ABSTRACT This article examines the cultural and philosophical intersection between visual and tactile knowledge and the emergent aesthetics of modernism. In the September 1913 edition of The Museums Journal, J. A. Charlton Deas published a paper entitled “The Showing of Museums and Art Galleries to the Blind.” The text, exceptional in its historical context, complicated prevailing assumptions about acts of “visual” art and blindness. Deas details a series of experiments undertaken at Sunderland Museum and Art Gallery from 1906 to 1913 that consisted of making accessible exhibits, specimens and paintings for blind children to touch. Unprecedented at the time, these experiments recast the persistent Western belief that the eye has privileged access to knowledge, instead asserting that knowledge is embedded within material corporeality. The physical, creative and intellectual inclusion of blind people into the formerly inaccessible space of the museum was unique in its reach and offers a refreshing new perspective of what those (authoritatively visual) spaces could be. Sunderland, a region which tends to be discursively separated from the ambitions and experiments of modernism, was at the center of modernist discussions about knowledge, sight and touch; and, disrupts modernism’s silence with respect to acknowledging unprecedented regional developments such as those detailed in “Showing.”

中文翻译：

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知识体系：桑德兰博物馆和美术馆以及盲目的想象

摘要 本文探讨了视觉和触觉知识与现代主义新兴美学之间的文化和哲学交集。在 1913 年 9 月版的《博物馆杂志》中，JA Charlton Deas 发表了一篇题为“向盲人展示博物馆和艺术画廊”的论文。文本在其历史背景下是例外的，它复杂了关于“视觉”艺术和盲目行为的普遍假设。迪斯详细介绍了 1906 年至 1913 年在桑德兰博物馆和美术馆进行的一系列实验，包括制作可供盲童触摸的无障碍展品、标本和绘画。这些实验在当时是史无前例的，它重塑了西方一贯的信念，即眼睛具有获取知识的特权，而不是断言知识嵌入在物质的身体中。体力，盲人进入博物馆以前无法进入的空间的创造性和智力包容在其范围内是独一无二的，并提供了一个令人耳目一新的新视角，这些（权威的视觉）空间可能是什么。桑德兰地区往往与现代主义的野心和实验脱节，是现代主义关于知识、视觉和触觉的讨论的中心。并且，打破了现代主义在承认前所未有的区域发展方面的沉默，例如在“展示”中详述的那些发展。一个倾向于与现代主义的野心和实验在话语上分离的地区，是现代主义关于知识、视觉和触觉的讨论的中心；并且，打破了现代主义在承认前所未有的区域发展方面的沉默，例如在“展示”中详述的那些发展。一个倾向于与现代主义的野心和实验在话语上分离的地区，是现代主义关于知识、视觉和触觉的讨论的中心；并且，打破了现代主义在承认前所未有的区域发展方面的沉默，例如在“展示”中详述的那些发展。