s and culture - accessgreece · of el diseño háptico a paradigma diferente (2011) is particularly...

Art and Culture: new inclusive territories

Edited by Dannyelle Valente & Philippe Claudet

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© Terra Haptica - #5 June 2015

Terra HapticaInternational Journal of Visual Disability and Inclusive Practices

The international journal Terra Haptica, created by Les Doigts Qui Rêvent (Dreaming Fingers) in 2010, associated since 2012 with the ACTE Institute (CNRS 8218 - University of Paris 1 - Sorbonne), focuses on the socio-cultural, communicational and cognitive aspects of the visual impairment. Supported by a scientific committee, each thema-tic issue is composed of two sections: a section de-voted to Research, in which articles are submitted to a reading committee; and a section devoted to “Report of experience”, providing a voice for practi-tioners and users.

Each issue is published in English and in French (in French some months after the English one).

Founder & director: Philippe Claudet

Scientific coordination of this issue: Dannyelle Valente

Scientific Committee:Bernard Darras, Université Paris 1, Panthéon-Sorbonne / FranceCharles Gardou, Université Lumière Lyon 2 / FranceÉdouard Gentaz, Université de Genève / SwitzerlandYvette Hatwell, Université Pierre Mendès-France, Grenoble / FranceVirgínia Kastrup, Universidade Federal do Rio de Janeiro / BrazilBertrand Verine, Université Montpellier 3 / FranceAnnie Vinter, Université de Bourgogne / FranceSuzette Wright, American Printing House for the Blind / USA

Reading Committee:

Anneke Blok, Royal Dutch Visio / NetherlandsValérie Chauvey, Researcher of Sociology / FranceMaria Clara De Almeida Carijó, Universidade Federal do Rio de Janeiro / BrazilGustavo Ferraz, Universidade Federal Fluminense / BrazilAnna Galiano, Université Lumière Lyon 2 / FranceJosée Lanners, Fondazione Robert Hollman / ItalyNathalie Lewi-Dumont, INS-HEA / FranceFabienne Meyer, Hochschule der Künste / BerneEva Rolim, Universidade Federal de Pernambugo / BrazilMariana Schmitz, Université Lumière Lyon 2 / France Bruno Sena Martins, Universidade de Coimbra / PortugalAnne Theurel, Université de Genève / SwitzerlandArnaud Witt, Université de Bourgogne / FranceSuzette Wright, American Printing House for the Blind / USA

Graphic chart: Layout: Proofreading:

Opinions expressed in signed articles are those of the authors. Likewise any advertisement is the responsability of the advertiser. Neither necessarily carries the endorsement of the publisher or the Editorial Advisory Board. All rights reserved. This journal may not be reproduced, in whole or in part, including illustrations, in any form (print, photocopy, microfilm or electronic).

Les Doigts Qui Rêvent – Journal Terra Haptica11 bis, rue de Novalles, BP 93, 21240 Talant,

France+33 3 80 59 22 88

[email protected]

Solène NégrerieMathilde Pilard-Joyault, Anaïs BrardPhilippe Claudet, Suzette Wright, Dannyelle Valente

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EditorialDannyelle Valente

Aesthetic Accessibility and Tactile Images of Works of ArtRaquel Guerreiro, Virgínia Kastrup (Brazil)

Communication of the Five Senses in Brazilian Cultural Spaces: Strategies of Mediations and Accessibility for People with their DifferencesViviane Sarraf (Brazil)

The Inclusion of People with Visual Impairments in Art Museums, a Study Case in the Modern Art Center in LisbonPatrícia Roque Martins (Portugal)

Participatory Research for the Creation of Haptic DesignsAngelica Martinez de la Peña (Mexico)

Quebec Cultural Institutions in Visual Handicap SituationsClaire Nigay (Quebec)

Message in Braille : a Poetry Book to Inspire the World of the Visually ImpairedBruno Brites (Portugal)

The Inner Look: the Visually Impaired and their PerceptionsFabiana Vinagre (Brazil)

The Golden Age - Painting for All. Making the Previously Unheard, Unseen and Unimaginable AccessibleGregor Strutz (Germany)

Designing in Collaboration with Blind and Visually Impaired People to Produce Inclusive Exhibitions Anastasia Kalou (Greece)

The Golden Section or the Science Day as an "Inclusive Day" - The Exhibition of Audio Tactile-PicturesJavorka Milković (Croatia)

Brief history of Les Doigts Qui Rêvent

Contents of the first 4 issues of Terra Haptica

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CONTENTS

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EDITORIAL

Art and Culture: new inclusive territoriesDannyelle Valente1

In the first chapter of the book Exercices de voir et du non-voir : art et rechercheAvec les personnes en situation de handicap visuel, (Moraes & Kastrup, 2015, 1rst ed. 2008), Marcia Moraes reports of her experience in participative observation with a theater workshop involving young people with visual impairments in Brazil. On this occasion, the group was preparing a show. Moraes attended the rehearsals, and a young girl who played the role of a ballet dancer caught her attention. Despite her great motivation, the young girl failed each time she tried to reproduce the movements and the dance steps requested by the trainer: “Raise your arms”, “Turn lightly”. Critics intoned after each attempt, "Arm should not be lifted like this, attention, make your belly flat, no, this is not how a ballerina turns, attention to your feet, ballerinas are walking on tiptoes” (Moraes, 2015, p.27). The young girl tried in vain to repeat the actions announced by the sighted trainers but without actually incorporating them. The visual rules set out for "what is a good dancer" had no meaning at all for her. But the girl persisted because she wanted to play her role well. She wanted to be a beautiful dancer both for herself and for the sighted audience. At this point in the story, Moraes draws the reader's attention to the "and" that is revealed in this context to be of great importance: the girl wanted to be a beautiful dancer for herself "and" for the sighted "... with this simple ‘and’ the girl sought to make clear that the dancer expected by the trainers did not include the blind, did not allow the ‘and’ to come on stage. Indeed, it was rather the logic of ‘or’ that dominated in this case, that is to say, as long the dancer presented herself exclusively according to the criteria of the

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 disjunctive conjunction, a conjunction of exclusion, of alternative; it separates, it segregates” (p.27). The hegemony of the visual in intervention practices for blind individuals, highlighted by Moraes in this story about dance, is even more visible in attempts to make the contents of visual culture accessible to blind people. This story takes us back to an experience that was, as for Moraes, revealing in terms of issues and questions that guide our research on tactile pictures (Valente & Darras, 2013; Valente, 2012). In 2007, we participated in a workshop about reading tactile pictures proposed by a museum. The raised line drawings embossed on paper represented the details of an historic building. Mediators guided tactile perception of the pictures: "At the top you have the dome, beneath the front door" and so on. Each person who was blind was sitting next to a sighted person who was to play a leading role in the understanding of the content, guiding the other’s fingers on the parts of the images corresponding to those described by the main mediator. At one point in the session, a blind person spoke. She welcomed the communication experience and sharing that was proposed but regretted that the pictures were still very hard to read by someone who does not share this perceptual universe. This intercession encouraged other participants to speak and testify as to the task’s difficulty. The cognitive overload required to understand the visual rules of transposing from 3D to 2D transformed what should have been a moment of discovery and pleasure into a real headache. That day, these people came to the museum. This is not a small task since going somewhere entails, even today, for a person with disabilities, that they set up logistic (taxi, carer, a companion, map, plan to navigate the metro with few sound or tactile landmarks, etc.). Why were they there? Certainly from a desire to be in a place of accessible 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. [email protected]

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cultural sharing, exchange. But faced with content made BY and FOR sighted, they claimed the same "and" of the ballet dancer. Once again, the approach is based mainly on the disjunctive logic of "or": either these people learned to decipher the rules of visual representation proposed in these pictures, or they failed in the project of sharing. Like the ballet dancer, they demanded an alternative, a type of intervention that would belong to the space between blind and sighted, not to the unidirectional path sighted for blind. This Terra Haptica #5 is devoted to the theme of artistic and cultural accessibility, presenting the research and field experience of those who question this hegemony of the visual in projects attempting to mediate art, culture and books for people with visual impairment. Their work offers new methods of intervention, new services or products which are closer to the perceptual experience of blind people while at the same time, serving to create bridges of communication and sharing between sighted and blind. The Brazilian researchers, Raquel Guerreiro and Virginia Kastrup, present an analysis of tactile reproductions of works of art for persons who are blind. It is shown that the process of decoding tactile reproductions of visual content in museums restricts the discovery of artworks to its informative character. The article presents ways to foster truly aesthetic accessibility to blind people, particularly through contemporary art. "By removing it [art] from the place of being something to be appreciated by the eyes to something that can be felt by the entire body, contemporary art has elements of diverse sensory sources that, merged or not, allow us to play with our senses and explore the works in an inventive manner. (Guerreiro & Kastrup, in this issue, p.16) Based on studies in communication and semiotics, the article of Viviane Sarraf, researcher and director of Museus Acessiveis Inc., analyzes the accessibility strategies of museums and cultural centers. First, the author presents the state of the literature regarding sensory communication and a discussion about the dominance of vision in Western culture. Four examples are then presented of museums and cultural centers in Brazil and Europe which are exploring sensory communication in their mediation practices. Continuing the theme of museums and new inclusive practices, the article by Patricia

Roque Martins presents a case study conducted at the Modern Art Centre of the Calouste Gulbenkian Foundation in Lisbon, with a group of people with visual impairments. The participants agreed there are challenges in how to "see differently" the works of three Portuguese artists. The author presents some strategies and multi-sensory mediation materials developed to improve the meeting between visitors and the works of art. In the remainder of this issue, the Canadian research conducted by Claire Nigay as part of a PhD in Information Science at the University of Montreal seeks to identify the socio-cultural and physical barriers yet to overcome for a true inclusion of people with visual impairment in cultural institutions. Her scientific approach is based on the critical approaches coming from the Disability Studies and the emancipatory research approach that gives a central place to the users (considered as experts of use). The steps of the data collection include participative observation of use situations and focus groups. The next article of this section comes from Mexico. Angelica Martines de la Pena, also author of El diseño háptico a paradigma diferente (2011) is particularly devoted to the problem of designing raised line drawings for blind people. The author presents the first results of research supported by her PhD investigating whether drawings of sighted children could provide useful elements for the design of tactile drawings for blind people. According to Angélica Martines de la Pena, the way blind people try to represent objects in drawings has some similarities to the graphic patterns repertory of children. Some drawings produced by sighted children are presented as well as the comments of blind people about them. This section closes with a research and de-sign project. As part of a design master at the Uni-versity of Dundee, Bruno Brites designed the book "Message in Braille", an adapted version in Braille of the book of poems Messagem by Fernando Pes-soa, one of the greatest Portuguese poets. The pro-ject "Message in Braille" is earned an Honorable Mention in Books Competition from the Internatio-nal Design Awards 2013 and recently the 1rst Prize Engenheiro Jaime Filipe 2014 from the Portuguese National Institute for the Rehabilitation. The book was tested with users through interviews and focus groups.

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Report of experience

One of the major ambitions of the journal Terra Haptica is to be a space for exchange and scientific cooperation in the field of visual disability. The journal was created in answer to the need to strengthen the dialog between research and practice and to be able, finally, to connect the voices of all of the actors and experts in the field of tactile perception, image, art, language and the science of education. Its priority is to create a synergy among different actors whose scientific work and field experiences contribute to improving inclusive practices involving books, culture, and education. The section titled “Report of Experience” gives a voice not only to practitioners, educators, and users but also to cultural mediators, artists, and illustrators who work in designing new devices, ser-vices and practices intended for blind people. The first article of this section signed by the Brazilian Fabiana Vinagre, presents a project fea-turing a multi-sensory “object-book” constructed from the testimonies and feelings of blind people based on poems of Manoel de Barros, a great Bra-zilian poet. The illustrations in this book invite the reader to a true sensory discovery. The next contribution in this section presents the article of Gregor Strutz about the multi-sensory guidebook "The Golden Age". The book is presented as a pioneering work in the field of Design for All in Germany. The aim of this project is to give persons who are blind the opportunity to discover the works of art as independently as possible. “The book’s subject matter has been uniquely arranged, designed and dovetailed for being looked at, read, touched and/or listened to in one exemplary art book.” (Strutz, in this issue, p.74) The third field experience comes from Greece as part of a cultural accessibility project led by Anastasia Kalou founder of the consulting firm and Access Greece design whose mission is to promote access to art and culture to people with disabilities. This article presents particularly the 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 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.

This accessible exhibition project is based on the principles of inclusive design seeking not only the benefit of people with disabilities but for all visitors in general. The last article of this section presents an educational project "Sounds around us" led by Javorka Milković at Pećine Elementary School in Rijeka, Croatia, under the leadership of "The Golden Section" association. This project, presented on The Science Day, counted with the participation of blind, partially sighted and sighted children. In a first step the blind children (10-15 years) have been working around the sounds and produces tactile pictures. Workshops with groups of sighted children were then made around the same theme. The final step was the presentation of the children's work during The Science Day.

In 2013, at the launch of our first international call for contributions for the Terra Haptica journal, we received an impressive number of proposals from all over the world: Chile, Mexico, Canada, Brazil, India, Croatia, Germany, Portugal, France, and the USA. Two issues have been published as a result of this first call for papers: this issue on the theme of art and culture and issue #4 devoted to the topic of tactile pictures and education, published in 2014. Terra Haptica was born to be a space of exchange, of dynamic international synergy around the topic of visual impairment and inclusion. The variety and richness of the research and work experience presented in five issues of Terra Haptica is for us proof that we are on the right path. Terra Haptica is now inhabited by several nationalities and an increasing number of viewpoints and disciplines which meet and gather for a common goal: to build a new society, multicultural and multi-sensory, able to include while respecting the cognitive, cultural and semiotic individualities of everyone.

We wish you a very rich and successful journey in Terra Haptica.

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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.

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Anastasia Kalou (Greece)

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 [email protected]/ www.accessgreece.com

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INTRODUCTION

This paper will first examine the shift over the years of museums, from being passive galleries of display to becoming active institutions intergraded within society and the consequent emphasis given to the visitors’ experiences, who now become the centre of attention. Museum audiences are members of society, and so we will proceed to examine the diversity it characterizes them and the resulting plurality of their needs and wishes, as far as exercising their right to equally participate in cultural or other activities. Then we will briefly discuss the theories under lying our work and proceed to lay out our methodology to design from scratch or adapt exis-ting exhibitions to become inclusive. Finally we will conclude that producing inclusive exhibitions benefits society at large.

MUSEUMS

Museums have always served society by being the guardian keepers of cultural heritage, and places of informal learning. However the way their functions are being put forward changes over time in accordance with the socioeconomic and political context within which museums have to operate. Up and until the 70s museum practice was dominated by the curator “conductor”. The curator had the responsibility of what was to be displayed and on how it was to be displayed within a museum collection. The importance of exhibits was determined by the curator in accordance to their classification and their position in the taxonomic research. This approach to museum practice was restricted by academic boundaries and focused on the relationship between the curator and the exhibits. In this approach visitors were very much left out of the equation. During that time museums fulfilled their functions by being galleries of display restricted by the academic barriers defined by the relationship between the curator and the exhibit. As the socio-economic and political context changes and especially during the 90s there is a shift in museum philosophy away from the notion of a passive museum as a gallery of display towards the notion of a museum as an active institution which becomes an integral part of society. There

are two aspects underling this shift in museum philosophy. First is the aspect of a more open society that recognizes diversity and promotes inclusion. Second there is the aspect that exhibits are subject to numerous interpretations which can be presented to visitors in a variety of formats. The museum is no longer constraint by academic barriers. The curator is now a “composer” who has to balance the relationship between museum professionals, the different interpretations of exhibits and the visitor. This new philosophy is well represented in what the International Council of Museums (ICOM) defines to be a museum. According to the ICOM statues adopted during the 21st General Conference in Vienna, Austria in 2007, a museum is a non-profit, permanent institution in the service of society and its development, open to the public and which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study, and enjoyment. So the museum to successfully fulfill its purposes in serving society, it has to be able to identify the characteristics and the particulars of the society within which it has to operate. It has to effectively interact with society and communicate in a comprehensible way to all its visitors the diverse and multiple interpretations of its exhibits.

SOCIETY AND DIVERSITY

In serving society, museums should be inclusive and accessible to all, they should therefore ensure that information access as well as physical access is appropriate and in accordance to the requirements of all potential visitors. Society at large is comprised by a multitude of diverse characteristics. For the purposes of our analysis we will focus on the people that comprise a society, in other words we will focus on the potential visitors, the audience of a museum. Looking closely to the members of society we will very easily realize that they are people of different age, size and ability, they are people of different cultural, economical and educational background and that they follow different religions or at some instances no religion at all. It is to this diverse audience that contemporary museums have to effectively communicate the interpretations of their exhibits.

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Moreover today’s societies are characte-rized by increasing percentages of elderly people, and of people which demonstrate some form of disability. It is estimated that over the last two de-cades the level of disability throughout the world has increased to now average some 10% of the population. Moreover in most Western developed nations average rates of disability are higher and vary from 15% to 20% of the population.2 This is mainly a direct consequence of an increasing rate of the ageing population and the fact that western developed nations demonstrate a higher level of acceptance of community diversity. So museums should be inclusive to this significant part of the population because in doing so they are not only fulfilling their obligation to serving society, but also because they adhere to the United Nations and European Union’s resolutions. Article 30 of the United Nations Convention on the Rights of Persons with Disabilities as well as the European Union’s European Disability Strategy 2010-2020, clearly state that disabled people have the right to take part on an equal basis with others in cultural life, including leisure activities, and among other things they should enjoy access to cultural materials in accessible formats, and as far as possible, enjoy access to monuments and sites of national cultural importance.

UNDERLYING THEORIES

But how can this be done? How can museums ensure access to all their visitors? And at the same time effectively fulfill their role as an institution of society which provides education and enjoyment? The answer to these questions, among other things, lies behind the way museum professionals design and produce exhibitions. In producing exhibitions, museum professionals should consider the questions of what is to be exhibited, and how is to be exhibited. Also they should address the question how potential visitors will acquire knowledge and learn by visiting an exhibition. But more importantly they should focus on, and carefully determine their potential audiences.

As we said before, visitors come in different ages, sizes and abilities and have a diverse cultural, economic, educational and religious background. Consequently there isn’t just only one way to cater for their needs and wishes. Museum professionals should place potential visitors in the center of their attention. In order to effectively reach out to them, they should provide them with the opportunity to participate and take information in, via different means according to their particular needs and wishes. These very questions are the driving force in our work to design from scratch or to adapt existing exhibitions, as is the case of interest of this paper. To guide this driving force and to assist us to find answers to the questions we put forward we follow the principles of two theories from two very different areas of practice. As far as the epistemological aspect is concerned we base our work on the principles of Constructivism, and as far the design aspect, we base our work on the principles of Inclusive Design. Despite the fact that you can describe Constructivism as having a theoretical scope while Inclusive Design a more practical one, the two theories share one very important common ground. They both put in the center of their analysis the human being, in 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 be designed. It is not the purpose of this paper to explain these two theories, but before we proceed to lay out our methodology towards inclusive exhibitions and the resulting outcomes, we will briefly discuss their principles as far as our objectives in designing exhibitions are concerned, and the common ground they share. Over the years the term Constructivism has been used to refer to different fields and as it evolved it acquired a number of different aspects. However for the purpose of our work we consider Constructivism to be a learning theory and we focus on a number of core ideas which more or less are common to all constructivist theorists. “Within the large family of constructivist learning theorists, there are some ideas that more or less all subscribe to. Hence they may be seen to be a mild version of constructivist claims." Here are some of these core ideas, partly based on the analysis of Taber (2006).

2. Darcy, S. Cameron, B. and Pegg, Sh. (2010). Accessible tou-rism and sustainability: a discussion and case study. Journal of Sustainable Tourism, First published on: 23 April 2010 (iFirst).

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1. Knowledge is actively constructed by the learner, not passively received from the outside. Learning is something done by the learner, not something that is imposed on the learner.2. Learners come to the learning situation (in science, etc.) with existing ideas about many phenomena. Some of these ideas are ad hoc and unstable; others are more deeply rooted and well developed.3. Learners have their own individual ideas about the world, but there are also many similarities and common patterns in their ideas. Some of these ideas are socially and culturally accepted and shared, and they are often part of the language, supported by metaphors, etc. They also often function well as tools to understand many phenomena”. 3

Constructivism asserts that our learning is not a result of preconceived platonic forms that independently exist in our minds, but that it is the result of our experiences and our reflection on these experiences. The learner constructs knowledge on the basis of what he/she experiences and no knowledge exists outside the learner. The learner takes a central position and through a process of a hands-on interaction with the real world creates his/her own knowledge. Thus learning becomes an active and continuous process. Knowledge as such is not any more the focus of attention but only a product of the process of knowing. Constructivism theories focus on the learner in order to better accommodate for him/her the whole learning process he/she is engaged in. Moving away from the theoretical level of learning and on to the practical level of design, we find that the principle of inclusive design place in the center of attention the human being who is not a learner any more but he/she becomes the user. The principles of Inclusive Design were originally formulated by architects as a result of their efforts to enhance accessibility of the build environment. It may be argued that Inclusive Design is more of a set of rules or a code of practice rather than a formal scientific theory. Never the less it certainly is a valid tool for our work. As defined by the Centre for Accessible Environ-ments (CAE), Inclusive design places people at the heart of the design process, responds

to human diversity and difference, offers dignity, autonomy and choice, and finally provides for flexibility in use. Over the years, the notion evolved beyond the build environment and it is widely used for the design of products or services. Inclusive design calls for the designer to take a holistic approach towards his/her design and takes into consideration during the design process the end user. Whatever it is to be designed, be it a building, a product, a service or an exhibition, as it is in our case, it is not any more the center piece of the design process, it is viewed as a part of a wider correlation between the end user, the designed outcome, and the way the two interact within their environment. The Center of Universal Design in North Carolina sets out the core principles of Inclusive Design to be the following:1.Equitable use. The design is useful and marketable to people with diverse abilities.2.Flexibility in use. The design accommodates a wide range of individual preferences and abilities.3. Simple and Intuitive. Use of the design is easy to understand, regardless of the user’s experience, knowledge, language skills, or current concentration level.4.Perceptible information. The design commu-nicates necessary information effectively to the user, regardless of ambient conditions of the user’s sensory abilities.5.Tolerance for error. The design minimizes hazards and adverse consequences of accidental or unin-tended actions.6.Low physical effort. The design can be used efficiently and comfortably and with a minimum of fatigue.7.Size and space for approach and use. Appropriate size and space is provided for approach, reach, manipulation, and use regardless of the user’s body size, posture, or mobility.”4 It is evident that all the above principles focus on the user and on how the final design will better accommodate his/her needs and wishes. Moreover it is by now widely accepted that to follow the principles of universal design yields the desired results for the targeted end user group, 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 (in print), p.3.

4.http://www.ncsu.edu/ncsu/design/cud/about_ud/udprin-ciplestext.htm

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outcome is universally appreciated, and suitable for all users, even those that it was not originally designed for. Museums as institutions of informal learning in the service of society aim to reach out to all members of society, irrespectively of their abilities. Their permanent collections and temporary exhibitions present a perfect ground to combine and put to practice the two theories we have briefly explained above. During the course of our work we employed the principles of both Constructivism and Inclusive Design in various projects. The exhibition “People and Things” is among them. The exhibition has been designed in order to include blind and visually impaired visitors. It has been organized by the Directorate of the Municipality Gallery and Museums of the Cultural Organization of the Municipality of Athens. Another project where the principles of both Constructivism and Inclusive Design were employed was “The Edge”. The aim of the project was to present, as far as possible and through indicative approaches, the way that people with sensory and cognitive disabilities experience public space (i.e. the system of built and un-built elements) and the way that they function within it, setting their own boundaries or "edges". The exhibition was organized by the Christian and Byzantine Museum of Greece. For the purpose of this paper we will focus on the adaptation of an existing travelling exhibition titled “Myrtis: Face to Face with the Past”.

THE 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 from the teeth revealed the cause of the sudden

death of thousands of citizens, including that of Pericles, the creator of the Athenian “Golden Age”. The exhibition focused on three thematic units: the excavation, the skeletal and dental study, and the facial reconstruction. These three units formed the basis both of the museological and the museographic research. The exhibition travelled to four different museums in Greece and abroad for a year and a half, each time generating extreme interest from the public. However visitors comments and suggestions coupled with the organizing team's desire for the exhibition to become accessible to blind and visually impaired people, led us to proceed and consider how would that be possible.

METHODOLOGY AND OUTCOMES

So in order to make the necessary adaptations we first identified our target group as blind and visually impaired people. Consequently we formed a focus group representative of our target group to guide and assist us throughout the adaptation process. The focus group was a 10-strong team carefully selected in order to contribute in terms of diversity through their gender, age, social, economic and educational background, as well as their disability. This team played a decisive role in the adaptation and enrichment of the exhibition. Our close cooperation spanned a whole year of structured three-hour weekly meetings, during which we approached the exhibition holistically, through workshops, employing 3-D models and mock-ups as well as audio material and of course visiting the actual exhibition.

Figure 1. Employing 3-D models and mock-ups during our focus group workshops

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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 and with the use of 3-D models and mock-ups the group decided upon the proposed optimum lay-out to best satisfy the needs and desires of all. However some compromises had to be made as far as the proposed optimum lay-out was concerned. Firstly, because of budget restrictions. Secondly, because designing a traveling exhibition not only has additional size and volume restrictions but also because of the adaptability considerations 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. For example, in the first thematic unit –the excavation– there was frequent mention of the communal grave where little Myrtis was found. However, apart from a photo of the pit during excavation, an element that had been considered sufficient for sighted visitors, this crucial bit of information was not being conveyed in any other way. The team called for a tactile re-production of the grave, so that people with loss of vision understand the nature of the pit. This led to the construction of a scaled-down miniature of the pit in which Myrtis was found. Now, all visitors, irrespective of age or ability can get a good understanding of the pit through touching the 3-D model.

Moreover, initially, all mention of Pericles who also perished during the same plague that killed Myrtis, was through photographs and the accompanying text, and this was also true of the grave offerings found near the bodies. The addition of 3-D copies of the grave offerings and a scaled 3-D copy of Pericles head now provides visitors with the opportunity to better perceive them by touching them.

Moving to the second unit –the skeletal and dental study– visitors can now touch a microscope and see through it the Salmonella typhi bacterium that killed Myrtis. For blind and visually impaired visitors, tactile representations of the microbes have been

Figure 2. Close-up of the 3-D reproduction of the grave

Figure 3. 3-D scaled model of Pericles’ head

Figure 4. Tactile representations of

the Salmonella typhi bacterium

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made available as well as the 3D representation of a magnified tooth. In the last unit –the face reconstruction– in the original format, Myrtis' facial reconstruction was only depicted through a video. The later addition of the four basic stages in life-size moulds, gives everyone the opportunity to get the feeling of the prosthetic muscles and the technique used for the reconstruction.

Other interventions include the audio description of all tactile exhibits, to better articulate the young Athenian's journey. Material is available in braille and large print, as are questionnaires, to gain feedback and suggestions for ongoing improvements. However in order to provide visitors with an inclusive museum experience rendering the exhibition as such accessible is not sufficient. A holistic approach dictates considering other aspects in the museum experience such as the museum staff. Once again with the help of the focus group we put together a set of guidelines and organized a number of disability awareness staff training sessions. It is important that museum staff make audiences feel welcome and with their general conduct support the implemented adaptations towards inclusivity. Once the adapted version of Myrtis opened to the public on October of 2011, almost

Figure 5. Learning about the techniques of the facial reconstruction through touch

immediately a number of things became apparent. As it was expected the exhibition has now “opened” to a greater number of visitors like younger people or older visitors with deteriorating vision. Very quickly it became evident that the new tactile exhibits were very popular with young children for whom touch is extremely important. Another thing which became apparent was 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 for visitors with visual and hearing impairments. Apart from these direct outcomes that we identified after the adaptation of the exhibition took place, we can also identify a number of more indirect ones as a result of the exhibition becoming inclusive. As we have said in the beginning, museums are an integral part of society and they are institutions in the service of society. Consequently a museum’s activities have an impact to the people that partake to these activities, which is then transferred to the community and in the end to society at large. “The outcomes for the individuals might include increased self-esteem, the acquisition of new skills, opportunities to explore a sense of identity or belonging or increased personal confidence. In Community’s fields the outcomes include community capacity building, whereby communities learn competencies and develop both the ability and confidence to change. Through museum initiatives, there are also examples of communities being empowered to participate in local democracy and developing increasing self-determination. The third category of impact … is more difficult to pin down. It relates to influences

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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

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References

• Bennett, T. (1995). The Birth of the Museum, Oxon: Routledge.

• Darcy, S. Cameron, B. and Pegg, Sh. (2010). Accessible tourism and sustainability: a discussion and case study. Journal of Sustainable Tourism, First published on: 23 April 2010 (iFirst).

• 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.

• Falk, J. Dierking, L. (1992). The Museum Experience, Washington D.C.: Whaleback Book.

• Gardner, H. (1983). Frames of Mind, the Theory of Multiple intelligences, London: Fontana Press.

• Hein, G. (1998). Learning in Museum, London: Routledge.

• Hein, G. E. (1995). The Constructivist Museum, Journal for Education in Museums No. 16, p21-23, Group for Education in Museums.

• 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.

• RNIB & Vocaleyes (2003). The Talking Images Guide, Museums, galleries and heritage sites: improving access for blind and partially sighted people, London: RNIB and Vocaleyes.

• Sjøberg, S. Invited contribution to Baker, E., McGaw, B. & Peterson, P. (Eds) (2007). Constructivism and learning, International Encyclopaedia of Education 3rd Edition, Oxford: Elsevier.

• Veverka, J. (2011). Interpretive Master Planning, London: Museum Etc..

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Brief history of Les Doigts Qui Rêvent

Les Doigts Qui Rêvent (Ldqr=Dreaming Fingers) was created as a nonprofit organization in 1994 by Philippe Claudet, a Teacher of Children with Visual Impairments (TVI), and four parents of blind children, with the aim of providing tactile illustrated books (TiB) for partially sighted and blind children and we wanted our TiB to the sharable between sighted and visually impaired, and to be as beautiful, and as well made as the ones for the sighted. In the 90s in France, there was no one producer and a blind child could arrive in 1st Grade without having had any books adapted to his/her sense modality. In 1996, our social manufacturing workshop was opened, employing people with social disabilities.Our main activities are: design and production of TiB (early intervention, kindergarten, youth literature, teenager’s novel, artist TiB), workshops about “difference” for the sighted, research about tactile pictures, training (on design and production) and international projects. In 2000, we created Tactus, the European competition of TiB, with Belgium, Italy, and United Kingdom. Our goal was to stimulate creation, production and use of TiB in Europe. In 2001 Finland joined. In 2005, Tactus became Typhlo & Tactus and Germany, Netherlands, Poland and Czech Republic joined. And in 2009, T&T became international (21 countries) and partner with ICEVI. 2000-2013:-622 entries (after national selection)-17 entries awarded by an international jury-7689 copies produced in 7 languages and distributed all over Europe at 15,25€ (with the financial support of the EU, the French Culture Minister and the Burgundy Region).-27 800 posters distributed all over the world.Next competition in October 2015: www.tactus.org In 2002, Ldqr settled the Amandine Center for research on tactile pictures. Today Ldqr has partnership with 5 universities (France, Switzerland, Italy). In 2004, we published our first artist's TiB, "Ali ou Léo?" and since we have published 10 other titles in this collection. The same year we developed a new technique of depositing Braille on any support, which has since been used in all

our TiB. A Braille according the official standards, durable and very comfortable.

In 2008, we offered a new collection for parents and professionals consisting of translation of essays from American, English, Danish, Dutch, German, Italian, Portuguese, Spanish, Swedish... There are few works in the field of visually impairment in each country, but gathering them as much as we can, we have now useful international resources for parents and professional. Today we have 35 titles on our catalog. In 2010, we launched Terra Haptica with the idea to provide a way for researcher, professional and artist to meet, all working in the field of visual impairment and with an international dimension. Since 2013, the articles are subject to a reading committee (double-blind evaluation) and Terra Haptica is attached to the ACTE Institute CNRS 8218, University of Paris 1 - Sorbonne. In 2013, we were asked by several countries to produce TiB for them. Today, they include USA and Germany.

Since 1994, Ldqr created and adapted more than 230 titles of TiB that is around 40 000 copies of TiB.45% of our TiB are distributed in schools (inclusive and specialized) and to families, 45% to public libraries (cultural inclusion) 10% to fans of beautiful books (because our TiB are considered as art books).

Our TiB:=a long time of design and tests=2 to 8 hours of handwork=texte in large print & Braille=illustrations in material cut and pasted=sharp contrast in textures and colors (low vision)=an ergonomic binding (finger reading)=as beautiful and well made as books for sighted

Les Doigts Qui Rêvent is a small team of 6 people Our manufacturing workshop employs 10 persons.

For any information contact Philippe CLAUDET

[email protected]

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Contents of the 4 first Terra Haptica issues

* original text in French** original text in English For # 4, the previous sections Research/Professional/Art have been replaced by Research/Report of Experience.

TERRA HAPTICA #1 (Sept 2010, only in French)

Research/Recherche

-Images à toucher: réflexions sémiotiques sur les images tactiles destinées au public aveugle.* “Tactile Images: Semiotic Reflections of Tactile Images for the Blind Dannyelle Valente, Bernard Darras (ACTE Institute CNRS 8218, University of Paris 1 - Sorbonne, France)Paper available in english on website: http://Ldqr.org/en/researches.php

-Le dessin chez l’enfant malvoyant et chez l’enfant aveugle* Drawing in Blind and Visually Impaired ChildrenAnnie Vinter, Viviane Fernandes (LEAD-CNRS 5022, University of Bourgogne, France)Paper available on website: http://Ldqr.org/en/researches.php

-Effets de la lecture conjointe sur l’appréhension d’un livre tactile illustré par de jeunes enfants aveugles précoces* The Effect of Joint Reading on Tactile Comprehension of a Tact-Illustrated Book by Early Blind Children Anne Theurel, Edouard Gentaz et al. (LPNC-CNRS 5105, University of Grenoble, France ; University of Padova , Italy; Robert Foundation of Padoue, Italy & Les Doigts Qui Rêvent, France)Paper available in English on website: http://Ldqr.org/en/researches.php

-Adaptation d’un test psychotechnique pour personnes déficientes visuelles Adaptation of a Psycho-Technical Test for Visually Impaired People* Catherine Bâton (Psychologist, Paul Guinot Association, France)

Professional/Professionnels

-Guide à l’usage des psychologues qui s’interrogent sur leur pratique auprès d’enfants déficients visuels accueillis en institution Guide for Psychologists Who Asked Themselves About Their Practice with Visually Impaired Children in Special Institutions*Stéphanie Frileux (Psychologist, Rehabilitation Center of Ressource, La Réunion Island, France)

-Un album tactile : du projet sur le terrain à l’édition A Tactile Book: from Designing in the Field to Publishing* Françoise Le Gal, Mireille Lafleur (Educators, Montéclair Institute, France)

-Mon projet de CAEGADV : un album... tactile My Project for my TVI Diploma: a Book… to Touch* Laura Souprayen-Ramaye (Teacher of Students with Visual Impairments (TVI), Rehabilitation Center of Ressource, Réunion Island)

-Créer une bibliothèque tactile en Suisse romande pour faire face au manque de moyens d’accès à la lecture To Create a Tactile Library in French-Speaking Switzerland to Counter the Lack of Reading Access*Dominique Vallat, Anne-Lise Schwab (TVI, Switzerland)

-oUkoU PATA, la première collection internationale d’albums tactiles en tissusOukou Pata, First International Series of Tactile Fabric BooksLynette Rudman, Philippe Claudet & Pietro Vecchiarelli (I Read With My Hands, South Africa; Les Doigts Qui Rêvent, France & National Federation of the Blind, Italy)

Art

-La vue n'est que la peau du monde The Eyes is Only the Skin of the World* Jenny Feray (Teacher and Photographer, University of Amiens, France)

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-À deux visionsWith Two Visions*Myriam Colin (Artist, France)

-Proposition d’adaptation tactile d’œuvres plastiques originalesProposition of Adaptions of Original Tactile Art Work*Solène Négrerie (Tactile Designer, Les Doigts Qui Rêvent, France)

-Photographie et cécitéPhotography and Blindness*Rose-Marie Loisy (Photographer and Designer, France)

-Expériences tactiles à l’école et dans l’éditionTactile Experiences in School and in Publishing*Mauro L. Evangelista (Artist, Italy†)

TERRA HAPTICA #2 (Sept 2011, only in French)

Research

The first five papers were originally published on the Journal The Educator (2011, volume XXII, issue 2)

-Que savons-nous et comment le savons-nous ?What Do We Know and How Do We Know It?**Kay Alicyn Ferrel (University Northern Colorado, USA)

-La recherche est-elle nécessaire ?Is Research Necessary?** Michael Tobin (University of Birmingham, UK)

-Types de recherches: quantitative, qualitative, mixte et actions des enseignantsTypes of Research : Quantitative, Qualitative, Mixed Methods and Teacher Action**Sunhi Bak (University of Soonchunghyang, South Korea)

-Ethique dans la recherche en éducation et protection des sujetsEthics in Educational Research and the Protection of Human Subjects**Silvia Coreea-Torres (University of Northern Colorado, USA)

-Appel à l'action : contribuer à la recherche par l’expérience quotidienne et l'enseignementCall to action : Contributing to Research Through Your Everyday Teaching Experiences**Kim T. Zebahazy (University of British Colombia, Canada)

-Analyse des stratégies exploratoires manuelles utilisées par de jeunes aveugles congénitaux lors de la reconnaissance de figures géométriques bidimensionnellesEvaluation of Manual Exploratory Strategies Used by Congenitally Blind Adolescents During the Recognition of 2D Geometrical Shapes*Anne Theurel, Jérôme Létang et al. (LPNC-CNRS 5105, University of Grenoble, France; National Institut for Blind Youth, France; Rehabilitation Center of Ressource, La Réunion Island)

-Le toucher, un ami qui nous veut du bienTouch: a Friend Who Wants Good for You*Yvette Hatwell (LPNC CNRS 5105, University of Grenoble, France)

Professional

-Le Profil Tactile : développement d’une procédure d’évaluation du fonctionnement tactile d’un enfant aveugleThe Tactual Profile: Development of a Procedure to Assess the Tactual Functioning of Children Who are Blind**Ans Withagen, Mathis P. J. Vervloed, et al. (Royal Visio and University of Radboud, Netherlands) Paper originally published on British Journal of Visual Impairment (2009, issue 27)

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-Projet d'édition d'un livre tactile autour de l'exposition Images d'Alice au pays des merveilles initié par la Bibliothèque de Rennes MétropoleAlice in Wonderland in Tactile Version Narrated to Young Children: A Project by the Rennes library* Anne-Marie Meudal (Librarian, Library of Rennes, France)

-L’accessibilité des expositions temporaires aux personnes aveugles et malvoyantes Accessibility of Partially Sighted and Blind People to Temporary Exhibitions**Maria-José Anía & Mònica Surís. (Designers and Directors of Comm Access, Spain)

-Di che colore è il vento ? À la découverte du livre tactile illustréDi che colore è il vento ? Discovering Tactile Illustrated Books**Pietro Vecchiarelli, Stefano Alfano (National Federation of Blind, Italy)

-La conscience de l'écrit tactileThe Set : Toward Writting Awareness*Louise Comtois (TVI, Quebec)

-L'album tactile aux Etats-UnisTactile Books in the USA**Suzette Wright (American Printing House for the Blind, USA)

-Jeux et activités pour enseigner le langage précoce aux enfants déficients visuelsGames and Activities for Early Language Teaching to Blind and Partially Sighted Children**(Institute for the Blind and Visually Impaired, Slovenia)

Art

-Tentative pour un recueil de livres haptiques Attempt to a Collection of Haptic Books*Sandrine Rebeyrat (ENSA Dijon, School of Art and Design, France)

-Aspects perceptifs (sensoriels) de l’art pour les aveugles Perceptual Aspects of Art for Blind People**Rudolf Arnheim ( University of Harvard, USA)Paper originally published on Journal of Aesthetic Education (1990, issue 24)

-Métamorphose de la pierre: la touche de Pygmalion Metamorphosis of the Stone : the Touch of Pygmalion*Herman Parret (Institute of Philosophy, Catholic University of Leuven, Belgium)

-Une histoire sur un bout de papier A Story on a Piece of Paper*Annick Glauser (Artist, Switzerland)

-Alice au pays des merveillesAlice in Wonderland*Fanny Pageaud (Artist, France)

-Acajou. Danser sans voir Acajou : To Dance Without Sight*Delphine Demont (Dancer, Acajou Dance Compagny, France)

-Puisqu’ils ont si peu, il leur faut le meilleurSince they Have so Little, they Must Have the Best*Colombine Depaire (Les Trois Ourses, France)

TERRA HAPTICA #3 (Oct 2012, only in French)

Research

-Comment, à travers l’étude de leur langage, peut-on approcher l’expérience sensorielle des enfants déficients visuels ?How Accross the Study of their Language, Can We Approach the Sensory Experience of Visually Impaired Children*Oriana Orlandi, Viviane Fernandes, Pascal Morgan & Annie Vinter (France, LEAD-CNRS 5022, University of Bourgogne, France)

-Langage, toucher et connaissances chez l’enfant aveugleLanguage, Touch and Knowledge in the Blind Child*Anna Rita Galiano (University of Lumière Lyon 2, France)

-Sélection de mots-clés (La Signification Individualisée centrée sur l’Approche du Lire et Ecrire en braille)Selecting Key Words for I-M-ABLE (The Individualised Meaning-centred Approach to Braille Literacy Education)**Diane P. Wormsley (North Carolina Central University, USA)

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-La lecture d'un TiB comme contexte facilitant la production de questions de la part d'enfants déficients visuels : une recherche exploratoireThe reading of a TIB to Facilitate the Emergence of Questions by Visually Impaired Children** Enrica Polato, Marina Santi and Roberta Caldin (University of Padoua and University of Bologna, Italy)

-Point de vue sur la prise en charge des enfants aveugles : état de la recherche et étude de casPoint of View about Blind Children Caregiving: State of the Art and Case Study**Michael Brambring (University of Heidelberg, Germany)-Le braille en 8 points (Eurobraille)8 Dots Braille at the Beginning of the Learning Process**Markus Lang (University of Heidelberg, Germany)

-Recherche sur les stratégies de lecture observées au niveau de l'Eurobraille et de l'écriture abrégée et intégrale utilisée pour les aveugles en AllemagneStudies about Strategies of Reading in Euro-Braille**Sven Degenhardt, Dagmar Finn and Jan Schroder (University of Hambourg, Gemany)

-La vue emblème du savoir; la cécité emblème de l’ignorance ?Sight as Emblem of Knowledge ; Blindness as Emblem of Ignorance?*Solène Ledru ( University of Bourgogne, France)

Professional

-Des albums tactiles pour la stimulation précoce des enfants aveuglesTactile Books for Early Stimulation of Blind Children**Markus Lang ( University of Heidelberg, Germany)

-Revisiter le braille : créer avec le brailleRevisiting Braille : Designing with Braille**Thierry Wijnberg (Total Italic Graphic Design, Germany)Paper originally published on Proceeding of World Congress Braille 21 (September 2011)

- Le côté invisible du brailleThe Invisible Side of Braille**Bruno Brites (Designer, University of Dundee, Scotland)Paper originally published on Proceeding of World Congress Braille 21 (September 2011)

-Design pour tous ou conception universelle et braille: un inventaire des défisDesign for All or Universal Design and Braille: an Inventory of Challenges**Gregor Strutz (Germany)0riginal in Proceeding of World Congress Braille 21 (Sept 2011)

-Une approche multi-sensorielle des apprentissages en CPA Multi-Sensory Approach of Learning in 1st Grade*Hélène Leclair (Teacher, France)

-Géographie et déficience visuelle en milieu sco-laire : inventer une véritable science de l'haptiqueGeography and Visual Impairment in School : to Create a Real Science of Haptic*Michael Bergman (France)

-La mobilité perçue : un nouveau paradigme pour faciliter la liberté de mouvementPerceived Mobility: a New Paradigm to Facilitate Freedom of Movement**Daniel Kish and Justin Louchard (World Access for the Blind, USA)

Art

-Pour une esthétique tactile : de l’adaptation d'œuvres d’arts plastiques aux personnes déficientes visuelles Towards a Tactile Aesthetic: on the Adaptation of Works of Art for the Visually Disabled People**Maria Clara de Almeida, Filipe Herkenhoff Carijó and Virgínia Kastrup (Federal University of Rio de Janeiro, Brazil)

-Un workshop 2012 : livres tactiles à l’Ecole Nationale Supérieure des Arts et design de Dijon A Workshop 2012 : Tactile Books in ENSA Dijon*Martine Le Gac (ENSA Dijon, France), Virginie Delannoy (Artist, Switzerland)

-Lorsque des expositions à toucher créent des expositions touchantesTouching Exhibitions** Mario Schubert (Daetz Center, Germany)

-Découvrir le corps humain: matériel didactique en 3D pour enfants déficients visuels Discover the Body : 3D Teaching Material for Blind and Visually Impaired Children** Halla Sigríður Margrétardóttir Haugen (Iceland)

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Terra Haptica #4 (2014 -English version / 2015 - French version)

Research/Recherche

-The Relationship between Tactile Graphics and Mathematics for Students with Visual Impairments.**Relations entre les représentations tactiles et les mathématiques pour les élèves déficients visuels.Valerie Morash, Amanda McKerracher (USA)

-Toward a Construction and a Reading Model of Tactile Graphics for Educational Purposes.**Vers un modèle d’élaboration et de lecture d’images tactiles à buts éducatifs.María del Pilar Correa Silva (Chile)

-The Relative Advantage of Tactile 2D Route Representations for Navigation Without Sight through a Complex Urban Environment.**Les avantages relatifs de plans tactiles pour des déplacements sans la vue dans un environnement urbain complexe.Yasmine Boumenir, Bertrand Verine, Guy Rebillard, Birgitta Dresp-Langley (France)

-Classification of Tactile Pictures of Expressive Faces by Blind Adults.*Classification d’images tactiles de visages expressifs par des adultes aveugles.Samuel Lebaz, Delphine Picard (France)

-Interaction between Braille and Tactile Pictures for Deeper Understanding.**Interaction entre Braille et images tactiles : à la recherche d’une meilleure compréhension.Yvonne Eriksson, Kerstin Fellenius (Sweden)

-Construction of a 2D Haptic Tests Battery for Use with Children and Adolescents with and without Visual Impairment.*Construction d'une batterie de tests haptiques en 2D pour enfants et adolescents voyants et déficients visuels. Anaïs Mazella, Mélanie Labardin, Sandra Mesnieres, Jean-Michel Albaret, Delphine Picard (France)

-Transversal Learning: a Key to Autonomy for Visually Impaired Children. Investigation in a Special School.*La transversalité des apprentissages : une clépour l’autonomie des enfants déficients visuels - Enquête en milieu spécialisé.Anne-Lise Mithout (France)

Reports of Experience/Rapports d'expérience

-Kahani Her Mehine Ki – The Same Story, Every Month: A Learning Tool on Menstruation for the Visually Impaired.**Kahani Her Mehine Ki – La même histoire, chaque mois : un outil éducatif sur la menstruation pour les déficients visuels.Lakshmi Murthy, Sadhvi Thukral (India)

-Project Book in a Box = BOOX.**Le projet Livre en boîte = BOOX (Book in Box).Aksinja Kermauner (Slovenia)

-Didactic and Cheap Strategies for School Teachers who have Blind and/or Deaf-Blind Students.** Stratégies didactiques et peu coûteuses pour les enseignants ayant des élèves aveugles et /ou sourds-aveugles.Pedro Antonio Federsoni Jr.Silvana Campos da Rocha Calixto (Brazil)

-Questioning on the Physical Guidance of Visually Impaired Children.*Questionnement autour de la guidance physique d’enfants présentant une déficience visuelle.Véronique Morra (France)

-So Called Autistic-Like Behaviors in Children with Visual Impairments: Is It The Right Label?**Les prétendus comportements autistiques des enfants déficients visuels : une étiquette exacte ? Andrea Urqueta Alfaro (USA)

-TH-

End of print June 2015 by our old friend DICOLOR

settled in Ahuy, in the beautiful landscape of Burgundy, France.

Contact : [email protected] order : www.Ldqr.org (Paypal)

s and culture - accessgreece · of el diseño háptico a paradigma diferente (2011) is particularly...

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