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“Haptic Optic” and Non-visual Perception in Art of the 20th and Early 21st Centuries

Received: 22 April 2022     Accepted: 24 October 2022     Published: 22 November 2022
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Abstract

Multisensory approaches to contemporary art have become more popular in museums, galleries, and independent projects. This tendency indicates that in the arts, vision is losing its position at the head of the hierarchy of senses. Now, every sense can provide a conceptual message. This paper explores the relationship between visual and non-visual perception in a historical context. Starting with the revolutionary experiments of Dada, Surrealism, Futurism, and the Russian avant-garde, the first experiments in the 20th century were connected with the search for a new vision, helped along by critics of “retinal” art. Among diverse experimenters, Sadakichi Hartmann, Marcel Duchamp, Jean Arp, Wolfgang Paalen, Filippo Tommaso Marinetti, Vladimir Baranov-Rossine, and other innovators appealed to different senses. Pablo Picasso used blindness as a metaphor for his work. Hans Hartung, Arnulf Rainer, Alberto Giacometti, and Joseph Ginzburg used blind drawing as a creative method. The immersive and multisensory art of contemporaneity looks like the dream of avant-garde artists come true. The changing relationship between the artist, viewer, and work supports the development of new media and methods. Perceiving a work now often involves a multisensory experience connected to the reduction of sight: colorblindness, tunnel vision, or the domination of touch, scent, or movement. This text draws upon art history, phenomenology, and physiology to speak to the experiences of haptic vision and non-visual perception in exhibitions and art mediation with regard to inclusion projects in museums.

Published in American Journal of Art and Design (Volume 7, Issue 4)
DOI 10.11648/j.ajad.20220704.16
Page(s) 144-149
Creative Commons

This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.

Copyright

Copyright © The Author(s), 2022. Published by Science Publishing Group

Keywords

Haptic Optic, Multisensory Art, Perception, Senses, Museology

References
[1] Bart R. Cy Twombly. Moscow. Ad Marginem Press, Garage Museum of Contemporary Art, 2020. Pgs. 15-16. [In Russian] p. 15-16.
[2] Berenson B. The Florentine Painters of the Renaissance. New York: G. P. Putnam’s Sons, 1896. P. 5. p. 5.
[3] Bird J. Minding the Body: Robert Morris’s 1971 Tate Gallery Retrospective // Newman M., Bird J. Rewriting Conceptual Art. London: Reaktion, 1999. P. 97. p. 97.
[4] Bishop, C. The Social Turn: Collaboration and Its Discontents, Artforum, 2006, February: Pgs. 178–183. p. 136.
[5] Derrida J. Memoirs of the Blind: The Self-portrait and Other Ruins / J. Derrida. Chicago; London: University of Chicago Press, 1993. P. 2 p. 472.
[6] Epstein M. Haptics. Homo Tangens // Epstein M. N. Philosophy of the Body / Tulchinskiy G. L. The Body of Freedom. Saint Petersburg. Aleteya, 2006. Pgs. 16-38. [In Russian] p. 16 p. 16.
[7] Fleck R. Von allen Sinnen. Wahrnehmung in der Kunst. Edition Konturen, 2016. p. 18.
[8] Foster H., Krauss R., Bois Y-A., Buchloh B. H. D., Joselit D. Art since 1900. Modernism, Antimodernism, Postmodernism. Thames & Hudson Ltd, London, 2011. 816 Pgs. P. 739.
[9] Foucault, M. The Will to Knowledge: The History of Sexuality: 1. London: Penguin Books Ltd. [1976] 1998.
[10] Hantelmann, D. Von The Experiential Turn Khudozhestvenniy Zhurnal No. 103. 2017. Pgs. 60-79. [In Russian] p. 61.
[11] Husserl E., Ideen zu einer reinen Phanomenologie und phänomenolischen Philosophie. Zweites Buch: Phänomenologische Untersuchungen zur Konstitution, hrsg. Marly Biemel, Husserliana IV (Dordrecht: Kluwer, 1991).
[12] Kant I. The Form and Principles of the Sensible and Intelligible World // Kant I. Works in 6 volumes, Moscow, 1964. Vol. 2. Pgs. 381—426. P. 403. [In Russian] p. 137, p. 403.
[13] Les immatériaux Exhibition press-release. Centre Pompidou. 1985. Paris. URL: https://www.centrepompidou.fr/cpv/resource/cRyd8q/r6rM4jx (Accessed on February 25, 2019).
[14] Levent N., Pascual-Leone A. The Multisensory Museum: Cross-Disciplinary Perspectives on Touch, Sound, Smell, Memory, and Space. Rowman & Littlefield Publishers, 2014.
[15] Linden D. Touch: The Science of the Hand, Heart, and Mind. Moscow Sindbad Publishers, 2018. 310 Pgs. [In Russian] p. 37.
[16] Lyotard, J. F. The Postmodern Explained to Children: Correspondence 1982-1985. Moscow. RSSU, 2008. 150 Pgs. [In Russian], p. 23.
[17] “Make Me Think Me”, 2006. The section title of Bruce Bauman’s exhibition at Tate Liverpool, 2006.
[18] Marks L. U.. Touch: Sensuous Theory and Multisensory Media. U of Minnesota Press, 2002. P. 20, p. 20.
[19] Riegl A. Stilfragen. Grundlegungen zu einer geschichte der ornamentik. 1893. Leather Bound – January 1, 2019. P. 19 p. 19.
[20] Merleau-Ponty M. Phenomenology of Perception (1945), Routledge; 1st edition (August 9, 2013). p. 374.
[21] Paul Ch. Digital Art. Moscow Ad Marginem Press, 2017. [In Russian].
[22] Sans J. Daniel Buren: Au sujet de...; Entretien avec Jérôme Sans. Paris: Flammarion, 1998. P. 126. p. 126.
[23] Sechenov I. M. Object-Thinking From a Physiological Standpoint / I. M. Sechenov // Russkaya Mysl. Moscow, 1894. Fifteenth Year, Book I. Pgs. 255-262. [In Russian] p. 256 p. 256.
[24] Sensing Spaces. Exhibition catalogue. Royal Academy of Arts, London. 2014. 192 P.
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  • APA Style

    Kiseleva-Afflerbach Evgeniya Igorevna. (2022). “Haptic Optic” and Non-visual Perception in Art of the 20th and Early 21st Centuries. American Journal of Art and Design, 7(4), 144-149. https://doi.org/10.11648/j.ajad.20220704.16

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    ACS Style

    Kiseleva-Afflerbach Evgeniya Igorevna. “Haptic Optic” and Non-visual Perception in Art of the 20th and Early 21st Centuries. Am. J. Art Des. 2022, 7(4), 144-149. doi: 10.11648/j.ajad.20220704.16

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    AMA Style

    Kiseleva-Afflerbach Evgeniya Igorevna. “Haptic Optic” and Non-visual Perception in Art of the 20th and Early 21st Centuries. Am J Art Des. 2022;7(4):144-149. doi: 10.11648/j.ajad.20220704.16

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  • @article{10.11648/j.ajad.20220704.16,
      author = {Kiseleva-Afflerbach Evgeniya Igorevna},
      title = {“Haptic Optic” and Non-visual Perception in Art of the 20th and Early 21st Centuries},
      journal = {American Journal of Art and Design},
      volume = {7},
      number = {4},
      pages = {144-149},
      doi = {10.11648/j.ajad.20220704.16},
      url = {https://doi.org/10.11648/j.ajad.20220704.16},
      eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20220704.16},
      abstract = {Multisensory approaches to contemporary art have become more popular in museums, galleries, and independent projects. This tendency indicates that in the arts, vision is losing its position at the head of the hierarchy of senses. Now, every sense can provide a conceptual message. This paper explores the relationship between visual and non-visual perception in a historical context. Starting with the revolutionary experiments of Dada, Surrealism, Futurism, and the Russian avant-garde, the first experiments in the 20th century were connected with the search for a new vision, helped along by critics of “retinal” art. Among diverse experimenters, Sadakichi Hartmann, Marcel Duchamp, Jean Arp, Wolfgang Paalen, Filippo Tommaso Marinetti, Vladimir Baranov-Rossine, and other innovators appealed to different senses. Pablo Picasso used blindness as a metaphor for his work. Hans Hartung, Arnulf Rainer, Alberto Giacometti, and Joseph Ginzburg used blind drawing as a creative method. The immersive and multisensory art of contemporaneity looks like the dream of avant-garde artists come true. The changing relationship between the artist, viewer, and work supports the development of new media and methods. Perceiving a work now often involves a multisensory experience connected to the reduction of sight: colorblindness, tunnel vision, or the domination of touch, scent, or movement. This text draws upon art history, phenomenology, and physiology to speak to the experiences of haptic vision and non-visual perception in exhibitions and art mediation with regard to inclusion projects in museums.},
     year = {2022}
    }
    

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    AB  - Multisensory approaches to contemporary art have become more popular in museums, galleries, and independent projects. This tendency indicates that in the arts, vision is losing its position at the head of the hierarchy of senses. Now, every sense can provide a conceptual message. This paper explores the relationship between visual and non-visual perception in a historical context. Starting with the revolutionary experiments of Dada, Surrealism, Futurism, and the Russian avant-garde, the first experiments in the 20th century were connected with the search for a new vision, helped along by critics of “retinal” art. Among diverse experimenters, Sadakichi Hartmann, Marcel Duchamp, Jean Arp, Wolfgang Paalen, Filippo Tommaso Marinetti, Vladimir Baranov-Rossine, and other innovators appealed to different senses. Pablo Picasso used blindness as a metaphor for his work. Hans Hartung, Arnulf Rainer, Alberto Giacometti, and Joseph Ginzburg used blind drawing as a creative method. The immersive and multisensory art of contemporaneity looks like the dream of avant-garde artists come true. The changing relationship between the artist, viewer, and work supports the development of new media and methods. Perceiving a work now often involves a multisensory experience connected to the reduction of sight: colorblindness, tunnel vision, or the domination of touch, scent, or movement. This text draws upon art history, phenomenology, and physiology to speak to the experiences of haptic vision and non-visual perception in exhibitions and art mediation with regard to inclusion projects in museums.
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Author Information
  • Interdisciplinary Projects Department, The Pushkin State Museum of Fine Arts, Moscow, Russia

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