June 2015

THEMATIC

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 Valrie Chauvey,
Researcher of Sociology /France
Maria Clara De Almeida Carij,
Universidade Federal do Rio de Janeiro/Brazil
The international journal Terra Haptica, created by Gustavo Ferraz,
Les Doigts Qui Rvent (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 Universit Lumire Lyon 2/France
the socio-cultural, communicational and cognitive Jose 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 Knste/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 Universit Lumire Lyon 2/France
French some months after the English one). Bruno Sena Martins,
Universidade de Coimbra/Portugal
Anne Theurel,
Founder & director: Universit de Genve/Switzerland
Philippe Claudet Arnaud Witt,
Universit de Bourgogne/France
Scientific coordination of this issue: Suzette Wright,
Dannyelle Valente American Printing House for the Blind/USA

Scientific Committee: Graphic chart: Solne Ngrerie

Layout: Mathilde Pilard-Joyault, Anas Brard
Bernard Darras,
Universit Paris 1, Panthon-Sorbonne/France Proofreading: Philippe Claudet, Suzette Wright,
Dannyelle Valente
Charles Gardou,
Universit Lumire Lyon 2/France
douard Gentaz,
Universit de Genve/Switzerland Opinions expressed in signed articles are those of
Yvette Hatwell, the authors. Likewise any advertisement is the
Universit Pierre Mends-France, Grenoble/France responsability of the advertiser. Neither necessarily
Virgnia 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,
Universit Montpellier 3/France including illustrations, in any form (print, photocopy,
Annie Vinter, microfilm or electronic).
Universit de Bourgogne/France
Suzette Wright, Les Doigts Qui Rvent 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, Virgnia 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
Patrcia 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 Pea (Mexico) Tactile-Pictures
Javorka Milkovi (Croatia)
p. 44 - Quebec Cultural Institutions in Visual
Handicap Situations
Claire Nigay (Quebec) p. 99 - Brief history of Les Doigts Qui Rvent

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

Art and Culture: new inclusive
territories
Dannyelle 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
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 others 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
tasks 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 Panthon-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


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
Terra Haptica - #5 June 2015
5
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 diseo hptico 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 Anglica 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.
66
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 books 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.
Terra Haptica - #5 June 2015
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 Milkovi at Peine 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.
- TH-
 7

References

Moraes, M. (2015). RechercheAVEC: politique ontologique et

dficience 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 Rvent, pp. 31-55.

Valente, D. & Darras, B. (2013). Communication graphique et

ccit : tude smiotique pragmatique de la production et linter-
prtation 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 ccit : tude 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 Pea, A. (2011). El diseo hptico : 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 - tude de
la poduction et de la lecture de dessins tactiles par des personnes
non-voyantes, Talant : Les Doigts Qui Rvent.

Terra Haptica - #5 June 2015

464
6
Fabiana Vinagre (Brazil)
The Inner Look: The Visually Impaired and their Perceptions

The Inner Look: The Visually Impaired and their Perceptions

Fabiana VINAGRE1

We are at all moment in touch with the outside world, that sends us messages in the most variable
ways, through images, sounds, scents, etc. This relation with the world is called perception, responsible
for giving meaning to things. However, not always we pay attention to the richness of information that is
given by the objects. The eyes are the most used organs in the apprehension of things, but there are many
other ways of sensing.
From this thought came a concern about those who were deprived of vision and many questions
have surfaced: How would the world be in "complete darkness"? What does visually impaired people
dream? It was then that I realized the true vision goes far beyond the eyes.
In order to better understand the perceptive universe of blindness it was necessary to dive in
the intriguing world of sensations and turn the attention to other senses, so it would be possible to
demystify some prejudices that still exist about blindness. With this goal in mind, I conducted some initial
conversations with blind subjects from different areas and conditions. I was able to realize their trauma
and perceptions, such in acquired blinds than congenital ones.
After experiences and dialogues, arose the idea of reading poetry to the respondents so that
they would express their feelings when hearing it. I believe that poetry has the power to transport the
reader to an intimate world of imagination, is able to touch on sensations and mental images completely
differently in each person. The material was so amazing that it was decided to add these testimonials to,
collaboratively, be built a book with tactile images and poems by Manoel de Barros, Brazilian poet. Issues
such as rain, that could easily be visually represented, took completely different ways when shown in its
sensory side.

Keywords: Blindness, Poetry, Tactile images, Proprioception, Mental images

1
Fabiana Vinagre is graduated in Graphic Design with emphasis in Visual Communication at Senac University Center,
So Paulo, Brazil. She is arts teacher and does researches concerning the theories of perception and anthropology,
focusing on the blindness. vinagre.fabiana@gmail.com

Terra Haptica - #5 June 2015


Fabiana Vinagre (Brazil)
The Inner Look: The Visually Impaired and their Perceptions
INTRODUCTION
At every moment, we are in touch with the
things that happen around us. There are numerous
stimuli; so many that we do not realize how much
they affect us. The simple act of biting an apple,
for example, can offer a number of conscious
experiences the color of its skin, the surface
texture, the smell and sweet taste sensations
that comprise only a part of the vast world of
experiences that we are able to access. Every
being has a particular experience, formed by the
moment and also by knowledge held in memory.
Among these many senses, sight is the most used
in the comprehension of the world. It is the act of
seeing that recognizes facts and forms concepts.
It is rooted in man to the point that influences his
everyday expression. The "point of view", the "evil
eye", the "seductive look" or "love at first sight",
are expressions proving that the eye is an organ of
extreme importance to us. Through sight we believe
to know the world.
From this thought came a concern about
those who were deprived of vision. And it was
mainly to know the life and works of Evgen Bavcar,
blind photographer, that all these questions have
surfaced: How would the world be in complete
darkness? How can someone deprived of vision
capture such amazing images? It was then that I
realized that true "vision" goes far beyond the eyes.
Over a year of research and a lot of contact
with blind persons culminated in a tactile book,
made both for them and for those who see with
physical eyes. The most interesting in this case was
that the interviewees themselves were part of the
creation of the book. Joining poems of the poet
Manoel de Barros and the sensations that each
could offer, it was possible to create a collaborative
and different material, intended for anyone who
wishes to explore the tactile feeling. In this article
you will come to understand more details about the
creative process, inspirations and the final product.
The perception in its psychological point
of view is a subjective science. Each individual has
their own and it is impractical to capture it and
express it in words. By analyzing the perception of
a subject, it is impossible to transpose it in a pure
form there will always be the perception of the one
who analyzes in the way. Therefore, in this paper I
intend to dive into the intriguing world of senses
and, through non-seeing, show the importance of
Terra Haptica - #5 June 2015
65
other senses, besides trying to demystify some of
the prejudices that still exist about the blind.
FAR BEYOND THE SENSES
Touch, smell, hearing, sight and taste. These
are the five senses we all know. However, they are
not the only ones responsible for our perception.
When we hear a song, for example, we know that
the ears are the main characters, but the musical
experience can affect many other parts of the body;
hands patter to the rhythm, memories come to the
fore, the mouth seems to salivate more, the eyes
get closed. The sound stimuli relates to our body in
many ways. And this is also true for all other senses.
Our connection to the world is not given
only by the eyes, ears, mouth, skin or nose, but also
by the interaction of these senses, combined with
other factors of greater depth. The concept that
human beings have five senses, each with a distinct
function and well demarcated, was developed by
Aristotle in IV BC, and remains popular today (Axt,
2005). Moreover, the philosopher was true to his
conviction that the vision occupies a privileged
place among the perceptions.
This superiority of vision comes from the
Greeks and accompanies us ever since. However,
with the development in the field of scientific and
philosophical insights, new understanding about
the sensations are taking shape. It is not wrong to
consider the five senses as access "door" to our
exterior. This alone is incomplete, because there
is also the inner perception of our own body. Try
to describe, for example, the feeling of being on
a roller coaster using only the five senses, which
would produce the "goose bumps"? Scientific
studies published in Super Interessante Magazine
(Axt, 2005), have found that we may have more than
twenty senses and that number will only increase
as new discoveries are made. One of these "new"
sense is called proprioception, it is responsible for
communicating what is part of our body. We do not
need to see or feel with our hands to know that we
have feet, for example, is proprioception that gives
us this feeling. In addition to this perception, there
are many other just as complex, however, there
is no consensus among scientists on exactly how
many ( Axt, 2005).
Evgen Bavcar (2005), philosopher and blind
photographer, is living proof of how it is possible to
666
6
The Inner Look: The Visually Impaired and their Perceptions
see beyond seeing with the eyes. He lost the sight
in his right eye in an accident when he was only ten
years old. Then, one year later, he got blind in his
left eye in another accident with a detonator mine.
Today, Bavcar lives in "deep darkness" and still
produces his own images and shows them through
photography. In the documentary A Janela da
Alma (The Window of the Soul, 2011), Bavcar tells
his story and shows some of his work, including a
photograph of his niece running in a field. To capture
the image, he asked her to dance and run with a
bell attached to her foot and then photographed
the sound.
The photographer emphasizes the impor-
tance of the word in his life, as well as the intimate
relationship it establishes with the image. Without
the verb is inconceivable the image - one affects the
other and vice versa. Soon, the blind, deprived of
visual images, relies heavily on the word.
The verb is then blind: it speaks of the
place where a primary genesis of words comes.
This is how , if we want to go to the origins of visual
images, we come inevitably to the space of the
invisible, the verb, and the night preceding the day
of the knowable figures. We can thus paraphrase
Saint John, saying: "In the beginning was the Word,
which becomes an image, the flesh of the visible,
the visible in the flesh, the cognitive substrate of
the look" (Bavcar, 1994, p.45).
For him "without darkness we cannot see
the stars" (as cited in Novaes, 2005, p.159). Image
and verb, visible and invisible, light and darkness,
are indispensable in the eyes, where one does not
exist without the other. Bavcar makes use of hearing
and especially when shooting touch. He points out
that vision and touch are closely linked, both in the
creation of a photograph as when it concerns the
understanding of things. We see this in the child
that touches everything to grasp the world, puts in
the mouth not content to use only her eyes; she
needs a "closer look". This is how Bavcar entitles
touch, for him is through the body that we see, with
the body that we understand the actions of the
world when they hit us.
Senses communicate with each other,
according to Merleau-Ponty (1999). The sound of
breaking glass shows the stiffness or weakness
visible from this glass. We can see the softness
of a pad without even touching it; objects show
their qualities to all our senses while are evident
to vision. Sartre refers us to the idea that each and
every quality of the object reveals its being.
Terra Haptica - #5 June 2015
Fabiana Vinagre (Brazil)
"(...) Is the yellow of the lemon that is acidic; eat
the color of a cake, and the taste of this cake is
the instrument that reveals its shape and color,
we will call intuition food (...)". The fluidity, the
warm temperature, the bluish color, the undulating
movement of water from a pool are concomitant
data that are expressed through each other (as
cited in Merleau-Ponty, 2004).
However, despite this coexistence, each
organ has its own way of interrogating the object
in question, says Merleau-Ponty (1999). And there
is no denying that the eyes are able to perceive
more distant objects than the touch, limited by the
body's extremities.
Evgen Bavcar (2003) states that his horizon,
being blind, is at his fingertips until where his
body can achieve. The tactile field does not have
the same amplitude or simultaneity presented to
the visual field. When I touch an object, I perceive
its parts and not it all at once. While this can be a
hindrance in the lives of those who have no vision,
can also be an advantage, allowing the body to feel
more deeply and for longer the object rather than
simply looking at it, as if giving by satisfied and
knowledgeable. "Tact is the most general senses
of the body, diffused through all parts of the skin",
according Dascal (2008, p.86).
It is not just limited to the hands, extends
throughout our surface and allows awareness to
the body. Tact provides us with various information
such as pressure, temperature, pain, and so on. But
often we do not realize the full extent of the tactile
sense, do not pay as much attention as we do to the
vision. The facility to see can sometimes accustom
eyes, leaving poorer the perceptual experience.
The invisible invites us to look better, leave the
body feeling with all his power, to think, imagine
and remember.
Mental Images and Memories
"Imagination is the first garment of the soul
and body of thought".
Giordano Bruno2
Imagine reading these pages lying on a
hammock in a heavenly place, hearing nothing but
the sound of the wind. Now, close your eyes and
imagine again. Probably the picture became clearer
2. Italian philosopher of the XVIth century.

Fabiana Vinagre (Brazil)
The Inner Look: The Visually Impaired and their Perceptions
in your mind with your eyes closed. Imagine, as the
word implies, has a lot to do with the formation
of mental images. For Bachelard (as cited in
Pessanha, 1988), imagination is the ability to create
images that go beyond reality, belonging to it the
function of the unreal. But not only appealed to
the imagination to create fantasies, like heavenly
places. We often create images, which are closely
linked to perception and memory.
When we hear a rumbling noise, it is
common to think of what has been, forming images
naturally. Or when we hear a certain song, memories
come to the fore and, perhaps, also form new
images. And when your eyes are closed to external
images seems that the internal gains strength. As
explained by Coelho (2006), Evgen Bavcar covers
much imagination and memory in his work. His
photos are like inner images and memories he
recreates and shares with others. When describing
his last days of looking, the photographer says
his mother, knowing of his progressive blindness,
showed a series of images to be stored in the
memory of her son. This gesture directly influences
his work, Bavcar works his images over his visual
memories, combined with imagination.
Bavcars darkness and invisible have much
to do with the imagination and memory. Through
his images, the photographer shows that we must
seek the spaces of darkness, since it is in the
shadows that we find the true images. If there is
enough dark space in his photographs, is because it
is the invisible that interests him. We can consider
that this figure is diving invisible and make it visible
only to us. The opposite occurs with remembering,
things are already seen before, but today they are
invisible to the eye. For the photographer, "being
free is being able to look the other way and having
power, above all, to imagine for himself and through
his own visions." (Bavcar, 2005, p.157).
PRODUCTION PARAMETERS
When talking with non-visuals and search
on the subject, I realized that lack resources and
initiatives that ensure them a good education
and culture here in Brazil. The program "Sector
3" in Senac University, Sao Paulo, is an exception
among other institutions, that lack of preparation
and materials. There is also the Dorina Nowill
Foundation that has worked for many years at
inclusion through books translated into Braille, and
rehabilitation services cited by most respondents.
Terra Haptica - #5 June 2015
67
In contrast, if we compare the number
of publications available to the seers with those
adapted -or even produced- to the blind, we note an
inequality stark. And it fits in many other scenarios,
as in the film or television, there are audio features
descriptions, but they are scarce.
The blind people is a forgotten audience,
which possesses much consumption capacity as the
sighted, and has the same right of access to works
of art, books, newspapers, plays and products of
basic necessity.
With this in mind, aggregated to studies
on perception, came the idea to produce a book of
poetry and sensations destined first to the blind.
It is a collection of specifically chosen poems,
illustrated with tactile images and even hearing. In
addition to the inclusion of culture, the goal is to
stimulate a synesthetic experience and imaginative,
that invites the reader on an inside journey.
The Tactile Image
Seeing and feeling in the skin are far from
being the same thing. Each activity comes from a
different part of our body and brain. The case of the
patient Virgil, reported by neuroscientist Oliver Sacks
(2003), is proof of it. Blind since a long time, Virgil
could regain sight through surgery. But, contrary
to what many thought, to see it was not simply a
matter of "fixing eyes" in this case, requires a hard
relearning. Thus it is clear that the sight and touch
senses are completely different, and, as regards the
images, a visual representation cannot simply be
transposed into tactile representation.
There is a lot of controversy when it
concerns to the adaptation of visual images. Ac-
cording to Martinez-Sarocchi (as cited in Valente,
2009), while some material value the "democrati-
zation of information", the exchange between blind
and sighted, others take into account the percep-
tual reality of this group.
Resuming Vzquez (1999), perception is
influenced by the social and cultural context, res-
ponsible for determining as the subject perceives,
organizes and outlines the sensations that occur.
The figurative signs are built within a visual per-
ceptual context. For this reason, producing tactile
images for the blind is not simply translating visual
images in raise. One should take into account its
context perceptual and the characteristics of touch.
The conception of the world changes considerably
and this should be respected.
868
6
The Inner Look: The Visually Impaired and their Perceptions
As an example, Marek (as cited in Valente,
2009) describes the drawing of a bus made by a
blind child that helps us understand how distinct is
the way that sighted and blind represent objects:
The drawing consists of three rows; two horizontal
parallel represent the stairs where his foot makes
contact and a vertical line beside these representing
the support bar of his hands inside the bus (Marek
as cited in Valente, 2009, p.76).
Kelly, congenital blind, feels uncomfortable
when it relates to the act of draw: Draw I do not
know. As a kid I did not draw much... I think it is
complicated...
This is common, especially among
those born blind, who claim that the design is a
conventional system dependent to view, differing
much in the way that they imagine the objects.
(Valente, 2009). And as the teaching resources for
blind children are still scarce, the design, and even
free abstract, becomes even more far from their
reality. In contrast, there are other representation
techniques instead of the contour line that bother
to approach the context of non-visual perception.
Material aspects such as texture, consistency and
temperature are usually more tactually recognized
than the spatial properties of the object (Klatzky &
Lederman as cited in Valente, 2009).
When images from the artist Hrcules
Barsotti (2012) were shown to Kelly, it became
evident that the form is not as important as the
texture: "This one is not so rough, it is pretty slick.
This brings everything else, is smooth and rough,
really cool. This book deals only with a complement
of sensory exhibition that the artist proposed.
A nice example of what is being made
in tactile illustrations field is the publisher "Les
Doitgs Qui Rvent" (Dreaming fingers). Specialized
in tactile illustrated books for blind and sighted
children, uses the texturillustre technique. By
means of collages, overlays of fabrics of different
textures, magnets, and other materials, a playful
world is offered to the reader, very light and easy to
understand.
Other Inspirations; the Object-Book
The use of different materials and tech-
niques in the tactile book makes it be considered an
object-book. This breaks with the common parame-
ters of the book form, approaching more of an art
object. Thinking about it, some object-books were
Terra Haptica - #5 June 2015
Fabiana Vinagre (Brazil)
taken as references such as other works of art in
general that served as inspiration in designing my
own work.
The book In the dark night offers a
different view under the narration of a story.
Instead of words, makes use of materials, worked
in abstract images to tell its story. According to
Munari, books of this genre aim to "try all options of
visual communication and printing techniques that
do not involve words (2012, online). Resources
as black colored paper, which refers to the night,
or tracing paper which represents the bursting of
the day, contribute to the understanding and the
construction of a unusual narrative structure, full of
meaning.
Other good example is the classic story
of The Little Red Riding Hood that took another
form in the book of Warja Lavater. The characters,
as well as the trees of the forest and Grandma's
house, became simple graphics -the characters,
for example, are colored dots, sometimes
big, sometimes small. In order to facilitate
understanding, it has a caption. From this work, the
artist Myriam Colin created a version of this tale for
the blind (published by Les Doigts Qui Rvent), in
which points of felt were used.
The mixture of materials can contribute
much to the acuteness of feeling. This approach
takes into account not only the shape or texture
of the element but also its weight, transparency,
reflection, density etc. (Estado de So Paulo, 2006,
online).
After these studies, I decided to use a
variety of materials to enrich the sense of touch
with different weights, textures, temperatures and
consistencies.
Figure 1. Page of the book.

Fabiana Vinagre (Brazil)
The Inner Look: The Visually Impaired and their Perceptions
Creative Process
After the interviews and research process
was initiated the creation of images and structuring
of the book. Several materials were tested, taking
into account from their textures until its applicability
in the desired format.
Since the images have a certain thickness,
the use of frames was necessary in order to protect
them when closed inside the book. To accommodate
them, as well as the written poems, the traditional
format of the book was deconstructed. The tactile
works are trapped by hardware, while the poetry
book is apart. Thinking about the simultaneity
when reading these two volumes, was created a
cover that accommodates both side to side when
opened.
Figure 2. Set with the poetry book, written in ink and braille,
the tactile images, blindfold and audio CD.
Figure 3. Closed book
The Role of Poetry in the Project
"Poetry is not to understood but to incorporate
Wall is understand: try to be tree. "
Manoel de Barros3
Poetry has the power to transport to
an intimate and self-reflection world. According
to Edgar Morin (2003), the metaphor, common
3. From the book Poesia Completa, 2010.
Terra Haptica - #5 June 2015
69
figure of speech in these texts, opens a universe
of interpretations that allows the reader the
creation of mental images. It takes us to the "poetic
dimension of human existence" (2004, p.45), and
through the word, communicates with the mystery
and goes "beyond the speakable" (2004, p.45).
Alongside Bavcar, we can say that poetry reveals
the invisible. Or, in the words of the poet Manoel
de Barros, "the poet does well to unexplain as
much as dim lights fireflies" (Excerpt from the poem
"Arrangements for Whistle").
Manoel de Barross name appeared in many
moments of the research regarding the sensations
that man is able to have, but many often do not
realize. I believe his words give force to the message
that I want to pass with the book and merge to the
concept of tactile illustration.
Manoel de Barros
Brazilian poet, born in Cuiab in 1916.
Surrounded by nature while growing up, makes
it his main theme (2012, online). Challenges the
intellectual knowledge and believes that we must
"unlearn" to get to the roots.
In the following pages there are some of the
selected poems together with given interpretations
and images of the final products. The original poems
were translated to English for better understanding.
It was tried to modify the minimum possible so the
gist could remain the same.
Excerpt from The boy who carried water in the
sieve
The mother noticed that the child
liked the void
more than the full.
Spoke that the voids are larger
and even infinite.
The spatial sensation was the most
observed in this stretch. While the full is small,
cramped and almost chaotic, the void is huge and
spacious.
It is difficult to say what I think of that. What's in
my head is the issue of space, you know? When he
is speaking that the empty space is better than the
full. I live in a tiny apartment. I imagine me and my
son in a large room almost empty, with only a few
toys, so he can play at ease. A quiet place, because
when it is too tight, crowded, there is no freedom
070
7
Fabiana Vinagre (Brazil)
The Inner Look: The Visually Impaired and their Perceptions

(Marcia, 35 years-old, acquired blindness, 2012). Nearly Erased Portrait in which Can See Perfectly
Then it would be interesting to put a woman nothing
with things around. And then the boy, with a large From "The Keeper of the Waters"
white. The idea of the boy is so strong that his space III
is larger (Yuri, 17 years-old, acquired blindness, Rains go crooked in the trees.
2012). Rains on birds and rocks.
Conversations mostly showed that full The river stood up looking at me through the glass.
places cause a certain fear on the part of the blind. Reach with hands the smell of roofs.
A crowded street, for example, can be dangerous. Children running waters
Thinking about it, the full was portrayed with Hide in the house.
nails, making the sharp, irregular, express the idea Cockroaches wander in the cake pans...
of danger and uncertainty. The thimbles represents The house has an owner in letters. []
the feeling of fear, by the act of having to "figure
out " what there is inside. But the void was pictured
with a smoother and delicate material. The use of
the frame came as a plastic element, constituting
the concept of infinity with the break of the limit.
() because the empty lets you build everything
you can think. In the ocean, for example, you might
think about the immensity of it ... And the full, is
tumultuous. When I go to a football stadium, I have
to be very careful so that no one steps on me. If the
stadium is empty, I can scream, run ... It is freedom.
(Edson, 45 years-old, acquired blindness, 2012)

Figure 5. Rain tactile image. Melted crayons on paper.

In this poem, the prevailing feeling, according to

the interviewed, is melting, something running:
The rain isnt it? I imagine something dripping ...
Like when were in the bath or take that rain on the
head. The hair even shrinks...
(Kelly, 18 years-old, congenital blindness, 2012).

This rain is right. I imagine all wet, dripping .

(Marcia, acquired blindness)

Figure 4. The empty and the full tactile image. Nails and Dripping trees, something wet.
lycra.
(Yuri, acquired blindness, 2012)

Terra Haptica - #5 June 2015

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Fabiana Vinagre (Brazil)
The Inner Look: The Visually Impaired and their Perceptions

It has very smooth parts and others are rougher. aluminum with chains. That way, I could enjoy the
This here would be the trunk of the tree of the coolness of the aluminum and the noise of the
poem? (Put her finger on one textured cut paper). chains in the sliding surface, or passing between
the fingers, to better portray what has been said.
I can feel the splash of rain. I just missed the
window....
(Marcia, 35 years-old, acquired blindness, 2012)

The wind
I wanted to transform the wind.
Give a concrete shape to the wind and capable to
picture.
I needed to at least see a physical part
Of the wind: A rib, an eye...
But the shape of the wind ran away from me just as
the shapes of a voice.
When said that the wind pushed the canoe
Of the Indian to the ravine
I imagined a wind painted with annatto pushing
The Indian canoe to the ravine.
But this image seemed still imprecise.
I was about to give up when I remembered the boy
Riding on the wind horse - read in Shakespeare.
I imagined the loose manes of the wind shooting
Through the meadows with the boy. Figure 6. The wind tactile image. Aluminum
I photographed that loose-manes wind.

In this poem, the author gives his own idea THE FINAL PRODUCT
of the wind, "loose manes". However, even before I
started reading the poem, I realized that the wind is
imagined as thin wires, long and fluids.

The first thing that comes to me is hair blowing in

the wind, even before he spoke of the mane horse.
The movement it makes in the wind.
(Marcia, 35 years-old, acquired blindness, 2012)

You know that map sheet? That thin and see-

through one ... I thought of a light and delicate
material. About the wind, I think of wires for us to
pass between the fingers. Or something cold. It is
nice to think about the temperature.
(Yuri, 17 years-old, acquired blindness, 2012)

Initially, rice paper or silk materials were

designed for this work. But bearing in mind the
combination of senses, the temperature and
the sound, it was decided to use a thin sheet of
Figure 7. Other tactile
images of the book

Terra Haptica - #5 June 2015

272
7
Fabiana Vinagre (Brazil)
The Inner Look: The Visually Impaired and their Perceptions

As already said Bavcar, word and image are day people decide to open their eyes and really see,
complementary. To unite poetry and tactile images, or perhaps close them, and really feel.
so they could be absorbed simultaneously, a folder
was created. Besides the book and the images, the
folder also contains a CD with the poems in audio,
if the reader prefers. And thinking of those who - TH
see and would like to have a sensory experience
different than the usual, we fixed a blindfold. Thus,
it is proposed that the seer feels how it would be
like to be blind, even if just for a short moment.

CONSIDERATIONS
The book was well received, both among
blind as sighted individuals. However, some
difficulty in handling the tactile images was noted.
One possible solution would be to think of another
binding, or maybe just let the images loose in a box
inside the book.
The whole product was basically
handcrafted, so while its reproducibility is limited,
the work becomes something unique in which a
volume can never be identical to the other.
I think that, more than the final product itself, the
trajectory and the idea of perception gathered from
various people about poems have been the true
merits of this work.
One of the biggest obstacles to be overcome
was sensitizing my own perception and transporting
the poetic of Manoel de Barros to a sensory form,
taking into account the sensations of blind subjects.
I have reflected on this initiative, thinking I might
be imposing my visions, or limiting the words of
the poet, who speaks a lot about misinforming. But
after the conversations and the beginning of the
process of producing the images, I realized that the
work is based on a contextualized interpretation,
supported by the researches and the exchange of
experiences with the blind.
It is very difficult to express sensations
in pictures or words. In the statements of blind
individuals, there was some hesitation to open up
and talk about something as intimate as sensations.
If time permitted, I would like to have more in-depth
relationship with the respondents. But I believe
that, given the conditions, the conversations took a
good basis for the work.
The blind is a person like any other, each
with a personality that has little to do with their
condition. Prejudice is a major obstacle to be
overcome, but I believe that there is hope that one

Terra Haptica - #5 June 2015

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Fabiana Vinagre (Brazil)
The Inner Look: The Visually Impaired and their Perceptions

References Sacks, O. (2003). Um Antroplogo em Marte sete histrias

Axt, B. (jun. 2005) Sentidos: Sinto muito. Super Interessante,
So Paulo, n. 214. [online] Available in: http://super.abril.com.br/
ciencia/sentidos-sinto-muito-445721.shtml. Acessed in: 15 feb.
2012.
Barros, M. (2008). Memrias Inventadas As infncias de
Manoel de Barros. So Paulo: Editora Planeta.
Barros,M. Manoel de Barros Foundation. [online] Available in:
http://www.fmb.org.br/index.php?idp=3.
Barsotti, H. (2012). Hrcules Barsotti- Alm do olhar. So Paulo:
Caixa Cultural.
paradoxais. Translation: Bernardo Carvalho. So Paulo: Companhia
das Letras.
Valente, D. (2009). Os diferentes dispositivos de fabricao
de imagens e ilustraes tteis e as possibilidades de produo
de sentido no contexto perceptivo dos cegos. [online] Available
in: <https://docs.google.com/viewer? a=v&q=cache:CO_
kAz2cGTIJ:revistas.udesc.br/index.php/arteinclusao/article/
view/>
Vzquez, A.(1999). Convite Esttica. Traduo de Gilson
Baptista. Rio de Janeiro: Civilizao Brasileira.

Bavcar, E. (1994). A luz e o cego. In: A., Novaes (eds)

Artepensamento. So Paulo: Cia. Das Letras.

Bavcar, E. (2003). Memria do Brasil. So Paulo: Cosac & Naify.

Bavcar, E. (2005). A imagem, vestgio desconhecido da luz. In: A.,

Novaes (eds) Muito alm do espetculo. So Paulo: Editora Senac.

Coelho, A. C. S. (2006). Jos Saramago e Evgen Bavcar: Os

paradoxos do olhar. Recife. [on line] Available in: http://www.
pgletras.com.br/2006/dissertacoes/diss-Ana-Carolina-Coelho.
pdf. Accessed in: 23 mar. 2012.

Dascal, M. (2008). Eutonia O saber do corpo. So Paulo: Editora

Senac.

Jardim, J, & Carvalho, W (2011,eds). Window of the Soul.

[Documentary]. Brazil: Coapacabana Filmes.

Merleau-Ponty, M. (1999). Fenomenologia da Percepo.

Translation of Carlos Alberto Ribeiro de Moura. So Paulo: Martins
Fontes.

Merleau-Ponty, M. (2004). Conversas 1948. Translation by

Fbio Landa e Eva Landa. So Paulo: Martins Fontes.

Morin, E. (2003). A cabea bem feita. Traduo de Elo Jacobina.

Rio de Janeiro: Bertrand Brasil.

Novaes, A. (2005). Imagens impossveis. In: A. Novaes, (ed.).

Muito alm do espetculo. So Paulo: Editora Senac.

Pessanha, J. A. M. (1988). Bachelard e Monet: o olho e a mo. In:

A Novaes (eds). O Olhar. So Paulo: Companhia das Letras.

Retrospectiva de Amelia Toledo em Florianpolis (2006, May4).

O Estado de So Paulo. [online] Available in: <http://www.estadao.
com.br/arquivo/arteelazer/2006/not20060504p5974.htm>

Terra Haptica - #5 June 2015


Brief history of Les Doigts Qui Rvent
Les Doigts Qui Rvent (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, teenagers 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 Lo?" 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,
99
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 Rvent is a small team of 6
people Our manufacturing workshop employs 10
persons.
For any information contact
Philippe CLAUDET
philippe.claudet@wanadoo.fr
www.Ldqr.org
100
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 toucher: rflexions smiotiques sur les
images tactiles destines 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 lenfant malvoyant et chez lenfant
aveugle*
Drawing in Blind and Visually Impaired Children
Annie 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 lapprhension
dun livre tactile illustr par de jeunes enfants
aveugles prcoces*
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 Rvent, France)
Paper available in English on website: http://Ldqr.
org/en/researches.php
-Adaptation dun test psychotechnique pour
personnes dficientes visuelles
Adaptation of a Psycho-Technical Test for Visually
Impaired People*
Catherine Bton (Psychologist, Paul Guinot
Association, France)
Professional/Professionnels
-Guide lusage des psychologues qui sinterrogent
sur leur pratique auprs denfants dficients visuels
accueillis en institution
Guide for Psychologists Who Asked Themselves
About Their Practice with Visually Impaired Children
in Special Institutions*
Stphanie Frileux (Psychologist, Rehabilitation
Center of Ressource, La Runion Island, France)
-Un album tactile : du projet sur le terrain ldition
A Tactile Book: from Designing in the Field to
Publishing*
Franoise Le Gal, Mireille Lafleur (Educators,
Montclair 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, Runion Island)
-Crer une bibliothque tactile en Suisse romande
pour faire face au manque de moyens daccs 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 premire collection internationale
dalbums tactiles en tissus
Oukou Pata, First International Series of Tactile
Fabric Books
Lynette Rudman, Philippe Claudet & Pietro
Vecchiarelli (I Read With My Hands, South Africa;
Les Doigts Qui Rvent, 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)

- deux visions
With Two Visions*
Myriam Colin (Artist, France)
-Proposition dadaptation tactile duvres
plastiques originales
Proposition of Adaptions of Original Tactile Art Work*
Solne Ngrerie (Tactile Designer, Les Doigts Qui
Rvent, France)
-Photographie et ccit
Photography and Blindness*
Rose-Marie Loisy (Photographer and Designer,
France)
-Expriences tactiles lcole et dans ldition
Tactile 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 ncessaire ?
Is Research Necessary?**
Michael Tobin (University of Birmingham, UK)
-Types de recherches: quantitative, qualitative,
mixte et actions des enseignants
Types of Research : Quantitative, Qualitative, Mixed
Methods and Teacher Action**
Sunhi Bak (University of Soonchunghyang, South
Korea)
101
-Ethique dans la recherche en ducation et
protection des sujets
Ethics in Educational Research and the Protection of
Human Subjects**
Silvia Coreea-Torres (University of Northern
Colorado, USA)
-Appel l'action : contribuer la recherche par
lexprience quotidienne et l'enseignement
Call to action : Contributing to Research Through
Your Everyday Teaching Experiences**
Kim T. Zebahazy (University of British Colombia,
Canada)
-Analyse des stratgies exploratoires manuelles
utilises par de jeunes aveugles congnitaux lors
de la reconnaissance de figures gomtriques
bidimensionnelles
Evaluation of Manual Exploratory Strategies Used
by Congenitally Blind Adolescents During the
Recognition of 2D Geometrical Shapes*
Anne Theurel, Jrme Ltang et al. (LPNC-CNRS
5105, University of Grenoble, France; National
Institut for Blind Youth, France; Rehabilitation
Center of Ressource, La Runion Island)
-Le toucher, un ami qui nous veut du bien
Touch: a Friend Who Wants Good for You*
Yvette Hatwell (LPNC CNRS 5105, University of
Grenoble, France)
Professional
-Le Profil Tactile : dveloppement dune procdure
dvaluation du fonctionnement tactile dun enfant
aveugle
The 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)
102
-Projet d'dition d'un livre tactile autour de
l'exposition Images d'Alice au pays des merveilles
initi par la Bibliothque de Rennes Mtropole
Alice in Wonderland in Tactile Version Narrated to
Young Children: A Project by the Rennes library*
Anne-Marie Meudal (Librarian, Library of Rennes,
France)
-Laccessibilit des expositions temporaires aux
personnes aveugles et malvoyantes
Accessibility of Partially Sighted and Blind People to
Temporary Exhibitions**
Maria-Jos Ana & Mnica Surs. (Designers and
Directors of Comm Access, Spain)
-Di che colore il vento? la dcouverte du livre
tactile illustr
Di che colore il vento? Discovering Tactile
Illustrated Books**
Pietro Vecchiarelli, Stefano Alfano (National
Federation of Blind, Italy)
-La conscience de l'crit tactile
The Set : Toward Writting Awareness*
Louise Comtois (TVI, Quebec)
-L'album tactile aux Etats-Unis
Tactile Books in the USA**
Suzette Wright (American Printing House for the
Blind, USA)
-Jeux et activits pour enseigner le langage prcoce
aux enfants dficients visuels
Games 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 lart 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)
-Mtamorphose 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 merveilles
Alice in Wonderland*
Fanny Pageaud (Artist, France)
-Acajou. Danser sans voir
Acajou : To Dance Without Sight*
Delphine Demont (Dancer, Acajou Dance Compagny,
France)
-Puisquils ont si peu, il leur faut le meilleur
Since 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, travers ltude de leur langage, peut-
on approcher lexprience sensorielle des enfants
dficients 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 lenfant
aveugle
Language, Touch and Knowledge in the Blind Child*
Anna Rita Galiano (University of Lumire Lyon 2,
France)
-Slection de mots-cls (La Signification
Individualise centre sur lApproche 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)

-La lecture d'un TiB comme contexte facilitant
la production de questions de la part d'enfants
dficients visuels : une recherche exploratoire
The 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 : tat de la recherche et tude de cas
Point 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 stratgies de lecture observes
au niveau de l'Eurobraille et de l'criture abrge
et intgrale utilise pour les aveugles en Allemagne
Studies about Strategies of Reading in Euro-Braille**
Sven Degenhardt, Dagmar Finn and Jan Schroder
(University of Hambourg, Gemany)
-La vue emblme du savoir; la ccit emblme de
lignorance ?
Sight as Emblem of Knowledge ; Blindness as
Emblem of Ignorance?*
Solne Ledru ( University of Bourgogne, France)
Professional
-Des albums tactiles pour la stimulation prcoce
des enfants aveugles
Tactile Books for Early Stimulation of Blind Children**
Markus Lang ( University of Heidelberg, Germany)
-Revisiter le braille : crer avec le braille
Revisiting Braille : Designing with Braille**
Thierry Wijnberg (Total Italic Graphic Design,
Germany)
Paper originally published on Proceeding of World Congress
Braille 21 (September 2011)
- Le ct invisible du braille
The Invisible Side of Braille**
Bruno Brites (Designer, University of Dundee,
Scotland)
Paper originally published on Proceeding of World Congress
Braille 21 (September 2011)
103
-Design pour tous ou conception universelle et
braille: un inventaire des dfis
Design 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 CP
A Multi-Sensory Approach of Learning in 1st Grade*
Hlne Leclair (Teacher, France)
-Gographie et dficience visuelle en milieu sco-
laire: inventer une vritable science de l'haptique
Geography and Visual Impairment in School : to
Create a Real Science of Haptic*
Michael Bergman (France)
-La mobilit perue : un nouveau paradigme pour
faciliter la libert de mouvement
Perceived Mobility: a New Paradigm to Facilitate
Freedom of Movement**
Daniel Kish and Justin Louchard (World Access for
the Blind, USA)
Art
-Pour une esthtique tactile : de ladaptation
d'uvres darts plastiques aux personnes
dficientes visuelles
Towards a Tactile Aesthetic: on the Adaptation of
Works of Art for the Visually Disabled People**
Maria Clara de Almeida, Filipe Herkenhoff Carij
and Virgnia Kastrup (Federal University of Rio de
Janeiro, Brazil)
-Un workshop 2012 : livres tactiles lEcole
Nationale Suprieure 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 toucher crent des
expositions touchantes
Touching Exhibitions**
Mario Schubert (Daetz Center, Germany)
-Dcouvrir le corps humain: matriel didactique en
3D pour enfants dficients visuels
Discover the Body : 3D Teaching Material for Blind
and Visually Impaired Children**
Halla Sigrur Margrtardttir Haugen (Iceland)
104
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 reprsentations tactiles et les
mathmatiques pour les lves dficients visuels.
Valerie Morash, Amanda McKerracher (USA)
-Toward a Construction and a Reading Model of
Tactile Graphics for Educational Purposes.**
Vers un modle dlaboration et de lecture dimages
tactiles buts ducatifs.
Mara 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
dplacements 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 dimages 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 : la
recherche dune meilleure comprhension.
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 dficients
visuels.
Anas Mazella, Mlanie 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 transversalit des apprentissages: une cl
pour lautonomie des enfants dficients visuels -
Enqute en milieu spcialis.
Anne-Lise Mithout (France)
Reports of Experience/Rapports d'exprience
-Kahani Her Mehine Ki The Same Story, Every
Month: A Learning Tool on Menstruation for the
Visually Impaired.**
Kahani Her Mehine Ki La mme histoire, chaque
mois: un outil ducatif sur la menstruation pour les
dficients visuels.
Lakshmi Murthy, Sadhvi Thukral (India)
-Project Book in a Box = BOOX.**
Le projet Livre en bote = BOOX (Book in Box).
Aksinja Kermauner (Slovenia)
-Didactic and Cheap Strategies for School Teachers
who have Blind and/or Deaf-Blind Students.**
Stratgies didactiques et peu coteuses pour
les enseignants ayant des lves 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
denfants prsentant une dficience visuelle.
Vronique Morra (France)
-So Called Autistic-Like Behaviors in Children with
Visual Impairments: Is It The Right Label?**
Les prtendus comportements autistiques des
enfants dficients visuels: une tiquette exacte ?
Andrea Urqueta Alfaro (USA)
- TH-
 Contact : philippe.claudet@wanadoo.fr
To order : www.Ldqr.org (Paypal)

End of print June 2015

by our old friend DICOLOR
settled in Ahuy, in the beautiful landscape of Burgundy, France.