.C. Myrtis’ skull was found in a mass grave in Kerameikos,
Athens’ ancient cemetery and revealed the cause of death of thousands of citizens, including that of
Pericles, the creator of the Athenian “Golden Age”. The exhibition has been organized by the Centre of
Museum Research of the University of Athens, Greece, under the auspices of the United Nations.
The project revealed the importance of end-user involvement from the early stages of the design
process throughout its completion. It also became apparent that by applying inclusive design principles
not only disabled visitors benefit, but the needs and expectations of all visitors are met. Lastly by applying
a multi-sensory approach, giving all visitors the choice of taking information in via different means and
senses, human diversity is respected.
Keywords: End-user involvement, People-centered approach, Inclusive exhibitions, Inclusive design, Multi-
sensory design, Constructivism learning theory
1
Anastasia Kalou is access consultant with exhibition design background, specializing in inclusive design solutions for
museums and heritage sites. Her work aims to increase the inclusion of disabled people in the cultural sector. She was
the winner of the gold medal at the 3rd Biennale of Young Architects in 2009 in Belarus in the public spaces category
and award finalist in the Design for All Foundation Awards 2012 for promoting inclusivity in museums.
anastasia@accessgreece.com/ www.accessgreece.com
© Terra Haptica - #5 June 201581
Anastasia Kalou (Greece)
Designing in Collaboration with Blind and Visually Impaired People
to Produce Inclusive Exhibitions
INTRODUCTION are two aspects underling this shift in museum
philosophy. First is the aspect of a more open
This paper will first examine the shift society that recognizes diversity and promotes
over the years of museums, from being passive inclusion. Second there is the aspect that exhibits
galleries of display to becoming active institutions are subject to numerous interpretations which can
intergraded within society and the consequent be presented to visitors in a variety of formats.
emphasis given to the visitors’ experiences, who The museum is no longer constraint by
now become the centre of attention. academic barriers. The curator is now a “composer”
Museum audiences are members of society, who has to balance the relationship between
and so we will proceed to examine the diversity it museum professionals, the different interpretations
characterizes them and the resulting plurality of of exhibits and the visitor. This new philosophy is
their needs and wishes, as far as exercising their well represented in what the International Council
right to equally participate in cultural or other of Museums (ICOM) defines to be a museum.
activities. According to the ICOM statues adopted during the
Then we will briefly discuss the theories 21st General Conference in Vienna, Austria in 2007,
under lying our work and proceed to lay out our a museum is a non-profit, permanent institution
methodology to design from scratch or adapt exis- in the service of society and its development,
ting exhibitions to become inclusive. open to the public and which acquires, conserves,
Finally we will conclude that producing researches, communicates and exhibits the
inclusive exhibitions benefits society at large. tangible and intangible heritage of humanity and its
environment for the purposes of education, study,
and enjoyment.
MUSEUMS So the museum to successfully fulfill its
purposes in serving society, it has to be able to
Museums have always served society by identify the characteristics and the particulars of
being the guardian keepers of cultural heritage, and the society within which it has to operate. It has to
places of informal learning. However the way their effectively interact with society and communicate in
functions are being put forward changes over time a comprehensible way to all its visitors the diverse
in accordance with the socioeconomic and political and multiple interpretations of its exhibits.
context within which museums have to operate.
Up and until the 70s museum practice was
dominated by the curator “conductor”. The curator SOCIETY AND DIVERSITY
had the responsibility of what was to be displayed
and on how it was to be displayed within a In serving society, museums should be
museum collection. The importance of exhibits was inclusive and accessible to all, they should therefore
determined by the curator in accordance to their ensure that information access as well as physical
classification and their position in the taxonomic access is appropriate and in accordance to the
research. This approach to museum practice was requirements of all potential visitors.
restricted by academic boundaries and focused Society at large is comprised by a multitude
on the relationship between the curator and the of diverse characteristics. For the purposes of our
exhibits. In this approach visitors were very much analysis we will focus on the people that comprise a
left out of the equation. During that time museums society, in other words we will focus on the potential
fulfilled their functions by being galleries of display visitors, the audience of a museum. Looking closely
restricted by the academic barriers defined by the to the members of society we will very easily
relationship between the curator and the exhibit. realize that they are people of different age, size
As the socio-economic and political context and ability, they are people of different cultural,
changes and especially during the 90s there is a economical and educational background and that
shift in museum philosophy away from the notion they follow different religions or at some instances
of a passive museum as a gallery of display towards no religion at all. It is to this diverse audience
the notion of a museum as an active institution that contemporary museums have to effectively
which becomes an integral part of society. There communicate the interpretations of their exhibits.
© Terra Haptica - #5 June 2015282
8
Anastasia Kalou (Greece)
Designing in Collaboration with Blind and Visually Impaired People
to Produce Inclusive Exhibitions
Moreover today’s societies are characte- As we said before, visitors come in different
rized by increasing percentages of elderly people, ages, sizes and abilities and have a diverse cultural,
and of people which demonstrate some form of economic, educational and religious background.
disability. It is estimated that over the last two de- Consequently there isn’t just only one way to cater
cades the level of disability throughout the world for their needs and wishes. Museum professionals
has increased to now average some 10% of the should place potential visitors in the center of their
population. Moreover in most Western developed attention. In order to effectively reach out to them,
nations average rates of disability are higher and they should provide them with the opportunity to
vary from 15% to 20% of the population.2 This is participate and take information in, via different
mainly a direct consequence of an increasing rate means according to their particular needs and
of the ageing population and the fact that western wishes.
developed nations demonstrate a higher level of These very questions are the driving force
acceptance of community diversity. in our work to design from scratch or to adapt
So museums should be inclusive to this existing exhibitions, as is the case of interest of this
significant part of the population because in doing paper. To guide this driving force and to assist us to
so they are not only fulfilling their obligation to find answers to the questions we put forward we
serving society, but also because they adhere to the follow the principles of two theories from two very
United Nations and European Union’s resolutions. different areas of practice.
Article 30 of the United Nations Convention on As far as the epistemological aspect is
the Rights of Persons with Disabilities as well as concerned we base our work on the principles of
the European Union’s European Disability Strategy Constructivism, and as far the design aspect, we
2010-2020, clearly state that disabled people have base our work on the principles of Inclusive Design.
the right to take part on an equal basis with others Despite the fact that you can describe Constructivism
in cultural life, including leisure activities, and as having a theoretical scope while Inclusive Design
among other things they should enjoy access to a more practical one, the two theories share one
cultural materials in accessible formats, and as far very important common ground. They both put in
as possible, enjoy access to monuments and sites the center of their analysis the human being, in
of national cultural importance. our case the visitor. Constructivism focuses on the
learner rather than on what is to be learned, and
Inclusive Design focuses on the user of what is to be
designed rather than the object or service that is to
UNDERLYING THEORIES be designed.
It is not the purpose of this paper to explain
But how can this be done? How can these two theories, but before we proceed to lay
museums ensure access to all their visitors? And out our methodology towards inclusive exhibitions
at the same time effectively fulfill their role as an and the resulting outcomes, we will briefly discuss
institution of society which provides education and their principles as far as our objectives in designing
enjoyment? exhibitions are concerned, and the common ground
The answer to these questions, among they share.
other things, lies behind the way museum Over the years the term Constructivism
professionals design and produce exhibitions. has been used to refer to different fields and as it
In producing exhibitions, museum professionals evolved it acquired a number of different aspects.
should consider the questions of what is to be However for the purpose of our work we consider
exhibited, and how is to be exhibited. Also they Constructivism to be a learning theory and we focus
should address the question how potential visitors on a number of core ideas which more or less are
will acquire knowledge and learn by visiting an common to all constructivist theorists.
exhibition. But more importantly they should “Within the large family of constructivist
focus on, and carefully determine their potential learning theorists, there are some ideas that more
audiences. or less all subscribe to. Hence they may be seen
2. Darcy, S. Cameron, B. and Pegg, Sh. (2010). Accessible tou- to be a mild version of constructivist claims." Here
rism and sustainability: a discussion and case study. Journal of are some of these core ideas, partly based on the
Sustainable Tourism, First published on: 23 April 2010 (iFirst). analysis of Taber (2006).
© Terra Haptica - #5 June 201583
Anastasia Kalou (Greece)
Designing in Collaboration with Blind and Visually Impaired People
to Produce Inclusive Exhibitions
1. Knowledge is actively constructed by the learner, to human diversity and difference, offers dignity,
not passively received from the outside. Learning is autonomy and choice, and finally provides for
something done by the learner, not something that flexibility in use. Over the years, the notion evolved
is imposed on the learner. beyond the build environment and it is widely used
2. Learners come to the learning situation (in for the design of products or services. Inclusive
science, etc.) with existing ideas about many design calls for the designer to take a holistic
phenomena. Some of these ideas are ad hoc and approach towards his/her design and takes into
unstable; others are more deeply rooted and well consideration during the design process the end
developed. user. Whatever it is to be designed, be it a building,
3. Learners have their own individual ideas about a product, a service or an exhibition, as it is in our
the world, but there are also many similarities and case, it is not any more the center piece of the
common patterns in their ideas. Some of these ideas design process, it is viewed as a part of a wider
are socially and culturally accepted and shared, and correlation between the end user, the designed
they are often part of the language, supported by outcome, and the way the two interact within their
metaphors, etc. They also often function well as environment.
tools to understand many phenomena”. 3 The Center of Universal Design in North
Constructivism asserts that our learning Carolina sets out the core principles of Inclusive
is not a result of preconceived platonic forms that Design to be the following:
independently exist in our minds, but that it is the 1.Equitable use. The design is useful and marketable
result of our experiences and our reflection on these to people with diverse abilities.
experiences. The learner constructs knowledge 2.Flexibility in use. The design accommodates a
on the basis of what he/she experiences and no wide range of individual preferences and abilities.
knowledge exists outside the learner. 3. Simple and Intuitive. Use of the design is easy
The learner takes a central position and to understand, regardless of the user’s experience,
through a process of a hands-on interaction with knowledge, language skills, or current concentration
the real world creates his/her own knowledge. level.
Thus learning becomes an active and continuous 4.Perceptible information. The design commu-
process. Knowledge as such is not any more the nicates necessary information effectively to the
focus of attention but only a product of the process user, regardless of ambient conditions of the user’s
of knowing. Constructivism theories focus on the sensory abilities.
learner in order to better accommodate for him/her 5.Tolerance for error. The design minimizes hazards
the whole learning process he/she is engaged in. and adverse consequences of accidental or unin-
Moving away from the theoretical level of tended actions.
learning and on to the practical level of design, we 6.Low physical effort. The design can be used
find that the principle of inclusive design place in efficiently and comfortably and with a minimum of
the center of attention the human being who is not fatigue.
a learner any more but he/she becomes the user. 7.Size and space for approach and use. Appropriate
The principles of Inclusive Design were size and space is provided for approach, reach,
originally formulated by architects as a result of manipulation, and use regardless of the user’s body
their efforts to enhance accessibility of the build size, posture, or mobility.”4
environment. It may be argued that Inclusive It is evident that all the above principles
Design is more of a set of rules or a code of practice focus on the user and on how the final design will
rather than a formal scientific theory. Never the less better accommodate his/her needs and wishes.
it certainly is a valid tool for our work. Moreover it is by now widely accepted that to
As defined by the Centre for Accessible follow the principles of universal design yields the
Environ-ments (CAE), Inclusive design places desired results for the targeted end user group,
people at the heart of the design process, responds without explicitly referring to their needs desires
and expectations and at the same time the designed
3. Sjøberg, S. Invited contribution to Baker, E., McGaw, B. &
Peterson, P. (Eds) (2007). Constructivism and learning, Interna-
tional Encyclopaedia of Education 3rd Edition, Oxford: Elsevier 4.http://www.ncsu.edu/ncsu/design/cud/about_ud/udprin-
(in print), p.3. ciplestext.htm
© Terra Haptica - #5 June 2015484
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Anastasia Kalou (Greece)
Designing in Collaboration with Blind and Visually Impaired People
to Produce Inclusive Exhibitions
outcome is universally appreciated, and suitable death of thousands of citizens, including that of
for all users, even those that it was not originally Pericles, the creator of the Athenian “Golden Age”.
designed for. The exhibition focused on three thematic
Museums as institutions of informal units: the excavation, the skeletal and dental study,
learning in the service of society aim to reach and the facial reconstruction. These three units
out to all members of society, irrespectively of formed the basis both of the museological and the
their abilities. Their permanent collections and museographic research.
temporary exhibitions present a perfect ground to The exhibition travelled to four different
combine and put to practice the two theories we museums in Greece and abroad for a year and a half,
have briefly explained above. each time generating extreme interest from the
During the course of our work we employed public. However visitors comments and suggestions
the principles of both Constructivism and Inclusive coupled with the organizing team's desire for the
Design in various projects. The exhibition “People exhibition to become accessible to blind and
and Things” is among them. The exhibition has visually impaired people, led us to proceed and
been designed in order to include blind and consider how would that be possible.
visually impaired visitors. It has been organized
by the Directorate of the Municipality Gallery
and Museums of the Cultural Organization of the METHODOLOGY AND OUTCOMES
Municipality of Athens.
Another project where the principles of So in order to make the necessary
both Constructivism and Inclusive Design were adaptations we first identified our target group as
employed was “The Edge”. The aim of the project blind and visually impaired people. Consequently
was to present, as far as possible and through we formed a focus group representative of our
indicative approaches, the way that people with target group to guide and assist us throughout the
sensory and cognitive disabilities experience adaptation process. The focus group was a 10-strong
public space (i.e. the system of built and un-built team carefully selected in order to contribute in
elements) and the way that they function within terms of diversity through their gender, age, social,
it, setting their own boundaries or "edges". The economic and educational background, as well as
exhibition was organized by the Christian and their disability. This team played a decisive role in
Byzantine Museum of Greece. the adaptation and enrichment of the exhibition.
For the purpose of this paper we will focus Our close cooperation spanned a whole year of
on the adaptation of an existing travelling exhibition structured three-hour weekly meetings, during
titled “Myrtis: Face to Face with the Past”. which we approached the exhibition holistically,
through workshops, employing 3-D models and
mock-ups as well as audio material and of course
THE EXHIBITION visiting the actual exhibition.
“Myrtis: Face to Face with the Past” is a
travelling exhibition presenting the reconstruction
of Myrtis’ face (an 11 year old Athenian girl of the 5th
century B.C.) highlighting at the same time the key
interdisciplinary contributions from the excavation
to the face reconstruction. The exhibition has been
organized by the University of Athens, School of
Museum Studies.
Myrtis’ skull was found in a mass grave in
Kerameikos, the ancient cemetery of Athens. It was
in a surprising good condition as it bore its lower jaw
with all its permanent teeth. Analysis of DNA taken Figure 1. Employing 3-D models and mock-ups during our focus
from the teeth revealed the cause of the sudden group workshops
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Anastasia Kalou (Greece)
Designing in Collaboration with Blind and Visually Impaired People
to Produce Inclusive Exhibitions
First we identified and assessed access
barriers. We started by visiting the exhibition in its
format at the time. All members of the group had
the opportunity to identify access and information
barriers according to their own needs.
We then returned to discuss the obstacles
they faced at the exhibition, both in terms
of movement and orientation as well as the
accessibility of the available information. The
discussion led to the next step which was for each
person to suggest an optimum lay-out based on
their own needs and desires.
All suggestions were exhaustively discussed Figure 2. Close-up of the 3-D reproduction of the grave
and with the use of 3-D models and mock-ups the
Moreover, initially, all mention of Pericles
group decided upon the proposed optimum lay-out
who also perished during the same plague that
to best satisfy the needs and desires of all.
killed Myrtis, was through photographs and the
However some compromises had to be
accompanying text, and this was also true of the
made as far as the proposed optimum lay-out was
grave offerings found near the bodies. The addition
concerned. Firstly, because of budget restrictions.
of 3-D copies of the grave offerings and a scaled 3-D
Secondly, because designing a traveling exhibition
copy of Pericles head now provides visitors with the
not only has additional size and volume restrictions
opportunity to better perceive them by touching
but also because of the adaptability considerations
them.
of individual exhibition venues. An example of
the limitations is tactile corridors which could not
be installed both because of their cost and the
impossibility of adapting them to each exhibition
space. Instead, we dyed different textured carpets
bright yellow and installed them in front of all the
tactile exhibits which we enriched the exhibition
with.
All members of the team considered
the creation of tactile exhibits to be of major
importance since many pieces of information were
only conveyed in mediums not accessible to people
with visual impairments and that's why their
creation was realized as a matter of priority. Figure 3. 3-D scaled model of Pericles’ head
For example, in the first thematic unit –the
Moving to the second unit –the skeletal and
excavation– there was frequent mention of the
dental study– visitors can
communal grave where little Myrtis was found.
now touch a microscope
However, apart from a photo of the pit during
and see through it
excavation, an element that had been considered
the Salmonella typhi
sufficient for sighted visitors, this crucial bit of
bacterium that killed
information was not being conveyed in any other
Myrtis. For blind and
way. The team called for a tactile re-production of the
visually impaired visitors,
grave, so that people with loss of vision understand
tactile representations of
the nature of the pit. This led to the construction of
the microbes have been
a scaled-down miniature of the pit in which Myrtis
Figure 4. Tactile
was found. Now, all visitors, irrespective of age representations of
or ability can get a good understanding of the pit the Salmonella typhi
through touching the 3-D model. bacterium
© Terra Haptica - #5 June 2015686
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Anastasia Kalou (Greece)
Designing in Collaboration with Blind and Visually Impaired People
to Produce Inclusive Exhibitions
made available as well as the 3D representation of immediately a number of things became apparent.
a magnified tooth. As it was expected the exhibition has now “opened”
In the last unit –the face to a greater number of visitors like younger people
reconstruction– in the original format, Myrtis' facial or older visitors with deteriorating vision. Very
reconstruction was only depicted through a video. quickly it became evident that the new tactile
The later addition of the four basic stages in life-size exhibits were very popular with young children for
moulds, gives everyone the opportunity to get the whom touch is extremely important.
feeling of the prosthetic muscles and the technique Another thing which became apparent was
used for the reconstruction. that first-time disabled visitors felt more confident
to visit the exhibition. Because of the involvement
of the focus group, something which was
disseminated to local disability groups where the
exhibition travelled to, adaptations to the exhibition
were considered to be for real and not just publicity
stands. Consequently first-time visitors felt more
confident to visit.
Finally it became apparent that the
interaction between visitors with different access
requirements and different needs and wishes in
general put forward issues of human diversity
and how it can be accommodated by museums.
Consequently hosting museums were prompted
to consider adjustments towards inclusivity for
their permanent collections. Also museums that
hosted the exhibition begun to implement reach-
out programs even after the exhibition had ended
by organizing tours for their permanent collections
Figure 5. Learning about the techniques of the facial for visitors with visual and hearing impairments.
reconstruction through touch Apart from these direct outcomes that we
identified after the adaptation of the exhibition
Other interventions include the audio took place, we can also identify a number of
description of all tactile exhibits, to better articulate more indirect ones as a result of the exhibition
the young Athenian's journey. Material is available becoming inclusive. As we have said in the
in braille and large print, as are questionnaires, beginning, museums are an integral part of society
to gain feedback and suggestions for ongoing and they are institutions in the service of society.
improvements. Consequently a museum’s activities have an impact
However in order to provide visitors with to the people that partake to these activities,
an inclusive museum experience rendering the which is then transferred to the community and in
exhibition as such accessible is not sufficient. A the end to society at large. “The outcomes for the
holistic approach dictates considering other aspects individuals might include increased self-esteem, the
in the museum experience such as the museum acquisition of new skills, opportunities to explore a
staff. sense of identity or belonging or increased personal
Once again with the help of the focus group confidence. In Community’s fields the outcomes
we put together a set of guidelines and organized include community capacity building, whereby
a number of disability awareness staff training communities learn competencies and develop
sessions. It is important that museum staff make both the ability and confidence to change. Through
audiences feel welcome and with their general museum initiatives, there are also examples of
conduct support the implemented adaptations communities being empowered to participate in
towards inclusivity. local democracy and developing increasing self-
Once the adapted version of Myrtis determination. The third category of impact … is
opened to the public on October of 2011, almost more difficult to pin down. It relates to influences
© Terra Haptica - #5 June 201587
Anastasia Kalou (Greece)
Designing in Collaboration with Blind and Visually Impaired People
to Produce Inclusive Exhibitions
on not only those identified as disadvantaged,
discriminated against or at risk of exclusion but
also wider 'mainstream' public. Whereas individual
and defined communities in specific geographical
locations the wider societal impact of museums
and galleries is much broader and less tightly
defined in terms of audiences. Museums …can help
to engender a sense of belonging and affirmation
of identity for groups which may be marginalized.
They can envision inclusive societies and encourage
mutual respect between different communities,
tackle discrimination and challenge the stereotypes
that feed intolerance. These kinds of outcomes
are delivered through thoughtful approaches to
collection, display, programming and interpretation
which reflect the full diversity of society”5.
CONCLUSIONS
Given that the philosophy behind the
contempo-rary museum dictates that a museum
should be open to the public and in the service of
its society, and also taking into account that today’s
societies are comprised by a multitude of diverse
characteristics, it becomes evident that to have
inclusive exhibitions one should focus on visitors’
needs desires and expectations. Our methodology
to do so follows the ideas and principles of
Constructivism and Inclusive Design. We work
closely with focus groups to identify barriers and
put forward ways to overcome them. Finally we
realized that by working closely with focus groups
and rendering a museum exhibition inclusive sparks
a chain reaction in society at large, where all end
users benefit, even those who were not within the
scope of our primary concerns.
- TH
5. Dodd, J. Sandell, R. (2001.). Including Museums, Perspectives
on Museums, Galleries and Social Inclusion, Leicester: Research
Centre for Museums and Galleries, pp.26-32
© Terra Haptica - #5 June 2015888
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Anastasia Kalou (Greece)
Designing in Collaboration with Blind and Visually Impaired People
to Produce Inclusive Exhibitions
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• Darcy, S. Cameron, B. and Pegg, Sh. (2010). Accessible tourism
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• Dodd, J. Sandell, R. (1998). Building Bridges, Guidance for
Museums and Galleries on Developing New Audiences, London:
Museum and Galleries Commission.
• Dodd, J. Sandell, R. (2001). Including Museums, Perspectives
on Museums, Galleries and Social Inclusion, Leicester: Research
Centre for Museums and Galleries.
• Falk, J. (2009). Identity and Museum Visitor Experience,
California: Left Coast Press.
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D.C.: Whaleback Book.
• Gardner, H. (1983). Frames of Mind, the Theory of Multiple
intelligences, London: Fontana Press.
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Education in Museums No. 16, p21-23, Group for Education in
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• Hein, G. E. (1991). Constructivist Learning Theory, The Museum
and the Needs of People, CECA (International Committee of
Museum Educators) Conference, Jerusalem Israel, 15-22 October
1991.
• Hodder, I. (1986). Reading the Past, Cambridge: Cambridge
University Press.
• Hooper-Greenhill, E. (1992). Museums and the Shaping of
Knowledge, London: Routledge.
• Ionides, J. &Howell, P. (2005). Another Eyesight, Multi-sensory
Design in Context, Ludlow: The Dog Rose Press.
• Kavanagh, G. (ed.) (1991). The Museums Profession, Leicester:
Leicester University Press.
• Partington-Sollinger, Z. & Morgan, A. (2011). Shifting Perspec-
tives, Opening up museums and galleries to blind and partially
sighted people, London: RNIB.
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© Terra Haptica - #5 June 201599
Brief history of Les Doigts Qui Rêvent our TiB. A Braille according the official standards,
durable and very comfortable.
Les Doigts Qui Rêvent (Ldqr=Dreaming
Fingers) was created as a nonprofit organization In 2008, we offered a new collection for
in 1994 by Philippe Claudet, a Teacher of Children parents and professionals consisting of translation
with Visual Impairments (TVI), and four parents of essays from American, English, Danish, Dutch,
of blind children, with the aim of providing tactile German, Italian, Portuguese, Spanish, Swedish...
illustrated books (TiB) for partially sighted and blind There are few works in the field of visually
children and we wanted our TiB to the sharable impairment in each country, but gathering them as
between sighted and visually impaired, and to be much as we can, we have now useful international
as beautiful, and as well made as the ones for the resources for parents and professional. Today we
sighted. In the 90s in France, there was no one have 35 titles on our catalog.
producer and a blind child could arrive in 1st Grade In 2010, we launched Terra Haptica with the
without having had any books adapted to his/her idea to provide a way for researcher, professional
sense modality. and artist to meet, all working in the field of visual
In 1996, our social manufacturing impairment and with an international dimension.
workshop was opened, employing people with Since 2013, the articles are subject to a
social disabilities. reading committee (double-blind evaluation) and
Our main activities are: design and production Terra Haptica is attached to the ACTE Institute CNRS
of TiB (early intervention, kindergarten, youth 8218, University of Paris 1 - Sorbonne.
literature, teenager’s novel, artist TiB), workshops In 2013, we were asked by several countries to
about “difference” for the sighted, research about produce TiB for them. Today, they include USA and
tactile pictures, training (on design and production) Germany.
and international projects.
In 2000, we created Tactus, the European Since 1994, Ldqr created and adapted more
competition of TiB, with Belgium, Italy, and United than 230 titles of TiB that is around 40 000 copies of
Kingdom. Our goal was to stimulate creation, TiB.
production and use of TiB in Europe. In 2001 Finland 45% of our TiB are distributed in schools (inclusive
joined. In 2005, Tactus became Typhlo & Tactus and and specialized) and to families,
Germany, Netherlands, Poland and Czech Republic 45% to public libraries (cultural inclusion)
joined. And in 2009, T&T became international (21 10% to fans of beautiful books (because our TiB are
countries) and partner with ICEVI. considered as art books).
2000-2013:
-622 entries (after national selection) Our TiB:
-17 entries awarded by an international jury =a long time of design and tests
-7689 copies produced in 7 languages and =2 to 8 hours of handwork
distributed all over Europe at 15,25€ (with the =texte in large print & Braille
financial support of the EU, the French Culture =illustrations in material cut and pasted
Minister and the Burgundy Region). =sharp contrast in textures and colors (low vision)
-27 800 posters distributed all over the world. =an ergonomic binding (finger reading)
Next competition in October 2015: =as beautiful and well made as books for sighted
www.tactus.org
In 2002, Ldqr settled the Amandine Center Les Doigts Qui Rêvent is a small team of 6
for research on tactile pictures. Today Ldqr has people Our manufacturing workshop employs 10
partnership with 5 universities (France, Switzerland, persons.
Italy).
In 2004, we published our first artist's
TiB, "Ali ou Léo?" and since we have published 10 For any information contact
other titles in this collection. The same year we Philippe CLAUDET
developed a new technique of depositing Braille philippe.claudet@wanadoo.fr
on any support, which has since been used in all www.Ldqr.org100
Contents of the 4 first Terra Haptica
issues
* original text in French Professional/Professionnels
** original text in English
For # 4, the previous sections Research/Professional/Art have -Guide à l’usage des psychologues qui s’interrogent
been replaced by Research/Report of Experience. sur leur pratique auprès d’enfants déficients visuels
accueillis en institution
Guide for Psychologists Who Asked Themselves
TERRA HAPTICA #1 About Their Practice with Visually Impaired Children
(Sept 2010, only in French) in Special Institutions*
Stéphanie Frileux (Psychologist, Rehabilitation
Research/Recherche Center of Ressource, La Réunion Island, France)
-Images à toucher: réflexions sémiotiques sur les -Un album tactile : du projet sur le terrain à l’édition
images tactiles destinées au public aveugle.* A Tactile Book: from Designing in the Field to
“Tactile Images: Semiotic Reflections of Tactile Publishing*
Images for the Blind Françoise Le Gal, Mireille Lafleur (Educators,
Dannyelle Valente, Bernard Darras (ACTE Institute Montéclair Institute, France)
CNRS 8218, University of Paris 1 - Sorbonne, France) -Mon projet de CAEGADV : un album... tactile
Paper available in english on website: http://Ldqr. My Project for my TVI Diploma: a Book… to Touch*
org/en/researches.php Laura Souprayen-Ramaye (Teacher of Students with
-Le dessin chez l’enfant malvoyant et chez l’enfant Visual Impairments (TVI), Rehabilitation Center of
aveugle* Ressource, Réunion Island)
Drawing in Blind and Visually Impaired Children -Créer une bibliothèque tactile en Suisse romande
Annie Vinter, Viviane Fernandes (LEAD-CNRS 5022, pour faire face au manque de moyens d’accès à la
University of Bourgogne, France) lecture
Paper available on website: http://Ldqr.org/en/ To Create a Tactile Library in French-Speaking
researches.php Switzerland to Counter the Lack of Reading Access*
-Effets de la lecture conjointe sur l’appréhension Dominique Vallat, Anne-Lise Schwab (TVI,
d’un livre tactile illustré par de jeunes enfants Switzerland)
aveugles précoces* -oUkoU PATA, la première collection internationale
The Effect of Joint Reading on Tactile Comprehension d’albums tactiles en tissus
of a Tact-Illustrated Book by Early Blind Children Oukou Pata, First International Series of Tactile
Anne Theurel, Edouard Gentaz et al. (LPNC-CNRS Fabric Books
5105, University of Grenoble, France ; University of Lynette Rudman, Philippe Claudet & Pietro
Padova , Italy; Robert Foundation of Padoue, Italy & Vecchiarelli (I Read With My Hands, South Africa;
Les Doigts Qui Rêvent, France) Les Doigts Qui Rêvent, France & National Federation
Paper available in English on website: http://Ldqr. of the Blind, Italy)
org/en/researches.php
Art
-Adaptation d’un test psychotechnique pour
personnes déficientes visuelles -La vue n'est que la peau du monde
Adaptation of a Psycho-Technical Test for Visually The Eyes is Only the Skin of the World*
Impaired People* Jenny Feray (Teacher and Photographer, University
Catherine Bâton (Psychologist, Paul Guinot of Amiens, France)
Association, France)You can also read
