1
00:00:00,400 --> 00:00:02,680
This is an ADLAB PRO video.

2
00:00:02,760 --> 00:00:06,080
ADLAB PRO is a project funded
by the European Union.

3
00:00:06,160 --> 00:00:10,000
This video is made available to you
on a Creative Commons licence.

4
00:00:10,200 --> 00:00:12,960
Hello. This is Elisa Perego

5
00:00:13,040 --> 00:00:16,360
from the University
of Trieste, Italy.

6
00:00:17,040 --> 00:00:21,160
In this ADLAB PRO video,
I will define touch,

7
00:00:21,240 --> 00:00:25,440
give you some tips
on how to choose suitable objects

8
00:00:25,520 --> 00:00:29,000
for touch tours,
and illustrate some aspects

9
00:00:29,080 --> 00:00:32,560
of the tactile exploration
procedure.

10
00:00:32,800 --> 00:00:36,680
This is Unit 7
"Tactile explorations"

11
00:00:36,760 --> 00:00:40,720
in Module 4
"Semi-live or recorded AD

12
00:00:40,800 --> 00:00:43,880
for static arts
and environments".

13
00:00:44,280 --> 00:00:48,200
In all human beings,
touch is a crucial sense

14
00:00:48,320 --> 00:00:50,840
for learning
and communicating,

15
00:00:50,920 --> 00:00:55,200
and a primary means
of experiencing the world.

16
00:00:55,720 --> 00:00:58,400
When sight is absent, however,

17
00:00:58,480 --> 00:01:02,040
touch can contribute
to fill visual gaps

18
00:01:02,120 --> 00:01:06,560
as it becomes an important
additional source of information

19
00:01:06,680 --> 00:01:10,120
as well as
a highly appreciated means

20
00:01:10,200 --> 00:01:14,400
for experiencing
the aesthetic beauty of objects,

21
00:01:14,480 --> 00:01:16,880
especially if this sense

22
00:01:17,000 --> 00:01:20,640
is adequately trained
and developed.

23
00:01:21,200 --> 00:01:24,840
Using only words
to make art accessible

24
00:01:24,920 --> 00:01:29,720
could be a bit restrictive
and not fully effective:

25
00:01:29,840 --> 00:01:33,560
haptic supports, however,
could contribute

26
00:01:33,680 --> 00:01:36,560
to transmit
the beauty of an object,

27
00:01:36,640 --> 00:01:40,960
to influence the aesthetic
experience of an artwork,

28
00:01:41,040 --> 00:01:44,880
and to make the art
and the overall museum experience

29
00:01:44,960 --> 00:01:49,080
more direct,
involving and memorable,

30
00:01:49,160 --> 00:01:54,880
which applies both to people
with and without sight loss.

31
00:01:55,240 --> 00:01:58,680
Understanding artworks
through touch

32
00:01:58,800 --> 00:02:03,600
is a process which takes
more time than visual perception

33
00:02:03,680 --> 00:02:08,040
and it is not immediate.
It is in fact, I quote,

34
00:02:08,120 --> 00:02:13,720
“successive, slow,
analytical, and active”.

35
00:02:14,880 --> 00:02:18,720
Furthermore,
art appreciation through touch

36
00:02:18,800 --> 00:02:23,160
can depend on several factors,
including for instance

37
00:02:23,240 --> 00:02:27,680
the visitors’ familiarity
and experience with art,

38
00:02:27,800 --> 00:02:32,520
their previous experiences
whilst still having sight,

39
00:02:32,680 --> 00:02:36,720
their cultural, historical
and individual differences,

40
00:02:36,800 --> 00:02:38,560
and many more.

41
00:02:39,080 --> 00:02:42,600
Not all museums
or heritage sites

42
00:02:42,720 --> 00:02:46,200
provide touch tours
for their visitors,

43
00:02:46,280 --> 00:02:49,600
or consider
the possibility to include

44
00:02:49,680 --> 00:02:53,960
self-contained
tactile experiences.

45
00:02:54,160 --> 00:02:58,040
The service is cost-
and time- intensive,

46
00:02:58,120 --> 00:03:02,040
and it requires
forward strategic planning,

47
00:03:02,120 --> 00:03:05,960
extensive networking
and full participation

48
00:03:06,040 --> 00:03:08,560
of a solid team of experts

49
00:03:08,640 --> 00:03:12,120
from diverse
and complementary fields.

50
00:03:12,320 --> 00:03:15,720
When planning
tactile explorations,

51
00:03:15,800 --> 00:03:19,280
you should keep in mind
that not all objects

52
00:03:19,360 --> 00:03:24,160
are suitable for audio
and/or tactile description.

53
00:03:25,600 --> 00:03:28,120
You should learn
how to select them,

54
00:03:28,200 --> 00:03:32,640
and identify the most meaningful
within a museum,

55
00:03:32,720 --> 00:03:35,640
a gallery, an exhibition,

56
00:03:35,760 --> 00:03:38,840
a tour, a site, etc.

57
00:03:39,920 --> 00:03:44,720
You should select the most appealing
to the touch, and to the eye

58
00:03:44,880 --> 00:03:49,440
in a perspective
of comprehensive inclusion for all,

59
00:03:49,560 --> 00:03:52,680
and those which are
adequately legible

60
00:03:52,760 --> 00:03:57,560
in their original form or
in their reproduction.

61
00:03:58,120 --> 00:04:01,600
It is not possible
to give you absolute rules

62
00:04:01,680 --> 00:04:06,280
on the way to select items
for tactile exploration:

63
00:04:06,840 --> 00:04:10,240
this is a process
that depends on the context

64
00:04:10,320 --> 00:04:13,320
the objects belong to,
on their meaning

65
00:04:13,400 --> 00:04:16,120
and their physical nature.

66
00:04:16,240 --> 00:04:21,040
You should always negotiate
your choice with the museum curators

67
00:04:21,120 --> 00:04:25,640
while relying on your creativity
and documentary study,

68
00:04:26,000 --> 00:04:29,240
as well as
on your acquired knowledge

69
00:04:29,320 --> 00:04:33,920
of the theory and practice
of tactile exploration.

70
00:04:34,680 --> 00:04:39,000
In the National Tile Museum
in Lisbon, for instance,

71
00:04:39,080 --> 00:04:43,840
the choice of which tile panels
should have tactile reliefs

72
00:04:43,920 --> 00:04:47,720
was based,
among other things, I quote:

73
00:04:47,800 --> 00:04:51,440
"on the presence
of similar tiles or motifs

74
00:04:51,520 --> 00:04:55,840
in contemporary daily life
of the Portuguese people".

75
00:04:56,200 --> 00:04:59,800
Furthermore, I quote:
"elaborate patterns

76
00:04:59,920 --> 00:05:02,480
were broken down in sequences

77
00:05:02,560 --> 00:05:05,360
of several individual replicas

78
00:05:05,440 --> 00:05:08,880
of the most relevant motifs".

79
00:05:09,360 --> 00:05:12,040
Sometimes original objects

80
00:05:12,120 --> 00:05:16,240
can be made available
for exploration through touch.

81
00:05:16,480 --> 00:05:20,240
This happens when the material
of the given object

82
00:05:20,320 --> 00:05:24,520
is not fragile or perishable,
or when the object

83
00:05:24,600 --> 00:05:28,320
is very common
and easily replaceable.

84
00:05:29,360 --> 00:05:33,400
As in the case
of the ancient pottery oil lamps

85
00:05:33,600 --> 00:05:38,000
in archeological museums,
shown in this picture.

86
00:05:38,800 --> 00:05:43,600
Paintings, artworks and objects,
or relevant parts of them,

87
00:05:43,720 --> 00:05:47,720
can also be reproduced,
so it’s not a big deal

88
00:05:47,800 --> 00:05:50,400
if the originals are not touchable

89
00:05:50,520 --> 00:05:54,360
or meant to be experienced
through touch.

90
00:05:54,640 --> 00:05:57,880
An excellent example
in this respect

91
00:05:57,960 --> 00:06:00,800
is the case
of tactile museums,

92
00:06:00,880 --> 00:06:05,640
such as the Anteros museum
in Bologna, Italy,

93
00:06:06,480 --> 00:06:11,240
where reliefs in white plaster
of famous paintings,

94
00:06:11,440 --> 00:06:14,160
as the one shown
in this picture,

95
00:06:14,240 --> 00:06:19,040
are produced and successfully
used in guided settings.

96
00:06:19,960 --> 00:06:24,040
Although audio-guides
can be a functional substitute

97
00:06:24,120 --> 00:06:26,480
in given circumstances,

98
00:06:26,560 --> 00:06:31,360
touch tours work far better
if a human guide is present.

99
00:06:32,160 --> 00:06:36,320
Face to face favours
an immersive experience,

100
00:06:36,400 --> 00:06:41,000
it is more interactive,
it offers the chance for the visitor

101
00:06:41,080 --> 00:06:45,280
to ask questions,
and it allows describers

102
00:06:45,360 --> 00:06:47,680
to tailor their description

103
00:06:47,760 --> 00:06:51,760
around an individual’s
particular interests.

104
00:06:52,360 --> 00:06:56,800
During a live touch tour,
the guide can also direct

105
00:06:56,880 --> 00:07:01,080
the visitor’s hands
to the right spots of the replica,

106
00:07:01,160 --> 00:07:03,480
as shown in the picture.

107
00:07:03,560 --> 00:07:07,440
In fact, the tactile
exploration procedure

108
00:07:07,520 --> 00:07:10,560
is no random process.

109
00:07:11,000 --> 00:07:15,520
If we consider the bas-relief
of a painting, for instance,

110
00:07:15,680 --> 00:07:19,160
we should be aware
that the process should begin

111
00:07:19,240 --> 00:07:22,200
by exploring the outer edges,

112
00:07:22,280 --> 00:07:26,720
to convey a rough idea
of the dimensions of the object,

113
00:07:26,960 --> 00:07:30,600
to later slowly move
to the centre,

114
00:07:30,720 --> 00:07:34,720
for a deeper exploration
into tactile aspects

115
00:07:34,800 --> 00:07:38,480
that might otherwise
be overlooked.

116
00:07:39,240 --> 00:07:43,040
Furthermore,
visitors should be encouraged

117
00:07:43,320 --> 00:07:48,120
to explore the object
with two hands using their palms,

118
00:07:48,280 --> 00:07:52,920
fingers and fingertips
to investigate the surface,

119
00:07:53,000 --> 00:07:56,320
recognise the layout
of its components,

120
00:07:56,400 --> 00:08:00,720
enjoy the texture
and temperature of its material.

121
00:08:01,080 --> 00:08:04,400
Especially
when a human guide is not there,

122
00:08:04,480 --> 00:08:08,920
clear recorded instructions
should direct visitors

123
00:08:09,000 --> 00:08:11,000
in this direction.

124
00:08:11,280 --> 00:08:14,320
I hope you have learned
some interesting things

125
00:08:14,400 --> 00:08:17,920
about tactile exploration
in this video.

126
00:08:18,000 --> 00:08:22,520
Find out more
in our reading list. Bye!

127
00:08:23,080 --> 00:08:25,240
The preparation
of this presentation

128
00:08:25,320 --> 00:08:28,920
was supported by ADLAB PRO.
Audio Description:

129
00:08:29,000 --> 00:08:32,640
A Laboratory for the Development
of a New Professional Profile

130
00:08:32,760 --> 00:08:37,040
financed by the European Union
under the Erasmus+ Programme,

131
00:08:37,120 --> 00:08:40,400
Key Action 2,
Strategic Partnerships.

132
00:08:40,480 --> 00:08:41,680
Project number:

133
00:08:41,760 --> 00:08:50,120
2016-1-IT02-KA203-024311.

134
00:08:50,680 --> 00:08:54,000
The information and views
set out in this presentation

135
00:08:54,080 --> 00:08:57,120
are those of the authors
and do not necessarily reflect

136
00:08:57,200 --> 00:09:00,280
the official opinion
of the European Union.

137
00:09:00,360 --> 00:09:03,720
Neither the European Union
institutions and bodies

138
00:09:03,800 --> 00:09:06,320
nor any person acting
on their behalf

139
00:09:06,400 --> 00:09:08,240
may be held responsible
for the use

140
00:09:08,320 --> 00:09:10,960
which may be made of
the information contained therein.

141
00:09:11,160 --> 00:09:13,160
This was an ADLAB PRO video.

142
00:09:13,240 --> 00:09:16,880
ADLAB PRO partners are:
University of Trieste,

143
00:09:16,960 --> 00:09:19,960
Universitat Autònoma
de Barcelona,

144
00:09:20,040 --> 00:09:24,040
University of Antwerp,
Adam Mickiewicz University,

145
00:09:24,120 --> 00:09:27,120
RTV Slovenia,
Utopian Voices,

146
00:09:27,200 --> 00:09:31,400
Soundfocus and Royal National
Institute of Blind People.

147
00:09:31,480 --> 00:09:34,440
ADLAB PRO was funded
by the European Union.

148
00:09:34,520 --> 00:09:38,280
This video was made available to you
on a Creative Commons licence.