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

Kiseleva-Afflerbach Evgeniya Igorevna

doi:doi:10.11648/j.ajad.20220704.16

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

Kiseleva-Afflerbach Evgeniya Igorevna

Published in American Journal of Art and Design (Volume 7, Issue 4)

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

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[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.
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[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.
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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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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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TY - JOUR
T1 - “Haptic Optic” and Non-visual Perception in Art of the 20th and Early 21st Centuries
AU - Kiseleva-Afflerbach Evgeniya Igorevna
Y1 - 2022/11/22
PY - 2022
N1 - https://doi.org/10.11648/j.ajad.20220704.16
DO - 10.11648/j.ajad.20220704.16
T2 - American Journal of Art and Design
JF - American Journal of Art and Design
JO - American Journal of Art and Design
SP - 144
EP - 149
PB - Science Publishing Group
SN - 2578-7802
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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

Kiseleva-Afflerbach Evgeniya Igorevna

Interdisciplinary Projects Department, The Pushkin State Museum of Fine Arts, Moscow, Russia

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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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