[accessibleimage] student needing help

Hi everyone
this enquiry came to me but it is outside my field if anyone can help please
would they contact Diana direct
via e-mail: dijanara@xxxxxxxx
 
 
My name is Dijana Raudoniene; I'm PhD student in Vilnius Academy of 
Fine Arts (Lithuania). I'm doing my research, concerning designing 
and perception of tactile graphics (the thesis title is "Tactile 
diagrams: problems of intertextuality and esthetic").
 
Because of not efficient productions of tactile graphics situation 
in Lithuanian, there is no professional, who would consult about 
this item.   
 
I'm applying for some help. Could I get some advice on an internship 
opportunity - in the institutions, where tactile graphics are 
designed and produced? Or, maybe, You could refer some contacts or 
links? There are possibilities of getting scholarship from some 
funds. 
 
 
Please find two documents attached - my CV in the Europass form and 
the Summary of my MA thesis "Perceptual Intentionality. Art also for 
the Blind".
 
Perceptual Intentionality. Art also for the Blind 
Dijana Raudoniene
Summary 
 
Fine art and blindness are considered to by incompatible, despite the
current tendency to minimize the importance of the visual aspect in fine
arts. Such a conception of art emphasises the blind person's incapability,
or inability, as a lack of a necessary 'instrument' for the perception of
art. Therefore, in all discussions of the issue of perception the blind
person remains 'invisible' - he or she does not exist. 
This fundamental difference between seeing and not seeing, which emerges in
the initial stage of the perceiver's encounter with the work of art, enables
us to expand the issue towards the field of perceptual phenomenology. The
topic of a firsthand and pre-reflex encounter, which is related to the
'lived-body', directs the issue towards the experience depending on a
particular body. 
If we are talking about the initial contact with the object of perception,
we can say that either a 'normal' person is blind, deaf or insensible to
such a substance, which he or she cannot (is incapable) to sense because of
the physiological structure of the human body. So, works of art usually are
produced using such substances and such their features, which correspond to
the 'normal' diapason of human senses.
While discussing the issue of the production of art, it is necessary to
stress that an artistic practice should present a work, which would reveal
itself to a blind person through other than visual senses. The visual
qualities of art are not meaningful for a blind person. Only those qualities
that he or she could perceive through other - residual and, let's say, more
developed - senses have any meaning.
Customarily, a blind person's perception is associated to the senses of
hearing and touching. Stereotypically, these two senses are considered as
'appropriate' either in everyday situations or in the perception of art
(hearing - for music, touching - for sculpture). But touching (or haptic) is
not the only sense, which a blind person can use in perceiving a work of
fine art. The focus on touching as the only sense suitable for the blind to
perceive art narrows down significantly the group of art works, which he or
she could perceive and appreciate. 
The thesis focuses on installation as a more extended alternative for blind
perceivers. Installations are a group of art works, which involve
multisensory perception; therefore, the occasion for a more varied blind
perceiver's experience is provided. This involves not only 'separated'
modalities (touching, hearing, smell), but also the whole body of the
perceiver (kinaesthetic - moving, walking around, etc.). Concepts, such as
space and time, are discussed as the constitutional elements of the process
of perception. 
 
 
 
Yours respectfully,
Dijana Raudoniene
Vilnius Academy of Fine Arts, Faculty of Humanities, Doctoral 
studies. 
Maironio st. 6, LT-01124 Vilnius, Lithuania
www.vda.lt
 
 
Best wishes
Ann
 
____________
Ann Gardiner
01928 733040

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