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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
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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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