Since the Renaissance, at least, the medium of sculpture has been
associated explicitly with the sense of touch. Sculptors,
philosophers and art historians have all linked the two, often in
strikingly different ways. In spite of this long running interest
in touch and tactility, it is vision and visuality which have
tended to dominate art historical research in recent decades. This
book introduces a new impetus to the discussion of the relationship
between touch and sculpture by setting up a dialogue between art
historians and individuals with fresh insights who are working in
disciplines beyond art history. The collection brings together a
rich and diverse set of approaches, with essays tackling subjects
from prehistoric figurines to the work of contemporary artists,
from pre-modern ideas about the physiology of touch to tactile
interaction in the museum environment, and from the phenomenology
of touch in recent philosophy to the experimental findings of
scientific study. It is the first volume on this subject to take
such a broad approach and, as such, seeks to set the agenda for
future research and collaboration in this area.
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