I thought it might be worthwhile to add comment
about access to objects for the visually impaired visitor. I have been
working on a series of CD based audio guides for museums in the north west of
England (UK) where from the outset areas of 'tactile experience' have been
identified. The museums vary from 16th, 17th century country houses, a
maritime museum, a reconstructed Victorian street, an industrial gallery, and
latterly a museum gallery featuring an Egyptian mummy.
In the country houses the exploration of the shape
and size of doorways, curtains, carved chair backs, wooden panels, window
lights, furniture are in included in the tour. In the case of the mummy gallery,
specially prepared raised-surface tiles are arranged on the wall allowing guests
to explore the shapes of the hieroglyphs. In the maritime display, a fibreglass
cast of large fish some 6 feet long caught by local fishermen is on
display. Pegs or markers are included on the outside of the case so that
the length of the fish can be determined by the visitor. The look on their
faces says everything!. Where items might be contaminated with acid and
fats from finger ends cotton gloves are supplied. There is also the issue of
personal safety - crashing your head on a low 17th century door frame
should not be part of the visitor experience, correct guidance and safety
information is vital. In a several museums we also supplied magnifying
glasses to enlarge the view of objects behind glass, as well as 'approved'
electric torches for use on objects in low light conditions. Before any of
these approaches are used a risk assessment is made, and decisions taken both by
the curator and the conservator.
In the UK most registered visually impaired
visitors will have some residual vision and this brings into play other elements
of museum work worthy of exploration on the List - for example design, the need
to create areas of light and dark contrast in displays.
It is not, in my view, just straight forward
access to objects that is important, but the whole experience. There is no
substitute for exploring the size, shape and smell say of a steam
locomotive, the layout of a castle or the shape, the size and intricacy of a
carved wooden panel, the sounds of a creaking wooden floor, or handling a
Nautilus shell. Duplicate object collections are a good idea but
should complement, when possible a wider experience.
If anyone is interested further I am always happy
to give details off line.
Ken Howarth Heritage Recording
UK