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Journal of Aesthetic Education
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Perceptual Aspects of Art for the Blind
RUDOLF ARNHEIM
So thoroughly have the arts of drawing, painting, and sculpture been mo-
nopolized by the sense of vision that the term "visual arts" seems to be the
only one we have in English to distinguish them from the rest of the fine
arts. Although the contribution of the haptic senses has been acknowledged
at least since the days of the art historian Alois Riegl, touch was not con-
those of us who are blessed with sight find it hard to conceive of a kind of
When it became known that the blind had some capacity for the perception
which has enabled the education of the blind to make a decisive step for-
ward. It also has enriched the psychology of perception with a new chapter,
language makes for better understanding of the native tongue. One of the
children, is called Insights from the Blind.1 Blindness ceases to be simply the
displays arranged at some museums for letting the blind explore sculpture
and textures by touch are no longer reserved for blind visitors but are be-
what sightless people are missing; rather it conceives of the haptic world
first of all in its own terms as an alternative to the world of vision. If the two
for Art and Visual Perception, Toward a Psychology of Art, Visual Thinking, The Power of
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58 Rudolf Arnheim
visual field is filled, practically from the very onset of life, with a teeming
tallize into structured units. Equally soon, the image begins to detach itself
in depth, affording a first distinction between the self of the viewer and the
outer world. Thus vision takes off from a given world, in which sound
remains limited for some time to the role of an accessory. The sightless
signals, discontinuous in both space and time. Since those sounds typically
do not relate to anything around them nor offer the kind of happening that
invites prolonged attention, the appeal to the infant is weak. While the
sighted infant begins in the early months of life to follow with his eyes the
trajectory of things moving through space, the blind child remains all but
is provided by the persons handling the infant, the haptic experience does
not simply replace, within its limited spatial range, visual experience. It is
characteristically different.
the tensions in the muscles, tendons, and joints of the body. It reports about
the behavior of the body, not about shapes. It tells the difference between
effort and relaxation, straightening and bending, pushing and pulling, hug-
ging the ground and rising, keeping in balance and shifting weight-all this
not inform us as to what an arm or a neck or pelvis looks like but limits it-
self to the biologically most important properties: it tells what the body
parts are doing, how they handle the relations between physiological and
physical forces, how they organize in space. These are the perceptual sig-
Musical sounds are pure dynamics, pure expression. Vision tells us that
in general. The auditory world is limited to the activity of things, the voices
of humans and animals, the noises of water and wind, the cracking and
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Art for the Blind 59
casional, mostly discontinuous signals. Whereas the visual world makes its
presence constantly known and offers attractive targets and lures, sound
and that therefore children born blind will not creep unless they are given
special incentives.
depend for their knowledge of the outside, with the kinesthetic percepts
reporting about the behavior of the body, and you get the sense of a
actions? The sense of touch, which informs sightless persons about the
their location, size, and shape. At the same time, however, its conscious de-
pendence on the body hampers the kind of detachment from the self
prompted by vision. To understand the difference between the self and the
necessarily delayed in the blind person because of the intimate haptic con-
nection between the perceiver's own body and the objects perceived by
touch.
centers of its own, is much less contested in haptic experience. The body of
the perceiver occupies the largest space in the narrow territory of tactile
reach. The body is constantly alive with the network of tensions that keeps
such kinesthetic aliveness. Even so, the perceiver's self and the things it can
touch are closely connected. From the base of the self's body, arm and hand
physical things under scrutiny, the gestural operations by which the infor-
clay vessel standing on the table are met first of all by an active resistance,
an obstacle that blocks the path of the exploration. The belly of the vessel
bulges forward and outward. As the fingers grip the neck and converge
into the gaping aperture on top. Such dynamic perception is not alien to the
sense of vision either,2 but it is much more compelling when the haptic sen-
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60 Rudolf Arnheim
sations turn mere shape into a dramatic encounter, intimately involving the
perience. Shape and space must be felt as interplays of active forces if they
are to convey expression. And expression is the language of art. This means
that the sensory modality by which blind persons approach the objects of
our world predisposes them for the particular sort of cognition we call artis-
tic.
Needless to say, social taboos inhibit the free unfolding of these virtues.
action and represents a very personal involvement makes for trouble. The
child, whether sighted or blind, learns soon that the world is full of things
that must not be touched. And if one can perceive the next person's face
and body only by caressing them with one's fingers, one is asking for im-
permissible liberties. The blind have to live in a society that suffers from a
serious neglect of the sense of touch, a society in which, for example, the
many hours of television viewing transform the world into a distant spec-
tacle. The natural intimacy of handling things by which human beings nor-
mally learn remains excluded. The education of the blind should be viewed,
crippled population.
it was thought, the blind are deprived of the gestalt conception, so indis-
pensable for the arts and so dominant in vision. This opinion derives from a
the full and constantly present image of the visual field. But this back-
ground scenery is nothing more than the foil on which true perception
acts of fixation. Sharp vision is limited to the very small area of the retinal
fovea so that images of any size must be built up by scanning. This limita-
tion of the area of optimal vision is not simply a matter of biological par-
perusal of its components. The mind can organize a complex gestalt, but it
involves no structuring.)
It is true that the constant presence of the total visual field greatly
not equally accessible to the blind. This does not mean, however, that haptic
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Art for the Blind 61
ganic process.
In fact, the receptor organs of touch are spread all over the surface of the
human body, from head to toe; touch is directly coordinated with the com-
how the recognition of an object by touch is helped when the internal sense
and within this framework the directions in which torso, arms, and fingers
are reaching. The two hands with their many independently mobile joints
has no equal. At any one moment the eyes are limited to a single projective
played with the vain hope that modern physics would supply them with a
shape of things in a single percept.3 Any blind sculptor can grasp the front
and the back of a vessel or its hollow inside and convex outside in a single
mouth-centered until well into the second year. "When the mouth remains
some preferred way."4 This powerful oral combination of cognition and in-
of objects beyond the early years and influence a person's relation to the
outer world, especially in their haptic aspects. Even after the hands have
carving.
Aristotle reports that in the opinion of Anaxagoras man is the most intel-
more likely that man has been given hands because he is the most intel-
ganization of his hand, his fingers, and fingertips. Their structure and
subtle sensitivity indicate that nature has designated him not for just
with all of them. This makes him suited for the use of reason and
his species.
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62 Rudolf Arnheim
In fact, the versatility of the hand not only endows the higher vertebrates
with their supreme skill in manual operations and the making and han-
dling of tools, it also enables the blind artist to create works of some com-
shapes. Scanning makes for the almost musical sequences of expansion and
qualities in the shapes of the work. In the clay figures of blind sculptors
published as early as 1934 by Miinz and Lowenfeld,6 the heads and limbs of
the figures invade the surrounding space dramatically; they bulge and
push, strain and bend, squeeze and swell. It is a highly dynamic perfor-
sighted artist. It is a serene and silent image, ruled by its eyes, which are
my eyes and approach the sculpture by touch. The experience is, first of all,
that of a caress, issuing from myself in an almost too personal gesture. Then
my hands move along the curves of the jaws converging toward the bow of
the chin, which approaches me. The roundness of the chin is paralleled by
that of the lips; the nose, finely honed, moves toward me, and the cheeks
converge in the shallow depressions I know are the place of the eyes al-
coherent image of the face and does eventually attain it. Nor would I doubt
that the image can convey a distinct individuality, which, however, is clear-
ly different from the one received by my eyes from the sculpture. The tactile
image is probably simpler, and its expression seems to be limited to the ten-
sions of the muscular surface. It does not seem to convey the particular
quality of revealing a mind that is located in the head, looking at the world
tion, unless the artist is distracted by the misguided ambition to meet cer-
tain specifically visual conditions. The blind artist is limited, first of all, by a
range of size. The larger the piece, the harder it is for him to conceive of its
compositional unity. Intricate detail also is not easily traced by the fingers.
of others, the blind prefer symmetry and other simple form relations. They
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Artfor the Blind 63
are therefore inclined toward styles of art meeting these conditions. They
value to art of elementary shape as to the virtuosity of certain late styles, the
below" and one "from above" depends on stylistic preferences and perhaps
wholes. The approach from below goes more readily with early stages of
ponents while proceeding toward the complexity of the whole. To what ex-
cavities for the eyes and then placing eyeballs into them or to dig the mouth
and then close the lips over it. Even more significant are the so-called
tors represent the kinesthetic tensions of the face running from the eyes to
the mouth or vertically across the forehead.8 I would not describe these fea-
not only of haptic sculpture but also of haptic drawing. Figural repre-
sentations are not copies of their models but equivalents of the model's
structural features. These equivalents are derived from the properties of the
the raised-line drawings of the blind, with which educators have experi-
mented for many decades. The results confirm what we have learned from
When it became evident that blind persons take to the use of lines
without hesitation, once they can control them by touch, there was con-
siderable surprise: how can one understand the meaning of lines without
the help of vision? But, of course, lines are not copies of line-like shapes ob-
served in nature. They are the spontaneous graphic equivalent of the boun-
is used as the tool for making shapes. By the standards of mechanical copy-
ing, line drawings of visual objects are just as remote from their three-
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64 Rudolf Arnheim
manner of translation.
the blind find it easier to recognize simple line drawings than realistic pic-
when they are faced with such pictures for the first time. It is especially true
perspective. A blind person exploring, say, one of Ghiberti's reliefs for the
equivalent.
when they are asked, say, to touch the two nearest corners of a short but
fairly broad table top with their hands and compare the angle formed by
their arms with the narrower one obtained when they touch the two more
distant corners.9 But there is a far cry from such a demonstration in space to
and deciphering perspective line drawings are tricks that can be learned but
will remain a distracting and all but useless artefact for the sightless.
This is the best example I can think of to illustrate the basic principle
that, in my opinion, should guide art education for the blind. The arts of
our century have taught us that realistic representation is only one among
many equally valid styles. Just as most art teachers today know better than
the task of the art teacher for the blind to convince his students that the aes-
thetic standards of the social majority are not automatically binding. Rather
than be urged to make up for the lack of sight beyond what is practically
they can make to the culture to which they belong as a respected minority.
NOTES
1. Selma Fraiberg, Insights from the Blind (New York: New American Library, 1977).
6. Ludwig Miinz and Viktor L6wenfeld, Plastische Arbeiten Blinder (Briinn, Czechos-
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Art for the Blind 65
7. Rudolf Amheim, "Victor Lowenfeld and Tactility," in his New Essays on the
The Perception of Pictures, ed. Margaret A. Hagen (New York: Academic Press,
1980).
REFERENCES
The special haptic abilities of blind persons and their first shape perceptions when
they acquire sight after an operation has attracted the attention of philosophers and
writers from Locke (book 2, chap. 9), Diderot, and Herder to Helmholtz (vol. 3, para.
28, pp. 220-27) and the psychologists of our own time (Wertheimer). The two classic
publications on haptic art are by the art historian Miinz and the art educator
Lowenfeld and by Geza Revesz, whose work is valuable for its extensive material
even though oldfashioned by artistic standards when he concludes that haptic per-
ception "lacks the needed preconditions for aesthetic experience" (vol. 2, p. 13).
Recently, John M. Kennedy has given much thought to the nature of pictorial line
(1974) and has made experiments on the drawings of naive blind subjects (1980). An
excellent theoretical and practical survey of art education for the blind in Germany
has been published by Spitzer and Lange. In the United States, the Lions Gallery of
the Senses at the Wadsworth Atheneum in Hartford, Conn., has done pioneering
York: Dover.
Locke, John. 1959. An Essay Concerning Human Understanding. New York: Dover.
Revesz, Geza. 1938. Die Formenwelt des Tastsinnes. Haag: Nijhoff. Trans. as Psychology
Spitzer, Klaus, and Margarate Lange, eds. 1982. Tasten und Gestalten. Waldkirch.
Wertheimer, Michael. 1951. "Hebb and Sending on the Role of Learning in Percep-
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