Simulated vision
Everybody sees differently and perceives the world in their own way. This is why it's impossible to define a standard image of what and how a visually impaired person can (still) see. Sighted people who have viewed the world through the simulation glasses can at least get an idea of visual impairments caused by diseases of the eye. In short, not everybody will have the same experience seeing and perceiving the items on display at museums.
From hearing to seeing
During these tours, the detailed description covering the contents, colours, and shapes in the works, and the interrelations between them, are the priority. The group speaks about the display in great detail: What do the colours look like, and what moods do they convey? Is a surface soft, coarse, or hard? How big are various objects and items in relation to each other? These and other descriptions create an idea for the inner eye. Links to specific associations, perceptions, interpretations, personal experiences, and memories let the viewer experience an artwork, and it becomes comprehensible and "palpable" for everybody.
Close enough to touch
Other tours make objects literally palpable. With historical objects in particular, such as those at the Römisch-Germanisches Museum or the NS-Dokumentationszentrum in Cologne, the sense of touch providesdirect access to the objects and their stories: Hands make physical contact with reality, and the objects become "visible". This can also occur when entering and feeling real, historical spaces, like the Gestapo's prison cells at the EL-DE Haus. Original objects or specially made replica that resemble the original size, material, weight, and structure as closely as possible, can also be touched. Particularly striking examples of this can be found in the exhibit on Roman table culture at the Römisch-Germanisches Museum, or in the field of design at the MAKK - Museum für Angewandte Kunst Cologne.
No barriers
Visiting a museum and its original and often unique objects is a special experience. But not everybody can enjoy this experience if there are obstacles to accessibility. There can be all manner of reasons for this upon arrival, like structural impediments or no chaperone available. This is why many museums are expanding their digital presence. Online tours make it possible to visit the museum during lousy weather, or if you're an out-of-towner wanting to visit an exhibit in Cologne. The objects are discussed and thoroughly described. Technical settings are available for maximum art enjoyment: Details can be enlarged, contrasts amplified, and originals - perhaps presented in a different room in the museum - can be compared and contrasted. Services like these are just a fraction of the work the Museumsdienst Köln is doing to expand inclusion. The goal is to facilitate cultural participation for all persons with disabilities and impairments.
Discovering more together
The group has reached the last picture on its tour of the Museum Ludwig. One visitor holds her cane folded in her hand, her head tilted to the side: "This picture reminds me of an experience I had. It was a very similar situation. Because of the discussion and comments from the others, I can get a really good idea of the picture." Her sighted husband shifts his gaze from his wife to the painting: "And I'm seeing details I otherwise would have just overlooked."
Dr Marion Hesse-Zwillus, Director of Inclusion and Museums at the Museumsdienst Köln