Environmental Interpretation for the Visually Impaired

7/23/2019 Environmental Interpretation for the Visually Impaired

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Environmental Interpretation for the Visually Impaired

When one hears the word interpretation a picture is usually formed of translating, either

the spoken or written word, from one language into another. Interpretation is just that, but

it can extend far beyond the written or spoken word to include the translation of any

foreign concept into a language understood by the listener. mong these foreign concepts

is the natural and man!made environment in which we live. "efore one can effectively

discuss the art of and adaptations necessary for interpretation for the visually impaired,

one must possess a thorough understanding of the components involved.

Environmental Interpretation

#rue interpretation, by capitali$ing on a person%s desire for the enrichment of the mind

spirit, goes beyond a mere statement of fact. s &r. 'aul (isk)*+- of /ichigan 0tate

1niversity states, 2interpretation strives to create in the listener sensitivity, awareness,

understanding, enthusiasm, and commitment.3#o know what comprises effective

interpretation, however, is only half the battle. #o effectively bring about such

interpretation is the greatest challenge faced. 4reeman #ilden in what has become the

interpreters 2"ible3 aids in this battle by stating six principles around which a successful

interpretation program may be designed)#ilden, *+56

*. ny interpretation that does not somehow relate what is being displayed or described

to something within personality or experience of the visitor will be sterile.

7. Information, as such, is not interpretation. Interpretation is relevation based upon

information.

8. Interpretation is an art, which combines many arts.

5. #he chief aim of interpretation is not instruction but provocation.


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9. Interpretation should aim to present the whole rather than a part.

:. Interpretation addressed to children should not be a dilution of the presentation to

adults, ;to be at its best it will re


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everyone loves the sensation of touching, smelling, tasting, or hearing,! sighted persons

for the added sensory excitement and visually impaired persons for the perceptual

information received. #ake down the rail, remove the glass, use the exhibits to their

fullest potential. 0kins and skulls, shell and bones!anything touchable will probably

become the high point in the visitor center. #here are some items which due to their

fragile or expensive nature cannot be handled. 4or such items it is necessary to provide

simulated objects constructed to represent the fragile item or a highly descriptive text

presented in terms and concepts understandable by the visually impaired visitor. 0uch

modifications re


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@riteria for site selection should include accessibility, ease of maintenance, and above all

the incorporation of the most diversified site provides the greatest possibility for the use

of the visual, tactile, and auditory senses. (ivers, bogs, pine, and hardwood forests are

just a few examples of the many eco!systems which could be included along the trial.

#he actual physical design of the trial should strive to maintain a natural environment to

the greatest extent safety considerations will allow. #he means of achieving this

naturalness span a broad range!from the use of guide ropes to no alterations but rather a

reliance on a sighted partner. @onsultation with potential user groups and the agencies

serving these groups and the agencies serving these groups would be the best way to

determine the particular design best suited for the trail. =ne interesting innovation has

been employed on the #ouch and 0ee >ature #rail in the >ational rboretum,Washington, &.@. 'ortions of the trail pass through an open meadow where it was felt the

visitor should be able to roam freely. s a means of accomplishing this the 2staff put

down a gravel band around the safe area;.stationed sign informs visitor;.he may walk

or run freely till he steps on the gravel strip.3)Carvey, *+:-

#he degree of 2 naturalness3 one will be able to maintain is dictated by the level of safety

considered necessary. #he extent of trail alterations needed will depend on the type of

terrain through which the trail is passing and the population to be served. #he Wisconsin

&epartment of >atural (esources, for example, has established the following as

minimum re


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=ne final aspect is the actual interpretive program, both content and method. #he key to

program adaptation


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@assette players, though currently used on relatively few interpretive trails, appear to be

the most promising communications approach to date. #he players, loaned out from the

visitor center , may be carried by a visually impaired person, thus giving him the option

of independent travel. #he message repetition if necessary and letting the individual

proceed at his own pace. #he message may also include a description of the next portion

of the trail to be covered, possible ha$ards along the trial, or the number of feet to the

next station. #he use of cassette players also allows a more complete use of the auditory

sense. 0ounds which may not be present at all times of the year, bird calls, or the sounds

of wind or rain may be included to either supplement the sensory input or cue the listener

to what sounds may be heard along the trial. #he use of cassette players will be beneficial

not only to the visually impaired user but to the sighted user as well. study recently

concluded by the 1.0. 4orest 0ervice )Wagar, *+: on the use of cassette tapes in

interpretation concluded that , 2@assette tapes in portable players can provide

substantially greater enjoyment and understanding on an interpretive trail that can be

expected, on the average, from either trail signs or trail leaflets .3ny adaption which will

benefit both non!sighted users should be incorporated into the program.

We should design all facilities for all people. With the extra attention paid to designing

for use all senses the facilities will be more satisfying to all visitors and will result in

more effective interpretation.)"eechel, *+:


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#he museum todayG#he modern museum

In *+5, I@=/, according to the 0tatute, article 7, paragraph *, *+5 H @ode of'rofessional Ethics *+-:, defines a museum as 2permanent =rgani$ation, nonprofit

!making, submissive to the service of the society and its development and open to the

public, who ac.Jotler, the

museums have evolved from collection spaces to spaces of education and afterwards to

spaces of experience, as each stage of development broadens the field of the previous.@urrently, the public%s experience in most museums goes beyond the limits of visiting, of

simple viewing or of collecting information. It involves more elements, which re


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about the environment, the economy, the social organi$ation, the ethics and aesthetics of

its origin era and society.

#he museum, besides that it is a place multivalent and multidimensional, it also depends

its existence and its effectiveness absolutely on the interactive relationship born between

it and its visitors, for and thanks to whom it exists as a living cultural organi$ation. #he

modern museum looks for ways to communicate with the public, a public varied and

multivalent, of different age, level of education, social background and cultural identity.

/oreover, the modern museum rejects traditional models and practices and explores

ways of communication, closer to the model suggested by Fooper!Creenhill )*++*. #he

latter recogni$es that communication within the museum is a social work and that people

create their meanings and messages in different ways. #hat effort is the reason why theyuse a variety of means of communication, they benefit fromGby the new technologies,

they emphasi$e on learning theories within the museums and they try to approach the

audiences which they did not approach in the past.

/any museums pursue organi$ed guided tours, events, tributes, educational exhibitions,

permanents or touring ones. In addition, they process and publish leaflets, books, guides,

they apply educational programs for children or adults, for people with disabilities,

experimental programs whose character is anniversary,they cooperate ,as mentioned, with

schools and other institutions, they organi$e educational seminars for educators etc. s a

result, the current museum has a particularly rich educational character. It has

transformed into a 2new3 museum, functional, pleasant, tempting, which provides

motives for consideration and action and which urges the child or the grown up to obtain

information, specific data and to study tendencies and developments. 0o, the current

museum, wants the visitor to participate actively in the museum experience and not to be

just a passive receiver. #hrough various activities and by the contribution of digital

technology, which enforces the interactivity, the visitor should be able to activate his

learning skills, to experiment and to manage these incentives, so as to develop his

confidence.

#he theory of the museum experience


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/any educators agree that learning is achieved only through active participation and that

experience is an integral part of knowledge, which is ac


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#he past few years% progress has made the public institutions% characteristics% planning

possible and these could facilitate the voluntary learning of multiple cognitive skills. #he

experience provided by museums can affect someone%s attitude and offer uni


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#hey enable communication between the items and the public, by giving the

visitors a chance to participate actively in programs with specific content and

specific goals or problem solving exhibitions, where the items are used as

pretenses or explanations )Kanthakou, >ahopoulos, 7BB8.

#hereby, within the museum%s space, knowledge will be built through self!experiencing,

which shall be achieved through the person%s involvementinto tangible objects and

practical activities, through the interaction to the exhibits and the conciliation to them.

#he planning and implementation of educational actions and programs is now considered

a @ultural 1nits% self!evident obligation. In recent years, the museums began to reali$e

their educational and entertaining role and to try to become more accessible and pleasant,

by offering tour guides, educational programs, printed informative material, information

via internet, workshops etc. and by organi$ing educational exhibitions and seminars. #he

museum, by reali$ing its role, tries to be an educational institution itself, which will offer

to its visitors knowledge, experiences and incentives through its polymorphic nature and

its original material. #his is how it creates interaction with the items potentials and it

develops cultural and aesthetic sensitivity, by defining the items% historicity and the socio!

political context, within which they were created. #he Creek museums% educational

activities areD

Exhibitions

#our guides

'rinted informative material

0eminars

Workshops

Educational kits

'erformances )musical, theatrical etc.

4estivities

Educational programs


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museum%s educational program is nothing else than an educational procedure, which is

based on active learning methods, under the public%s needs and potentials, the school%s

spatial possibilities and detailed schedule, regarding the students.

@onse? '(=C(/0 4=( 'E='?E WI#F 0'E@I? >EE&0

/10E1/0 >& 'E='?E WI#F 0'E@I? >EE&0

#he 2&eclaration of Fuman (ights3 under the rticle 7.* indicates that 2everyone has

the right to participate freely and to enjoy the artistic and cultural life of the @ommunity3.

#his right can function only if the @ommunity itself sets aside the obstacles of

accessibility to the places where artistic and cultural activities take place. #he modern

perception%s main demand for social providence, concerning 'eople with &isability, is the

development of their personality and thecon


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#aking advantage ofthe existing legislation, the planning standards, the museum

principles and the new technological means, several museums internationally redefine

their attitude towards visitors with disability. #heir goals are the physical access to the

museum building and the participation of 'eople with 0pecial >eeds in the museum

experience. "esides, a museum%s success is not calculated by the number of visitors it

receives, but by the number of visitors who were actually taught something by that

particular museum. It is not calculated by the number of items which are being exposed,

but by the number of items that managed to become perceptible by the visitors within a

human environment. It is not calculated by the si$e, but by the extent that the public

mentally crossed, truly benefiting from the things it saw. )I.'oludwrou /penaki, 7BBB.

>aturally, many restrictions are set, but the building%s spatial organi$ation especially inthe case of preserved buildings!, the exhibits% presentation mode, which often confounds

or repels the visitor, the items% safety, the lack of funds and the absence of eeds, in order for each new planning or infrastructures% and services%

adjustment to be essentially orientated towards the users% needs. )#sitouri, 7BB9, p.8-.

#he accessibility and the integration of 'eople with &isability in the museums is part of

the tenet 2#o live with the others, regardless the differences, yet to recogni$e the right to

difference3. #he adjustments which will be made, should be such so that the people with

disability will not feel excluded from life and its pleasures.

E&1@#I=>? '(=C(/0 >& 'E='?E WI#F 0'E@I? >EE&0

#hrough organi$ing and applying the Educational 'rograms, which refer mainly to

preschool children, the problem of dealing with children with disabilities has emerged

sharply. )Veliwti!Cewrgopoulou /. #oudasaki E., 7BB5. s a result, the educational

programs for people with special needs do not admeasure many life years, as the planning


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and the elaboration of such an educational program involves many difficulties. Cenerally,

these programs re


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@hoice of method )


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being taken into consideration in order for the modification of educational material and

the adjustment of programs to each public%s needs to happen are the followingD

*. #he limited social experiences of 'eople with &isability, which in some cases is

observed.

7. #he public%s educational attainment and mental age, if and when this is different

to the real age.

8. #he insecurity and lack of trust, which they may feel in front of new experiences

or within a new environment.

5. #heir need for a special relation to the adult, who will welcome them to the

museum and guide them.

9. #he necessary transcription of the information which will be reported through

vision and hearing, as well as the simplification of the meanings and the

knowledge which are provided by the general educational program. )@hrysoulaki

0., 7BB5.

"y extension, goals of programs in museums for 'eople with &isability areD

#he integration of 'eople with &isability to the community.

#he approach of the museums as spaces of education and entertainment.

#he usage of the exhibits on the level of cultivation of the imagination and the

observation, as well as the comparison between information%s discovery and

evaluation.

#he attainment of an educational program re


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7. ceeds are entitled of an extra hour stay.

5. Evaluation of the program through the children%s essays, letters and drawings as

well as through the educators% and the person%s who is responsible for the

educational program, written reports. )@hrysoulaki 0.,7BB5.

It is true that the demand for a democratic and open museum gains special significance

when it refers to 'eople with &isabilities, including the cultural institutions% obligation to

plan and implement programs of education or further training for different types of

visitors.

/10E1/ >& VI01??M I/'I(E& 'E='?E

#he various types of defective vision

#here are many stages of defective vision which range between complete blindness by

birth and vision which deviates slightly from normal. Each level of disability has each

own cause and is a result of various deformities or illnesses. s a result, each case has its

own specificity and has to be dealt as a special disability type.

/oreover, it is should be noted that there is a great difference between a person who is

blind by birth and a person who for some reason lost his vision later on. #he first one has

already formed habits and has sufficiently developed the rest of his senses.

Fowever, the person who loses his vision later on his life has a much more reduced sense

of touch, which makes it difficult for him to read the signs in the museums and in other


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cultural spaces. #hat is the reason why he relies completely and solely on the museums%

recorded guided tours.

s far as a different type of defective vision is concerned, in referrence to the people who

for some reason have a reduced sense of vision but do not suffer from total blindness, we

could say that even here there are subcategories. 24or example, there are people who

have peripheral and not central vision, people who are able to see nearby and not in

distance, people who can read but they cannot reali$e what happens 7B meters away from

them and vice versa, people who can distinguish up to a certain level colors and can only

see in gray, others with a very limited field of vision; etc.3 )"enoist,*++*D-+. #hus,

each case re


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0peciali$edD they have been created by organi$ations of the blind or in relation to

them and offer full and multilateral accessibility to their exhibits. )"oussaid,

7BB8.

t a recent conference on 2/useums 2Without "arriers3 organi$ed by the 4oundation de

4rance and I@=/, it was suggested that approximately one in ten of the population of

Europe has a disability.

#here are various measures the museums and galleries could take in order to help people

with visual impairment such asD

"raille texts are useful, although only a very small percentage, perhaps only 8 per

cent, of partially sighted people can read "raille. 'anels with "raille labels should

be mounted at a convenient angle, on a slight upward slope rather than flat on the

top of a surface, which becomes very tiring to work with after a while.

#exts in large type are perhaps more useful, as a large proportion of the audience

will also find this helpful, including those with bi!focals, people with reading

difficulties and also those who are tired. 0ound cassettes are helpful for those with

very little or no sight, as these can be used to structure the visit in addition to

giving information.

@atalogues or guides in large print and "raille could be considered. #hese are

very useful in that they can be taken home and if illustrated, can be studied after

the exhibition. touch exhibition at the "ritish /useum, 2Fuman #ouch3, used

linear illustrations of the sculpture displayed on the labels in the exhibition and

the same illustrations in the catalogue.

Workshops which enable handling, close looking, discussion and personal

expression are perhaps the most useful and if organi$ed sensitively and over a

period of time, some workshops can offer new interests and involvement. In many

museums and galleries in "ritain, this level of provision is rare because of the

resource implications.


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=pportunities for handling are welcomed, especially when this is integral to the

exhibition or permanent display rather than provided as a special event. lthough many

touch exhibitions have been organi$ed in recent years, most visually impaired people

would prefer visits museums to be facilitated through on!going provision rather than to

have to wait for special exhibitions. touch tour is possible in the Wolfson Calleries at

the "ritish /useum.

#actile thermoform images )raised images of part of paintings are one way of enabling

people to gain an impression of a painting. #he living 'aintings #rust is a pioneering

development and recommendations are made that museums and galleries should have

tactile images of paintings and sculpture for sale, loan or reference. #hermoform images

in exhibitions need to be accompanied by a taped commentary.

handrail can be useful, as is a rubber mat to indicate, the route through an exhibition

like the one used for 2rt of #yneside3. Where a special mat is not provided, level

flooring is recommended. @are should be taken to avoid overhanging or projecting

impediments.

?ighting should be bright, without glare, and uniform to help those with residual vision.

0ometimes lighting can be used experimentally, as for example at the #ate Callery,?iverpool, where a sculpture exhibition used light as a way to see, with switches that

could be used to change the lighting on a piece of sculpture, using front, back and side!

lighting. #he merican foundation for the blind has published guidelines to help museum

guides work with blind and visually impaired people)Fooper,**B.

What these people need is the capability of moving around the space with autonomy and

of being able to 2read3 the exhibits through touching and hearing. =f course, some

museums provideEPIDAPEDIOUS ODHGOUS ODEYSHS TYFLWN, handrails with

"raille elements, appliances with oral moving instructions, color contrasts and even the

possibility of using a guide dog. Especially, the planning of museum corridors is the

major factor, which defines a special public%s accessibility to a museum. #he floors%

synthetic material should differ between the museum%s rooms, so that people will easily


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orientate. /oreover, it is reoble

and sun.,7BB5D8. #he museum designers should take into consideration the effects that

color or light have on visually impaired people. 4or example, orange and yellow are more

distinct than red or sometimes the way the light falls on glass display cases can twist the

exhibits% image. 0ome museums provide the capability of touching original three

dimensioned items or when that is not possible, the capability of touching their accurate

copies, they also offer relief maps, explanatory signs, handouts in "raille, recorded tour

guides and other educational activities, which are implemented by speciali$ed personnel.

What is very important is the human contact between the visitors and the personnel and

not its replacement with mechanical facilities.

In conclusion, gestures and suggestions should be made towards the great museums in

order to predict facilitations for the touching of selected items and inscriptions in "raille,

to offer magnified photographs with intense color contrasts and sufficiently lighted of the

most important exhibits with explanatory commentary in big, bold, lighted letters as well

as special tapes for the exhibits that are not allowed to be touched. 2 special office has

to exist within the museum for the prearrangement of a possible visit of people with

disabilities, in order for the people responsible for them to be prepared and if a group

visit is concerned, their educator or their escort to be able to visit the museum previously

for free and to cooperate for some issues with the experts.3)"one and 0M>.,*++8 D*9.

4inally, the state and its most important private schools should try to utili$e works and

items that lay in their storeroom, in order to create, if possible, a parallel permanent

exhibition in some room where visual contact is allowed. #hat already happens in many

great foreign museums.

#0J0 =4 #FE I>VE0#IC#I=>


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*. #o naly$e special literature about access of visually impaired people to

environment

7. #o analy$e the access of visually impaired people to museums in Creece

8. #o make typical conclusion about the improvement of access to museums in

Creece

lternative methods and new technologies

#he goal of a museum%s policy is the public%s communication with the exhibits, its

fruitful tour and its cultural familiari$ation to art. ccording to statistical data, one in ten

people of the general population of Earth )-N!*BN in our country belong to the group of

'eople with &isabilities. solution for the meeting of their re


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the space to be recogni$ed )C'0, so that the device acts automatically.

)httpDGGwww.radianttech.grGfilesGorpheoOneoOgrOB:B7BB-O?.pdf

C.Chiani, ".?eporini and 4.'aterno created a museum navigation guide, especially for

the visually impaired, so that it provides them with easy orientation support and access to

semantic and descriptive information. long an exhibition%s area, labels are used as

detection foundation )each label is placed upon a work of art. #he connection between

the works of art and the labels relies upon the museum%s data base. Each exhibit%s

position inside the room is stored and is essential to the user%s guide )through an

electronic compass as it indicates the right direction to the user. 4or the guidance, there

are vocal instructions and acoustic signs )continuous sounds with variable fre


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devices and accustomed to the problems of the visually impaired, so they could

help, if necessary.

7. 2=rientation system within the room. #his is placed on huge buildings of 8B,BBB

of exhibition space and 57m high. #he inside of the building is designed to be

totally open both vertically and hori$ontally. #hat way, however, various sounds

and noises echo to all directions, without any flat surfaces to reflect them3.

)@orvest, *++*D**5. #his is the reason why this system is used and it has two

characteristicsD it is a system of paths which are planned on the ground through

the differences in material, colour and through touching designs. /oreover, vocal

signs that indicate the exact position inside the room are individually transmitted

through infrared electromagnetic waves.

8. ccess to permanent exhibitions. ccess to permanent exhibitions is provided

through interactive audiovisual methods. &iagrams, explanatory texts in braille,

three dimensional storyboards, 2multisentual3 devices etc. assist this cause. It is

fundamental from an aesthetic view, that the two types of writing expression, the

one reachable to the eye and the other to the ear, are harmonically coexisting. It is

already the object of architectural research and study. In addition, it is important

that braille is a permanent characteristic of all cultural institutions and that all

visitors are being daily accustomed to it, so it is not considered a symbol only for

the visually impaired and it does not divide the visitors.

#@#1? /10E1/

#he #actual /useum belongs to the ?ighthouse for the "lind of Creece.It is one of 5!9

/useums of its kind in the world. #he main difference between the #actual /useum and

other /useums is the opportunity for all visitors to touch all the Exhibitsthat are copies

of the originals displayed in other museums of our country.#he first artefacts were bought

by ?ighthouse, followed by several donations by suppporting organi$ations and others.

t the same time it was reali$ed that the ability to touch and feel the exhibits was an

excellent new way of approaching the ancient greek civili$ation not only for blind but for
http://ekthe.htm/http://ekthe.htm/


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sighted people, too. #he exhibits in the #actual /useum, ! statues, vessels, sculptures and

useful artifacts !are exact replicas of the originals which are displayed in the /useums of

Creece, such as the>ational rchaeologicalmuseum, the cropolis,&elphi, =lympia,

Feraklion/useums and the /useum of @ycladic rt, dated back to the @ycladic,

/inoan, Ceometric, rchaic, ustere (ythm, @lassical, Fellenistic and (oman periods.

Visitors may touch and feel the statue ofphrodite of /elos, Fermes of 'raxiteles,

'oseidon of rtemision, &elphi @harioteer, the Jouros of Volamandra, model of thena

on the cropolis during the 9th century ".@. and others.#o help visitors obtain the

information they re


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developped according the Web @ontent ccessibility Cuidelines RW@C!S

produced by the World Wide Web @onsortium RW8@S.

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Environmental Interpretation for the Visually Impaired