Archeologia Sperimentale Come Strumento Di Ricerca - S.P.A. Smart Puglia Arch...EXARC
S.P.A. Smart Puglia Archaeology is an open project led by Terracunta Association (http://www.terracunta.it) in Puglia, Italy, aimed to make smarter use of archaeology within the landscape. They intend to set up an archaeological open-air museum in the National Natural Reserve and Marine Protected Area of Torre Guaceto. For this purpose a series of workshops and lectures took place in June with specialists on subjects including funding, PR, type of activities, authenticity et cetera. The first session in these series was in the hands of Lara Comis, EXARC, with a lecture introducing AOAMs and their core themes and challenges.
Fornire tecnologia informatica e soluzioni di Reverse Engineering e Rapid Prototyping in grado di realizzare modelli e prototipi in un mondo da tutelare con riverenza, è un traguardo destinato ad assicurare i capolavori ancora in nostro possesso alle generazioni future.Il patrimonio artistico ed archeologico è sempre oggetto di attenzione e di riguardo. Per tale motivo, vuole essere difeso e salvaguardato da elementi o situazioni imprevisti. Questa attenzione acuìsce la nostra sensibilità del “bello”, in quanto ci porta alla ricerca degli strumenti che si possono utilizzare per conservare in vita le opere apparentemente “morte”! Unocad, a questo proposito, ha il piacere di sottoporvi una breve carrellata di esperienze che evidenziano alcune attività sostanzialmente mirate al rilievo di importanti opere scultoree, al ἀne di catalogarle, restaurarle o riprodurle.
Archeologia Sperimentale Come Strumento Di Ricerca - S.P.A. Smart Puglia Arch...EXARC
S.P.A. Smart Puglia Archaeology is an open project led by Terracunta Association (http://www.terracunta.it) in Puglia, Italy, aimed to make smarter use of archaeology within the landscape. They intend to set up an archaeological open-air museum in the National Natural Reserve and Marine Protected Area of Torre Guaceto. For this purpose a series of workshops and lectures took place in June with specialists on subjects including funding, PR, type of activities, authenticity et cetera. The first session in these series was in the hands of Lara Comis, EXARC, with a lecture introducing AOAMs and their core themes and challenges.
Fornire tecnologia informatica e soluzioni di Reverse Engineering e Rapid Prototyping in grado di realizzare modelli e prototipi in un mondo da tutelare con riverenza, è un traguardo destinato ad assicurare i capolavori ancora in nostro possesso alle generazioni future.Il patrimonio artistico ed archeologico è sempre oggetto di attenzione e di riguardo. Per tale motivo, vuole essere difeso e salvaguardato da elementi o situazioni imprevisti. Questa attenzione acuìsce la nostra sensibilità del “bello”, in quanto ci porta alla ricerca degli strumenti che si possono utilizzare per conservare in vita le opere apparentemente “morte”! Unocad, a questo proposito, ha il piacere di sottoporvi una breve carrellata di esperienze che evidenziano alcune attività sostanzialmente mirate al rilievo di importanti opere scultoree, al ἀne di catalogarle, restaurarle o riprodurle.
LA GUIDA ALLA 55a BIENNALE D'ARTE VISIVA DI VENEZIA 2013
IL PALAZZO ENCICLOPEDICO
407 pagine
358 immagini
INDICE ARGOMENTI
Il Palazzo Enciclopedico
Spazi espositivi
Backstage
Giardini - Padiglione Centrale
PADIGLIONI NAZIONALI
Padiglione Santa Sede
Padiglione Venezia
ARSENALE - corderie
Padiglione Italia
Leoni d’oro
FUORI BIENNALE
Ahmet Günestekin. Monumentum of Memory
Ai Weiwei – Disposition
Antoni Muntadas. Protocolli Veneziani I
Back to back to Biennale - Free expression
bestiario contemporaneo
Anthony Caro
CROSSOVER
Artisti internazionali + vetro = GLASSTRESS
Guggenehim - STEPHAN BALKENHOL
Guggenehim - Robert Motherwell - i primi collage
Jacob Hashimoto. Gas Giant
Judi Harvest - Denatured: Honeybees+ Murano
Marc Quinn
MATTA. Roberto Sebastian Matta, Gordon Matta,
Clark e Pablo Echaurren Matta
Maxim Kantor
Omar Galiani Il sogno della Principessa Lyu Ji
Rudolf Stingel
Prima Materia
Qiu Zhijie. L’Unicorno e il Dragone
Roy Lichtenstein Sculptor
Tàpies. Lo sguardo dell'artista
The immigrants. Experiment 2
Il Palazzo di Everything + The Salon of Everything
ARMIN LINKE E DONATO DOZZY /RABIH BEAINI
TIME LAPSE
VEDOVA PLURIMO
Vito Acconci Franco Vaccari
Acconci studio intersection
When Attitudes Become Form: Bern 1969/Venice 2013
Where should Othello go?
Manet Ritorno a Venezia
Curriculum ed elenco pubblicazioni completo di emidio d. de albentiisemidealbe
Si tratta dell'elenco, preceduto da un mio curriculum delle mie pubblicazioni archeologiche, storico-artistiche e di critica letteraria. L'ho inserito, più che per sciocca vanità, perché possa essere utile a chiunque si trovasse ad occu
La mostra Memoria Variabile presenta lavori video, fotografie e installazioni dei seguenti autori:
Vincenzo Agnetti, Maggie Cardelús, Martina Della Valle, Rä di Martino, Laurent Fiévet, Meri Gorni, Paolo Inverni, Vladimir Kupriyanov, Lena Liv, Fabio Mauri, Marcelo Moscheta, Davide Mosconi, Daniel Pitín, Catherine Poncin, Kurt Ralske, Moira Ricci, Sylvie Romieu, Eric Rondepierre, Indre Serpytyte, Mirko Smerdel, Aldo Tagliaferro, Dubravka Vidović, Ciro Vitale, Roger Welch.
@ Galleria Milano
a cura di Gigliola Foschi e Carla Pellegrini
ebook del progetto Carbon Footprint, attraverso le arti digitali finanziato dal Miur e realizzato dalla Fondazione Mondo Digitale in collaborazione lo Sapienza Università di Roma in occasione del Media Art Festival 2017
Acquired by the City of Rome's Cultural Heritage Department in 1992, the Enrico Prampolini fonds was first described by Archivist Luisa Montevecchi. Though in subsequent years this general description of fonds content was fine-tuned by Librarian A.M. Di Stefano and others, the present version (in Italian) is still very useful to get an in-depth introduction to Prampolini's papers. Nevertheless, the organization in boxes and subseries introduced by Ms. Montevecchi - which didn't belong to the original organization of the archive - is being presently revised by Archivist Alessandra Francescangeli, who is carrying out an analytic description and classification of each individual document.
Articolo di Marco Zavagno pubblicato in "Venezia Musica e dintorni" n.33.
Il frutto della passione. L'archivio di Italo Zannier nella collezione della Fondazione di Venezia.
LUCEBUIO Raul Gabriel , low resolution, ex cotonificio delle piane-Fondazion...Raul Gabriel
LUCEBUIO Raul Gabriel , low resolution, ex cotonificio delle piane-Fondazione Divisionismo Tortona-Museo Diocesano Tortona- testi di Paolo Bolpagni e Alessandro Beltrami
The CSIC-IPCE cooperation for heritage science in Spain outlines the collaboration between the Spanish National Research Council (CSIC) and the Spanish Cultural Heritage Institute (IPCE) on research projects, scientific advice, strategic planning, and organization of events related to cultural heritage conservation. CSIC is Spain's largest research institution with 15,000 staff including 3,000 researchers across 120 institutes. IPCE is the national institution for cultural heritage conservation and study with 103 staff. Since 1990, CSIC and IPCE have worked together through a framework agreement between CSIC and the Ministry of Culture. Their collaboration helps advance heritage science in Spain.
This document discusses the global challenges facing heritage science. It notes that heritage encompasses both the arts and sciences, as well as both past and present. Cultural heritage provides insights into how different cultures are organized. The document outlines the many fields that contribute to heritage science today, and questions how this may evolve tomorrow. It examines inequalities between the global north and south in areas like knowledge generation and research collaboration. The goal of science should be to address grand societal challenges through open knowledge systems and global collaboration. Measuring the real-world impact of research is difficult but important. Stakeholder participation is key to ensuring research has relevance and impact.
LA GUIDA ALLA 55a BIENNALE D'ARTE VISIVA DI VENEZIA 2013
IL PALAZZO ENCICLOPEDICO
407 pagine
358 immagini
INDICE ARGOMENTI
Il Palazzo Enciclopedico
Spazi espositivi
Backstage
Giardini - Padiglione Centrale
PADIGLIONI NAZIONALI
Padiglione Santa Sede
Padiglione Venezia
ARSENALE - corderie
Padiglione Italia
Leoni d’oro
FUORI BIENNALE
Ahmet Günestekin. Monumentum of Memory
Ai Weiwei – Disposition
Antoni Muntadas. Protocolli Veneziani I
Back to back to Biennale - Free expression
bestiario contemporaneo
Anthony Caro
CROSSOVER
Artisti internazionali + vetro = GLASSTRESS
Guggenehim - STEPHAN BALKENHOL
Guggenehim - Robert Motherwell - i primi collage
Jacob Hashimoto. Gas Giant
Judi Harvest - Denatured: Honeybees+ Murano
Marc Quinn
MATTA. Roberto Sebastian Matta, Gordon Matta,
Clark e Pablo Echaurren Matta
Maxim Kantor
Omar Galiani Il sogno della Principessa Lyu Ji
Rudolf Stingel
Prima Materia
Qiu Zhijie. L’Unicorno e il Dragone
Roy Lichtenstein Sculptor
Tàpies. Lo sguardo dell'artista
The immigrants. Experiment 2
Il Palazzo di Everything + The Salon of Everything
ARMIN LINKE E DONATO DOZZY /RABIH BEAINI
TIME LAPSE
VEDOVA PLURIMO
Vito Acconci Franco Vaccari
Acconci studio intersection
When Attitudes Become Form: Bern 1969/Venice 2013
Where should Othello go?
Manet Ritorno a Venezia
Curriculum ed elenco pubblicazioni completo di emidio d. de albentiisemidealbe
Si tratta dell'elenco, preceduto da un mio curriculum delle mie pubblicazioni archeologiche, storico-artistiche e di critica letteraria. L'ho inserito, più che per sciocca vanità, perché possa essere utile a chiunque si trovasse ad occu
La mostra Memoria Variabile presenta lavori video, fotografie e installazioni dei seguenti autori:
Vincenzo Agnetti, Maggie Cardelús, Martina Della Valle, Rä di Martino, Laurent Fiévet, Meri Gorni, Paolo Inverni, Vladimir Kupriyanov, Lena Liv, Fabio Mauri, Marcelo Moscheta, Davide Mosconi, Daniel Pitín, Catherine Poncin, Kurt Ralske, Moira Ricci, Sylvie Romieu, Eric Rondepierre, Indre Serpytyte, Mirko Smerdel, Aldo Tagliaferro, Dubravka Vidović, Ciro Vitale, Roger Welch.
@ Galleria Milano
a cura di Gigliola Foschi e Carla Pellegrini
ebook del progetto Carbon Footprint, attraverso le arti digitali finanziato dal Miur e realizzato dalla Fondazione Mondo Digitale in collaborazione lo Sapienza Università di Roma in occasione del Media Art Festival 2017
Acquired by the City of Rome's Cultural Heritage Department in 1992, the Enrico Prampolini fonds was first described by Archivist Luisa Montevecchi. Though in subsequent years this general description of fonds content was fine-tuned by Librarian A.M. Di Stefano and others, the present version (in Italian) is still very useful to get an in-depth introduction to Prampolini's papers. Nevertheless, the organization in boxes and subseries introduced by Ms. Montevecchi - which didn't belong to the original organization of the archive - is being presently revised by Archivist Alessandra Francescangeli, who is carrying out an analytic description and classification of each individual document.
Articolo di Marco Zavagno pubblicato in "Venezia Musica e dintorni" n.33.
Il frutto della passione. L'archivio di Italo Zannier nella collezione della Fondazione di Venezia.
LUCEBUIO Raul Gabriel , low resolution, ex cotonificio delle piane-Fondazion...Raul Gabriel
LUCEBUIO Raul Gabriel , low resolution, ex cotonificio delle piane-Fondazione Divisionismo Tortona-Museo Diocesano Tortona- testi di Paolo Bolpagni e Alessandro Beltrami
The CSIC-IPCE cooperation for heritage science in Spain outlines the collaboration between the Spanish National Research Council (CSIC) and the Spanish Cultural Heritage Institute (IPCE) on research projects, scientific advice, strategic planning, and organization of events related to cultural heritage conservation. CSIC is Spain's largest research institution with 15,000 staff including 3,000 researchers across 120 institutes. IPCE is the national institution for cultural heritage conservation and study with 103 staff. Since 1990, CSIC and IPCE have worked together through a framework agreement between CSIC and the Ministry of Culture. Their collaboration helps advance heritage science in Spain.
This document discusses the global challenges facing heritage science. It notes that heritage encompasses both the arts and sciences, as well as both past and present. Cultural heritage provides insights into how different cultures are organized. The document outlines the many fields that contribute to heritage science today, and questions how this may evolve tomorrow. It examines inequalities between the global north and south in areas like knowledge generation and research collaboration. The goal of science should be to address grand societal challenges through open knowledge systems and global collaboration. Measuring the real-world impact of research is difficult but important. Stakeholder participation is key to ensuring research has relevance and impact.
This document outlines the vision and goals of E-RIHS, a proposed European Research Infrastructure for Heritage Science. E-RIHS aims to be a flagship infrastructure that provides access to analytical instruments, scientific archives, and mobile laboratories for advanced study and preservation of cultural heritage objects and collections. It identifies key priorities such as developing interdisciplinary collaborations, connecting knowledge through data sharing, and ensuring excellence, ethics, quality, and community engagement in heritage science research. The infrastructure is intended to foster new discoveries, methods, and generations of scientists working at the intersection of heritage and science.
This document discusses the relationship between science and society. It notes issues with how the internet, education, and mass media currently interact with science. It argues that engaged scholars are needed to help address these issues and promote evidence-based public policy solutions. The author believes cultural heritage can help unite society and that tools for monitoring and analysis can help develop optimal funding strategies to balance research timelines with institutional needs and ensure research relevance.
The document discusses the societal impact and cost-benefit analysis of heritage science. It notes the importance of bringing data to inform decisions rather than just relying on narratives. When comparing costs and benefits, only government considers any benefit, however small, to be worth any cost, however large; most people and businesses weigh benefits against costs. The value of coordination, efficiency, quality, and harmonization in heritage science is discussed. Recommendations include planning with ambition but assessing with caution, bringing quantitative data when possible, and assessing and managing risks.
This document discusses the relationship between heritage science and innovation. It defines heritage as valued objects and traditions passed down through generations, and innovation as new ideas, methods or technologies. The document argues that heritage science can help define the past, present and future value of heritage to society, and enable different elements of value to be adopted and maintained. It provides examples of challenges and opportunities for heritage science regarding the past, present and future. It suggests heritage science could have a wider role by addressing heritage in a holistic way and developing evidence, knowledge and skills to broaden its scope.
This document discusses heritage scientists, including what they study, where they are employed, their backgrounds and fields of expertise. Heritage scientists work in materials analysis and the scientific investigation of cultural heritage to better understand and manage decay mechanisms, and to enhance understanding of the past. They are employed in universities, research institutions and cultural heritage organizations. The largest numbers are found in the UK, USA, Italy and China. Their work has significant economic and societal impacts, and the E-RIHS project aims to foster collaboration and provide a shared identity within the heritage science community.
The document summarizes Heritage Science activities at the Italian National Research Council (CNR). It discusses the CNR's Department of Humanities, Social Sciences and Cultural Heritage (DSU) which focuses on four strategic areas of research related to cultural heritage. The DSU aims to reorganize its scientific network through interdisciplinary collaboration and the creation of a new Heritage Science Institute merging existing institutes. The Institute will have thematic areas including sciences of antiquity, remote sensing, materials analysis, and virtual heritage. It will be part of the CNR's broader Heritage Science network and European research infrastructures such as ERIHS to advance interdisciplinary cultural heritage research.
The document summarizes research and innovation at the CNR-OPD lab in Florence, Italy. The lab develops new non-invasive instruments for diagnosing artworks, including a scanner for infrared reflectography, an OCT device, and a micro-profilometer. The scanner evolution is described from its origins in 1988 to the present multispectral version. Applications of the technologies include underdrawing studies, material identification, and monitoring conservation processes in a non-invasive manner.
1. Cecilia Frosinini
OPIFICIO DELLE PIETRE DURE
www.opificiodellepietredure.it
20 years of cooperation:
from diffidence to synergy,
and beyond….
2. From Connoisseurship to Technical
Art History:
The Evolution of the Interdisciplinary
Study of Art
3. ''I regard all questions of technique as ancillary to the
aesthetic experience.”
Bernard Berenson, introduction to D. V. Thompson’s translation of
Cennini handbook
4. The Fogg Method -
– the three-legged stool
The Fogg Art Museu, in Cambridge, Mass., launched its technical
laboratory in 1928 featuring the collaboration of
- art historians
- conservators
- scientists
Edward Waldo Forbes, the director of the Fogg from 1909 to 1944
George L. Stout, conservator and art historian
Rutherford John Gettens, the first chemist in the United States to be
permanently employed by an art museum
Alan Burroughs, scientist, pivotal use of X-ray applied to the study of art works
8. During World War II, he was a member of the U.S. Army unit devoted to recovering
art, the Monuments, Fine Arts, and Archives section (MFAA), a.k.a. "The
Monuments Men”.
George Leslie Stout
9. Stout described the 1920s as the great days of Berenson:
“There was contempt for concern about condition. That was as naughty as to
inquire about the digestive system of an opera singer. You didn’t look into
those things—it wasn’t proper.
And that was very good for the trade. When a dealer sold a picture, he didn’t
like to have anyone consider for a moment that the condition of that picture
had anything to do with the case. This was something of beauty and your
sensitivities for the quality of the beauty were the important matter. Whether
it was about to buckle up and begin to give you hell in another couple of years
was something never to be considered”.
10. Watercolor by George L. Stout illustrating
the state of the field of art conservation
and restoration in 1925
11.
12. Watercolor by George L. Stout illustrating
the state of the field of art conservation
and restoration in 1975
13. Ranuccio Bianchi Bandinelli
"L'oggetto artistico è un poliedro, in cui ogni faccia
rispecchia un particolare elemento - sociale,
economico, politico - che entra come componente
del tutto e ciascuna faccia è al tempo stesso
subordinata all'insieme e in qualche misura
determinante per esso”
(Ranuccio Bianchi Bandinelli, A che serve la storia
dell'arte antica? )
14. Ugo Procacci
• Sinopie e affreschi, Milano 1960
• Come nasce un affresco, Firenze 1974
“io rimpiango molto di aver dovuto un po’
tralasciare, abbandonare i miei studi; ma è
indubbio che prima bisogna salvare le opere
d’arte, e poi studiarle”.
(G. Bonsanti, Intervista con Ugo Procacci, soprintendente alle Gallerie di
Firenze, in “Antologia Viesseux”, n° 5, 1966, pp. 29)
15. In 1932 Ugo Procacci
re-organized the conservation
activity with new modern methods
16. Umberto Baldini
Metodo e Scienza 1982
“Il contributo che le più varie discipline scientifiche
possono mettere a disposizione per una completa
conoscenza delle opere d’arte per quanto si riferisce
soprattutto ai materiali e al loro status che è atto di
conoscenza indispensabile per il loro restauro, si è
andato notevolmente accrescendo in questi ultimi anni.
Oggi come oggi, certe indagini, alcuni delicati interventi
di restauro, non possono ormai più prescindere
dall’utilizzare impostazioni e metodi propri della
scienza”
17. Metodo come indefettibile e inderogabile assunto di
conduzione razionalmente unitaria
Scienza come indefettibile e inderogabile assunto di
corretta documentazione e conduzione tecnologica
(introduzione a cura di Umberto Baldini, Metodo e Scienza,
Operatività e ricerca nel restauro, 1982)
18. La “reazione” accademica
“la nuova ossessione per i dati tecnici” (2002)
“le documentazioni diagnostiche vengono scialate e pubblicate
in maniera feticistica” (2010)
19. Metodo del dubbio
• un modo di affrontare gli studi di storia dell’arte che
metta in dubbio la validità dell’applicazione di una
singola metodologia;
• che non si ispiri mai ad un principio di autorità;
• che non miri alla costruzione di un modello
interpretativo intransigente e chiuso, autosufficiente;
• che, di fronte all’infinita complessità della singola opera
d’arte, non abbia remore nel verificare i propri assunti
attraverso l’uso incrociato di metodi diversi e anche tra
loro divergenti.
20. «Non si tratta dunque di affermare la superiorità
di un metodo sull’altro, come può accadere se ciò
fosse solo una moda temporanea, ma della
consapevolezza che se ci rendiamo conto della
reale complessità di significati di cui l’opera è
portatrice, vero significante con molti significati,
allora dobbiamo cercare di assommare tutte le
informazioni ricavabili dalle svariate chiavi di
lettura»
M. Ciatti e C. Frosinini, in L’Angelico ritrovato. Studi e ricerche per la Pala di
San Marco, Sillabe 2008
21. 1998
• Convenzione tra Istituto Nazionale di Ottica e
Opificio delle Pietre Dure
• Laboratorio di Metrologia Ottica in situ, presso il
laboratorio dell’OPD
22. La scoperta delle peculiarità tecniche
in termini di vantaggi per la
conoscenza umanistica
- Acquisizione del colore
- Assenza di deformazione ottica dell’immagine
- Alta risoluzione
- Acquisizione a lunghezze d’onda differenziate e
sempre più avanzate