Visual Art for People with Blind Disabilities: Return to Syncretism

Abstract

The study is devoted to inclusion in art and design. Its aim is to identify certain forms and means that can significantly bring the experience of communicating with visual art to people with blind disabilities, as well as to find out the opportunities of creating unique inclusively oriented art. Research methods: general scientific methods of analysis and synthesis, comparative, formal and phenomenological methods. Scientific novelty. As a result of comparative analysis of existing inclusive projects, as well as those forms of modern art that have actualised the experience of tactile perception at the time, approaches are identified that can correct the perception of art objects for people with visual impairments and use these tools to create a unique artistic product. Conclusions. The research identified three approaches to creating inclusive art projects for people with blind disabilities. The first one is a kind of “translation” of architectural forms into a language that is comprehensible for tactile reading of the model. The component of this language is size, which should be optimal for both touch perception and comprehension of the art work as a whole; therefore, the scale and preserved proportions of the elements, the texture of materials and forms, details that give uniqueness to a certain art work, are important. The second approach is a creation of adapted art objects that have a regulated relief texture applied using digital technologies. With the appropriate instruction or guidance, certain objects, line patterns and even colours can be identified. The alternation of textures of different densities and smooth surfaces allows to convey a message about colours, however, only a limited palette. In both cases, information is duplicated in Braille and equipped with a QR code with audio information. Nonetheless, both approaches are exactly adaptive products, which are certainly very valuable in terms of creating an understanding of visual art. Instead, the importance of another approach is highlighted. It is called a syncretic one in this research. To a greater extent, it corresponds to the essence of artistic experience, the deficiency of which, according to our belief, is also experienced by people with blind disabilities. Such an art work or trend claims to be not a model or a “translation” of some definite art object into the language of tactile sensations, but a unique work of art and design, universal for any person and, at the same time, marking the work with the presence of people with disabilities and being available for their perception.