‘Sensory sculptures as an example of socially engaged art’
author: Paulina Gobiecka
INTRODUCTION
Socially engaged art often raises important issues. However, very often, these are installations, videos or photographs presented in contemporary art galleries that someone is not able to comprehend without reading the description. In my article I present a vision of socially engaged art in the form of sculptural objects, which are original in design for a specific audience. Also the place where they are going to be exhibited creates itself a very strong context for the intended audience.
The sensory sculptures are not a new idea. A trend of this type of work, especially the haptic art experienced strong development after the Second World War. A perfect summary of this period in contemporary art was presented in the Centre of Contemporary Art in Toruń in 2015 during theexhibition "(Don’t) touch! Haptic aspects of the Polish art after 1945" . In my dissertation and its extension, which was created as part of a scholarship funded by the Ministry of Culture and National Heritage, I go a step further. I create sensory sculptures according to the definition developed by Prof. Doug McAbee of Lander University in South Carolina, who created together with a group of his students, seven sculptures placed on the path used for a horse riding therapy in Burton Center in Greenwood. These sculptures have also an important social aspect. They have been created for people with autism and Asperger syndrome.
This paper is devoted to sculptures that meet not only aesthetic qualities, but can also become an important part of the treatment of people with disabilities when using the method of sensory integration. Thanks to my daily work at the Foundation SYNAPSIS I have the opportunity to observe how the sculptures are used by children visiting the centre. It gives me a great joy, and that’s why I’d like to spread the idea of the sensory sculptures also by means of this paper.
Chapter I. Senses
I.1 Division of the senses through the centuries
Aristotle distinguished the five senses. This division was the result of his theoretical considerations rather than based on empirical evidence, with the question of the sense of touch remaining unclear[1]. According to the classical division of the senses; sight, hearing, taste, smell and touch is distinguished. Further to this, current scientists distinguish a sense of balance, which is associated with the labyrinth in the ear and proprioception, or sense of orientation of body parts to each other and muscle tension. Extracted is also a sense of pain or nociception, thermoception responsible for the perception of heat and cold, and the sense of touch associated with sensory stimuli. All those three senses are related to receptors on the skin and are known as somatic senses.
For many centuries, the vision was considered as the noblest of the senses because, as Aristotle said, ‘it is the closest to the intellect, thanks to the relative immateriality of the object of its knowledge’[2]. Hegel's vision was described as a sense of spirit and intellect which guarantees the opportunity to observe from a distance[3]. The dominance of sight in the modern world has been strengthened through a series of technological inventions and the magnitude of multiplication and production of images. Juhani Pallasmaa writes: ‘hegemonic eye wants to dominate all fields of cultural production and it seems to weaken our capacity for empathy, compassion and participation in the world’[4]. Although this statement refers mainly to architecture, it evidently is equally applicable to the impact on contemporary sculpture.
The human senses have not always been dominated by sight. Anthropologists describe the various cultures in which the senses of smell, taste and touch have common importance for behavior and communication[5]. According to Walter Ong the transition from oral to literate culture is the transition from sound to vision[6]. He also wrote that by replacing hearing with vision, situational thinking has been replaced by abstract thinking.
The change in the hierarchy of the senses occurred in the sixteenth century. Rustic people first heard and felt, sucking the air and catching the sounds. In the Cesare Rip’s "Iconology" from 1593 for the first time it was said that the touch does not have to be nice - after all, it may also be associated with pain, which is expressed in a particularly intense way in contemporary art[7].
Only at the turn of the sixteenth and seventeenth century there was a return to sight through the development of geometry and focusing on the world of form[8] made by the mathematicians: Johannes Kepler and Gerard Desargues. The growing primacy of sight over the other senses is closely connected with the development of the western ego consciousness and the gradually deepening separation of subject and the world. The sight separates us from the world, while the other senses unite us with it. However, in highly emotional states and during thoughtfulness the sight is mostly eliminated[9].
I.2 Sensual perception of sculptures
I.2.1 Sensual perception of sculpture and the material they are made of
A very important issue in the sensory perception of the sculptures is the material they are made of. Natural materials such as wood, stone, ceramics, enable eyesight to know their surface and ensure the veracity of the matter. Analyzing their structure we can determine the age and origin of the sculptures made of them. The momentum associated with the use of modern materials, such as epoxy resin can be treated as a desire to escape before time runs out. Fear of traces of wear or aging can be interpreted as our fear of death.
I.2.2 Sensual perception of sculptures and their meaning
Contemporary sculptures, rather than encouraging sensory proximity, appeal to the intellect and conceptual structures. It is very often that the recipient who would like to understand their meaning should first read the long description. The bombardment of the recipient with extraneous objects leads only to the gradual loss of their emotional content.
I.2.3 Sensual perception of sculptures and the place of their exposure
Pic. I.2.3.1.
Different types of plants in the
Sensory Garden in the Botanical Garden in Berlin
Source: Pictures from own collection
Other interesting examples of sensory gardens include Jardins Garcia de Orta in Lisbon, near the subway station Oriente, created for the world exhibition EXPO in 1998. There were mounted musical instruments made of natural materials such as: stone, wood, metal. An important part of these gardens were plants which strongly stimulate the senses of smell and touch, naturally occurring in Portugal.
Sensory gardens are also seen in Poland. One of the most famous is the Garden of the Senses on Błonie Niepołomickie, near Muszyna. It has been designed as a part of the thesis by Dorota Kuczko in the Landscape Architecture Department at the Cracow University of Technology.
‘This is a public park located on the so-called Błonie Niepołomickie - a flat area situated on the lower terrace of the Vistula valley. It is restricted from the south-west by a steep slope bracing a panorama of Niepolomice, located on the upper terrace. From the top of the escarpment to the north, towards the Vistula spreads a wide favorable view for contemplation’[12].
The park is divided into five gardens, which stimulate all types of senses. Of particular mention is a sound garden, which uses Drwinka - the natural river flowing across the grounds. The natural course of the river was traversed by artificial cascades, to ‘extract’ from the flowing water as much sound as it is possible. There is also water moving artificially by means of a pump to form a fountain actuated by the user. Paths and bridges are made of materials issuing underfoot distinctive sounds. Following the path, you can use a variety of instruments placed in the ‘tunnel of music’. These are: bells, strings, cymbals, gongs, etc[13].
Similar solutions, although at a smaller scale, include the Park of Experiences located in Warsaw at the Copernicus Centre. The idea behind the creations has a more scientific nature, but the objects that were placed there, have the same sensory effect.
Another example of a sensory garden is the first ceramic Sensory Garden in Poland, located in the Botanical Garden in Powsin. The garden was established in 2015 during the project ‘Ceramic Botanical Garden’ implemented by the Garden of Ceramics Foundation, which I co-create. We created three sensory objects - metal frames, where we placed: ceramic bells (to stimulate the sense of hearing), ceramic tiles rotating around its own axis, and ceramic birds and leaves (to stimulate the sense of touch). The components used in the ceramic installation were created during the workshops with the children and the young people from the Special School No. 91 in Warsaw. The workshops were designed for them as a form of art therapy, because contact with clay calms them, reduces tension and develops creativity.
The installation was created among thujas and colchicums and surrounded by daffodils, crocuses and narcissus in spring. The whole has been designed in such a way that the installations were not in competition for the surrounding plants, but emphasized their landscapes.
Pic. I.2.3.2. Sensory instalations in the Botanical Garden in Powsin
Source: Pictures from own collection
Chapter II. What are sensory sculptures?
II.1. Is every sculpture a sensory sculpture?
On one hand we can call each sculpture a sensory sculpture as all of them work on sight. A sculpture is three-dimensional, which encourages its circumnavigation and touching. Of course, in many museums and galleries touching works of art is banned in order to prevent their damage, but the very nature of sculptures, makes them work in a more powerful way on senses in comparison with flat compositions.
Pic. II.1.1. The sculpture
by the Icelandic sculptor Asmund Sveinsson, which attracts even the youngest
audience
Source: Photo from own collection
Trend of haptic art was developing intensively after the Second World War. The exhibition "(Don’t) touch! Haptic aspects of Polish art after 1945" shows the trend, which was the response to changes in the perception of the hierarchy of the senses. The sense of sight, privileged since antiquity, loses to the so-called dark and cannibalism senses (more related to the survival instinct than intellect), which is mainly touch, but also the taste sense.
Pic.
II.1.2. Work of Iwona Demko, titled ‘Cuddly sway me’ presented at the
exhibition "(Don’t) touch! Haptic aspects of Polish art after 1945"
at the Centre of Contemporary Art Centre in Toruń
Source: Press materials CCA Toruń
Pic. II.1.3. Work
of Damian Reniszyn, titled ‘Prostheses. Periscope’ presented on the exhibition
"(Don’t) touch! Haptic aspects of Polish art after 1945" at the
Centre for Contemporary Art in Toruń
Source: Press materials CCA Toruń
Developing upon this with the use of ceramics, Ruslan Sergeev, born in Russia, but mainly working in Israel, creates haptic sculptures. His works are three-dimensional mosaics on a large scale that were created especially for the youngest audience.
Pic. II.1.4. Sensory Park with four large-scale mosaic sculptures in
Eilat, Israel, designed by Ruslan Sergeev
Source:
http://www.ruslan-sergeev.com/
II.2. Sensory sculptures which are used in the therapy of people with disabilities
Sensory sculptures are sculptures which affect more than one sense. I used this definition according to the definition developed by Prof. Doug McAbee of Lander University in South Carolina, who together with a group of his students created seven sculptures on the therapeutic horse riding path in Burton Center in Greenwood. The term ‘sensory sculpture’ used in this context is not very popular and not a lot of sculptures are defined like this, but certainly there are many of them in the world that would meet this criterion. Here are a few examples of such sculptures.
Pic. II.2.1. Sensory sculptures in Burton Center in Greenwood created during a
workshop at Lander University in South Carolina
Sensory sculptures have one more important feature. They stimulate the senses of people with disabilities who have impaired sensory perception of the world - people with autism and Asperger syndrome. This treatise is dedicated to sculptures that have not only aesthetic values, but can also become an important part of the therapy of people with disabilities. The idea of sensory sculptures is to combine aesthetics and politics in the therapy of people with autism. Aesthetics understood as a ‘sensory cognition’ and the policy of allowing people with autism transition from their hermetic world, gaining ‘visibility’. Sensory sculptures which are used in the method of sensory integration are thus intended to establish a special kind of ‘democracy’ - the absolute equality of all people, who may become recipients of art, regardless of the degree of disability. Paweł Mościcki writes: ‘The tension between the desire to participate in social life and the desire for absolute innovation that makes a great art has the power to modify what is existing’[16].
The sculptures of Jan Niedojadlo fit in perfectly with the idea of sensory sculptures used in the therapy of people with disabilities. By choosing a variety of structures and materials, he created unusual two-sided sculptures (they can be seen, touched and felt from the outside and from the inside).
Pic. II.2.2. Sensory
sculptures by Jan Niedojadlo used in the therapy of people with disabilities
One of the tasks of socially engaged art is to sensitize people on all sorts of social problems. In the case of people with autism and Asperger's syndrome situation is somewhat reversed. Those hypersensitive people, through contact with art, regulate their body’s levels of sensory sensitivity.
The disorder of the senses in people with autism and Asperger's syndrome is very complex. It’s a result of dysfunctional sensory integration of stimuli: motor function (including postural response, eye movements, motor coordination), somatosensory sensations associated with receiving sensory information, tactile and disruption of the process of lateralization. Interference to information coming from different sensory channels can manifest itself in hyperactivity or underactivity to stimulus or variable response to them[17] (sometimes the same day, the same person in the morning is for example oversensitive aurally and in the afternoon is hard of hearing). This specificity of autism and Asperger's syndrome makes functioning of people with this kind of disorder very difficult. That is why it is so important to the therapy, carried out from an early age, to introduce elements of the method of sensory integration.
The method of sensory integration is based on the correct organization of sensory stimuli coming through receptors. This means the brain receives information from all the senses, (vision, hearing, balance, touch, feeling motion-kinesthesia) identifies, sorts, interprets and integrates them with previous experiences. On this basis, the brain creates a situation called an adaptive reaction, which is appropriate and effective in response to the demands of the environment. This response may be physical, mental or both[18].
The essence of therapy conducted using sensory integration is learning through play. This type of play allows the integration of sensory stimuli and experiences, which flow into the central nervous system and is enjoyable and interesting for a child. It also improves the organization of activities.
Therapy using sensory integration does not mean learning specific skills (eg. cycling, writing, reading), but the improvement of the operation of the sensory nervous system and processes, which are the basis for the development of these type of skills. While working with this method, a therapist stimulates the senses and improves a child's ranges such as small motor skills, large motor skills, eye-hand coordination[19].
Children do not grow out of problems with sensory integration. Over the years, problems can only grow. That is why it is so important to intervene early as it supports the nervous system in a way that it can properly receive, interpret and organise incoming sensory information.
Without proper reading information from skin, muscles, joints, sense of balance, a person with autism may not develop the correct control of his or her body. He or she has problems with traffic planning, because of not feeling himself or herself. Lack of ability to control the movement makes it difficult to interact with the environment, which ultimately contributes to the withdrawal of a person with a relationship with the outside world[20].
II.3. Sensory sculptures for SYNAPSIS Foundation
Sensory sculptures that I have made for my master's degree and a scholarship have been designed for the SYNAPSIS Foundation - an NGO that helps people with autism and Asperger’s syndrome. These sculptures have been placed in the garden of the headquarters of SYNAPSIS Foundation in Warsaw at Ondraszka 3, which one day will be a sensory garden. Three sculptures will be placed also in a social enterprise in Wilcza Góra, which belongs to SYNAPSIS Foundation. The sculptures were created thanks to my experience of almost two years of work in ‘Pracownia Rzeczy Różnych’ which belongs to SYNAPSIS Foundation. As a ceramics instructor given daily contact with people with autism, I tried to understand the specifics of autism, which is a very unusual disorder to manage, to then tailor the work of my staff in a way that was the clearest and the most understandable for them (even in the case of supposed low-functioning people). In order to study at the Academy of Fine Arts I had to give up work, but the memories have remained and they inspired me to prepare a ‘sensory diploma’. After more than two years, I returned to work at the SYNAPSIS Foundation, but in a completely different role. I do not work with people with autism and Asperger's syndrome anymore, but as a part of my art scholarship I can continue my project of creating sensory sculptures for them.
My sculptures are sensory objects made of ceramic rollers, painted with engobes in warm colors, glazed and fired in a high temperature (1250 Celsius degrees). The material was chosen not by accident. During my work at the SYNAPSIS Foundation I was a ceramics instructor. People involved in SYNAPSIS Foundation have associated me with ceramics for a long time.
The whole of my installation at the headquarters of the SYNAPSIS Foundation will contain 8 sculptures. Two columns will operate on sense of touch. Even the shape of the rollers, tabs present therein, cavities and cracks of clay, surface roughness and in some places the smoothness of clay, plus the warm colours stimulate recipients from the haptic point of view. An additional incentive to touch is the ability to rotate the individual shafts. Depending on the sun exposure ceramic rollers will also have varying temperatures.
The next two objects are musical instruments like drums. On the wire rope there will be installed sticks with rubber heads, so that even the strongest people with autism can use these sensory objects according to their intended use, without their destruction.
Three more sculptures will work on the sense of smell. Thanks to the specially planted plants, the rollers will emit scents: lavender, verbena and mint. Objects acting on the sense of smell will be covered with yellow engobes.
Pic. II.3.1. Fragments of
ceramic items made to create a group of sensory sculptures for the SYNAPSIS
Foundation
Conclusion
The combination of these two different worlds, different methods of sensory perception of reality by neurotypical people and people with autism could result in the form of a 7 sensory sculptures located at the headquarters of the SYNAPSIS Foundation and 3 sculptures in the social enterprise in Wilcza Góra. The idea to create sensory sculptures used in the therapy of people with disabilities is still novel. So far I found only a few examples of such sculptures in the world. I think this is an interesting niche and I plan to fulfill it also after finishing my scholarship work.
Creating socially engaged art in a literal way, it can also be a way to use aesthetics as a policy allowing people with disabilities to move from their closed environment to ‘the visible world’. Thanks to such artistic activities, the problem of autism spectrum disorders can also reach those who do not have an everyday contact with these kinds of people and do not know what difficulties people with autism have to face. I hope that my sculptures will contribute to increasing awareness of autism in Poland and abroad. I will be pleased if the idea of creating sculptural works to be used as a therapy of disabled people, spreads around the world and becomes good practice.
I would like to thank everyone who contributed to the fact that these sculptures were created. I would like to thank my Prof. Piotr Gawron who supported me substantially. I would like to thank the Board of the Management of SYNAPSIS Foundation, which has agreed to place my sculptures at the entrance to the headquarters of the Foundation. I would like to thank all my colleagues from work and friends from outside of work, who have supported me through this time.
BIBLIOGRAPHY
I. Books:
1. Jacques Ranciere, "Estetyka jako polityka", Wydawnictwo Krytyki Politycznej, Warszawa 2007
2. Juhani Pallasmaa, "Oczy skóry. Architektura i zmysły.", Instytut Architektury 2012, [wersja elektroniczna, bez numeracji stron]
3. Jan Gehl, "Życie między budynkami", Wydawnictwo RAM Sp. z o. o., Kraków 2013
4. Francesca Bacci, David Melcher, "Art and the senses", OUP Oxford, 2013
5. Violet F. Maas, "Uczenie się przez zmysły. Wprowadzenie do Teorii Integracji Sensorycznej", WSiP, Warszawa 1998
6. Patrizia Di Bello, Gabriel Koureas, "Art, History and the Senses", Ashgate 2010
7. Martin Jay, "Downcas Eyes The Denigration of Vision in Twentieth-Century French Thought", University of California Press, 1993
8. Pablo Heuguera, "Education for Socially Engaged Art. A Materials and Techniques Handbook", Jorge Pinto Books, New York 2011
9. Arkady Fiedler, "Kanada pachnąca żywicą", Wydawnictwo Poznańskie, 1967, s.108
2. Juhani Pallasmaa, "Oczy skóry. Architektura i zmysły.", Instytut Architektury 2012, [wersja elektroniczna, bez numeracji stron]
3. Jan Gehl, "Życie między budynkami", Wydawnictwo RAM Sp. z o. o., Kraków 2013
4. Francesca Bacci, David Melcher, "Art and the senses", OUP Oxford, 2013
5. Violet F. Maas, "Uczenie się przez zmysły. Wprowadzenie do Teorii Integracji Sensorycznej", WSiP, Warszawa 1998
6. Patrizia Di Bello, Gabriel Koureas, "Art, History and the Senses", Ashgate 2010
7. Martin Jay, "Downcas Eyes The Denigration of Vision in Twentieth-Century French Thought", University of California Press, 1993
8. Pablo Heuguera, "Education for Socially Engaged Art. A Materials and Techniques Handbook", Jorge Pinto Books, New York 2011
9. Arkady Fiedler, "Kanada pachnąca żywicą", Wydawnictwo Poznańskie, 1967, s.108
II. Articles and studies
1. Hazreena Hussein, "The influence of sensory gardens on the behaviour of children with special educational needs", http://fspu.uitm.edu.my/cebs/images/stories/aj7hazreenahussein.pdf, (pobrano: 22.04.2014r)
2. Hazreena Hussein, "An Exploratory Study of Sensory Gardens", http://www.fandangodesign.com/grs/hussein.pdf, (pobrano: 22.04.2014)
3. David Howes, "The Aesthetics of Mixing the Senses", http://www.david-howes.com/senses/aestheticsofmixingthesenses.pdf, (pobrano: 12.05.2014)
4. Alma Jean Ayres Baker, "Sensory Integration", http://www.atotalapproach.com/docs/si.pdf (pobrano: 13.05.2014)
5. Diane Kearns, "Art Therapy with a Child Experiencing Sensory Integration Difficulty", http://www.arttherapy.org/autismtoolkit/sensoryintegration.pdf, (pobrano: 13.05.2014)
6. Juhani Pallasmaa, "Krajobrazy zmysłów. Dotykanie świata przez architekturę.", http://www.academia.edu/3353177/_Polish_translation_Juhani_Pallasmaa_Krajobrazy_zmyslow._Dotykanie_swiata_przez_architekture_Landscapes_of_the_Senses_Touching_the_World_Through_Architecture_, (pobrano: 13.05.2014)
7. Magdalena Okrzasa, "Terapia Integracji Sensorycznej w pracy z dziećmi autystycznymi Terapia Integracji Sensorycznej w pracy z dziećmi autystycznymi ", http://www.pstis.pl/pl/html/?v1=block&str=podstrona_biuletyn-artykuly&id=49fadb19_30, (pobrano: 23.05.2015)
2. Hazreena Hussein, "An Exploratory Study of Sensory Gardens", http://www.fandangodesign.com/grs/hussein.pdf, (pobrano: 22.04.2014)
3. David Howes, "The Aesthetics of Mixing the Senses", http://www.david-howes.com/senses/aestheticsofmixingthesenses.pdf, (pobrano: 12.05.2014)
4. Alma Jean Ayres Baker, "Sensory Integration", http://www.atotalapproach.com/docs/si.pdf (pobrano: 13.05.2014)
5. Diane Kearns, "Art Therapy with a Child Experiencing Sensory Integration Difficulty", http://www.arttherapy.org/autismtoolkit/sensoryintegration.pdf, (pobrano: 13.05.2014)
6. Juhani Pallasmaa, "Krajobrazy zmysłów. Dotykanie świata przez architekturę.", http://www.academia.edu/3353177/_Polish_translation_Juhani_Pallasmaa_Krajobrazy_zmyslow._Dotykanie_swiata_przez_architekture_Landscapes_of_the_Senses_Touching_the_World_Through_Architecture_, (pobrano: 13.05.2014)
7. Magdalena Okrzasa, "Terapia Integracji Sensorycznej w pracy z dziećmi autystycznymi Terapia Integracji Sensorycznej w pracy z dziećmi autystycznymi ", http://www.pstis.pl/pl/html/?v1=block&str=podstrona_biuletyn-artykuly&id=49fadb19_30, (pobrano: 23.05.2015)
III. Websites
1. www.synapsis.org.pl
2. http://www.spdfoundation.net
3. http://www.sensoryintegration.org.uk/
4. http://www.ruslan-sergeev.com
5. http://www.podules.org
6. http://www.timotayplayscapes.co.uk
7. http://www.lanc.org.uk
8. http://www.gardensgalorescotland.co.uk/
9. http://www.gardenbuilders.co.uk/
10. http://www.haringey.gov.uk/artscope-exhibitions-permanent_artsworks.htm
11. http://advancedtextilessource.com/2013/09/pleasant-weather-experiences-forecast/
12. http://www.e-architect.co.uk/portugal/habitable-sculpture-lisbon
13. http://www.designboom.com/art/ernesto-neto-gratitude-aspen-art-museum-20-08-2014/
14. http://e-clubhouse.org/sites/lansinghost/page-6.php
15. http://www.rother.gov.uk/sensorysculpture
16. http://greensideup.ie/delta-centre-daffodil-week/
17. http://koikoikoi.com/2013/06/happy-rainbow-by-friendswithyou/
18. http://pablohelguera.net/2011/11/education-for-socially-engaged-art-2011/
19. http://www.pstis.pl/
[1] Francesca Bacci, David Melcher, David Melcher, "Art and the senses", OUP Oxford, 2013
[2] Juhani Pallasmaa, "Oczy skóry. Architektura i zmysły.", Instytut Architektury, Kraków 2012, [wersja elektroniczna, bez numeracji stron]
[3] http://www.csw.torun.pl/wystawy/baza-wystaw/wystawa-nie-dotykaj-haptyczne-aspekty-sztuki, pobrano: 30.04.2015
[4] Juhani Pallasmaa,2012, op. cit.
[5] Juhani Pallasmaa, 2012, op. cit.
[6] Walter J. Ong, "Oralność i piśmienność", Wydawnictwo Uniwersytetu Warszawskiego 2011
[7] http://www.csw.torun.pl/wystawy/baza-wystaw/wystawa-nie-dotykaj-haptyczne-aspekty-sztuki, op. cit.
[8] Martin Jay, "Downcas Eyes The Denigration of Vision in Twentieth-Century French Thought", University of California Press, 1993, s. 34
[9] Juhani Pallasmaa, 2012, op. cit.
[10] Krystyna Pawłowska, "Ogród Sensoryczny, DŹWIĘK W KRAJOBRAZIE JAKO PRZEDMIOT BADAŃ INTERDYSCYPLINARNYCH", PRACE KOMISJI KRAJOBRAZU KULTUROWEGO T. XI Instytut Nauk o Ziemi UMCS, Komisja Krajobrazu Kulturowego PTG, Lublin 2008, s. 143
[11] Caz Phillips, Pauline Butler, Murray Howard‐Brooks, "The Healing Circle – A Sensory garden for All Abilities.", Barwon Community Leadership Program 2011
[12] Krystyna Pawłowska, "Ogród Sensoryczny...", op. cit., s. 147
[13] Krystyna Pawłowska, "Ogród Sensoryczny...", op. cit., s. 148
[14] http://www.csw.torun.pl/wystawy/baza-wystaw/wystawa-nie-dotykaj-haptyczne-aspekty-sztuki, pobrano: 21.05.2015
[15] Arkady Fiedler, "Kanada pachnąca żywicą", Wydawnictwo Poznańskie, 1967, s.108
[16] Paweł Mościcki, "Jacques...", op. cit.
[17] Magdalena Okrzasa, "Terapia Integracji Sensorycznej w pracy z dziećmi autystycznymi Terapia Integracji Sensorycznej w pracy z dziećmi autystycznymi ", http://www.pstis.pl/pl/html/?v1=block&str=podstrona_biuletyn-artykuly&id=49fadb19_30, pobrano: 23.05.2015
[18] http://www.pstis.pl/pl/html/index.php?v1=none&str=podstrona_terapia, op. cit.
[19] http://www.pstis.pl/pl/html/index.php?v1=none&str=podstrona_terapia, op. cit.
[20] Magdalena Okrzasa, "Terapia...", op. cit.
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