Handmade films and artist-run labs. The chemical sites of film’s counterculture

This article addresses handmade films and especially artist-run labs as sites of hands-on film culture that reactivate moments and materials from media history. Drawing on existing research, discourses and discussions with contemporary experimental filmmakers affiliated with labs or practicing their work in relation to film lab infrastructure, we focus on these sites of creation, preservation and circulation of technical knowledge about analog film. But instead of reinforcing the binary of analog vs. digital, we argue that the various material practices from self-made apparatuses to photochemistry and film emulsions are ways of understanding the multiple materials and layered histories that define post-digital culture of film. This focus links our discussion with some themes in media archaeology (experimental media archaeology as a practice) and to current discussions about labs as arts and humanities infrastructure for collective project and practice-based methods

URBAN IMAGE | From logo to brand

Corporate image has arised in the last Century as a strategy to assume visual identity and a great power of attraction. By using that strategy, corporations have become a sort of “economic divinity” able to seduce and move the mass of consumers. The aim of the article is to describe how to apply the strategy of corporate image on a pavilion, designed by some students of Hong Kong and Palermo, in order to make it visually relevant and to highlight its strong points, which are connected to light and water. In this perspective, some important cases in the history of design have been anylised with punctual examples, starting from the beginning of Twenty Century to come to todays situation, in which corporations use corporate image to seduce people and move them towards goods and goods. In this way, the pavilion, which is a sort of materialization of academic research between Hong Kong and Palermo, assumes its own “corporate image”, with a logo, a story, and a series of communicative artefacts able to express the common points between two cities so distant geographically and culturally. The conclusion is that for a designer this work represents a kind of redemption. In fact, the designer does not work here for a commercial corporation, in order to make it a magnet for money by using powerful and sexy images. On the contrary, he works for a cultural “corporation” or better for an (cultural) idea that finds its physical form in a pavilion. Through an effective “corporate” image, this time, it is possible to express the true value of a place, exactly designed between Hong Kong and Palermo

DEALING WITH AUTHENTICITY IN THE CONSERVATION AND RESTORATION OF WALL PAINTINGS AND ARCHITECTURAL SURFACES

Authenticity is a key term in the modern theory and practice of heritage preservation. The great influence of this term began with the Venice Charter and increased in the following decades until this day, as numerous documents and publications have dealt with issues concerning the concept and significance of authenticity. However, the term is characterized by a certain vagueness, despite its central role in the international debate. This article presents three case studies related to the conservation-restoration of wall paintings and architectural surfaces in Germany and Italy and uses them to clarify some central theoretical issues, intertwining them with practical needs and demands. The multi-layered meanings of authenticity in the practice of conservation-restoration can range from the respectful preservation of the handed-on conditions and appearance of a work, with all material remains of its reception and interpretation, to the critical evaluation of historical restorations based on scholarly value judgments, and even to the reconstruction e. g. of architectural surfaces as a method for the sustainable protection of historical findings and a good way to visualize historical presentations and hand on traditions of craftmanship. For such a broad spectrum of meanings, the term authenticity can become a helpful umbrella term in interdisciplinary and transdisciplinary communication, well-known and appreciated by all experts and by the public. In order to avoid the use of the term authenticity as a catch-all that can mean everything or nothing, the relationship with case studies can bring awareness about the broad palette of these approaches and how the theory and practice of heritage preservation are always interconnected.Authenticity is a key term in the modern theory and practice of heritage preservation. The great influence of this term began with the Venice Charter and increased in the following decades until this day, as numerous documents and publications have dealt with issues concerning the concept and significance of authenticity. However, the term is characterized by a certain vagueness, despite its central role in the international debate. This article presents three case studies related to the conservation-restoration of wall paintings and architectural surfaces in Germany and Italy and uses them to clarify some central theoretical issues, intertwining them with practical needs and demands. The multi-layered meanings of authenticity in the practice of conservation-restoration can range from the respectful preservation of the handed-on conditions and appearance of a work, with all material remains of its reception and interpretation, to the critical evaluation of historical restorations based on scholarly value judgments, and even to the reconstruction e. g. of architectural surfaces as a method for the sustainable protection of historical findings and a good way to visualize historical presentations and hand on traditions of craftmanship. For such a broad spectrum of meanings, the term authenticity can become a helpful umbrella term in interdisciplinary and transdisciplinary communication, well-known and appreciated by all experts and by the public. In order to avoid the use of the term authenticity as a catch-all that can mean everything or nothing, the relationship with case studies can bring awareness about the broad palette of these approaches and how the theory and practice of heritage preservation are always interconnected

Faculty Recital Series: Michael Zaresky, January 25, 2013

This is the concert program of the Faculty Recital Series: Michael Zaresky performance on Friday, January 25, 2013 at 8:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Fantasia Cromatica for Viola Solo by Johann Sebastian Bach, Sonata for viola and piano No. 1 by Bohuslav Martinů, Sonata for viola and piano by Arthur Honegger, Cadenza per viola sola by Krysztof Penderrecki, Adagio nd Allegro for viola and piano by Robert Schumann, and Concertpiece for viola and piano by George Enesco. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Criteri per l’allestimento dei fogli CARG con geologia marina

Una delle novità introdotte con la pubblicazione del Quaderno n. 12 del Servizio Geologico d’Italia – Dip. Difesa del Suolo dell’ISPRA, è la sistematizzazione ed il completamento delle simbologie da utilizzare nella descrizione delle informazioni geologiche nei numerosi fogli della Carta Geologica d’Italia alla scala 1:50.000 con presenza di aree marine. Elementi sperimentali di geologia marina sono già presenti fin dalle prime carte pubblicate nel Progetto CARG (n. 541 Jerzu; n. 549 Muravera del 2001 n. 240/241 Forlì-Cervia e 256 Rimini nel 2005) e nella Carta Geologica dei Mari Italiani alla scala 1:250.000. Il “Quaderno n. 12” sistematizza la rappresentazione delle informazioni geologiche sotto il livello del mare. Per la descrizione dei “depositi sommersi” sono inseriti 36 simboli, mentre 58 (punti, linee ed aree) da utilizzare nelle aree sommerse. Due questioni sono affrontate per l’allestimento delle carte: leggibilità della linea di costa e attenuazione dei timbri cromatici per la geologia sommersa. È presentata sinteticamente l’esperienza sul Foglio geologico n. 413 Borgo Grappa/Isole Ponziane.One of the new features introduced with the publication of the Book no. 12 of the Geological Survey of Italy – Department of Soil – ISPRA is the systematization and the completion of the symbols to be used in the description of the geological information of several sheets of the Geological Map of Italy at 1:50,000 scale with the presence of marine areas. Experimental elements of marine geology are already present from the first maps published in the “CARG Project” (No. 541 Jerzu, n. 549 Muravera of 2001 n. 240/241 Forlì-Cervia and Rimini 256 in 2005) and in the Geological Map of the Italian Seas scale of 1:250,000. The “Book no. 12” systematizes the representation of geological information below sea level. For a description of the “submerged deposits” shall be inserted 36 symbols, and 58 (points, lines and areas) for use in submerged areas. Two issues are addressed for the preparation of maps: readability of the coastline and the mitigation of chromatic tones for geology submerged. Is presented synthetically experience on geological sheet no. 413 Borgo Grappa/Pontine islands

AFTER BRANDI – UMBERTO BALDINI AND THE MODERN THEORY OF CONSERVATION-RESTORATION IN ITALY

Giorgio Bonsanti, as a contemporary witness of Umberto Baldini’s professional activities in Florence and his successor as Soprintendente of the Opificio delle Pietre Dure, gives an overview of the closely intertwined situation in theory and practice of conservation-restoration at Baldini’s time. He analyses terms and principles of Baldini’s Theory and Methodological Unity and emphasises this theory as well as the related methods of reintegration as a development of Brandi’s Theory and the methods of the Istituto Centrale per il Restauro in Rome. Furthermore, he shortly outlines actual Italian positions in theory and practice of conservation-restoration.Giorgio Bonsanti, as a contemporary witness of Umberto Baldini’s professional activities in Florence and his successor as Soprintendente of the Opificio delle Pietre Dure, gives an overview of the closely intertwined situation in theory and practice of conservation-restoration at Baldini’s time. He analyses terms and principles of Baldini’s Theory and Methodological Unity and emphasises this theory as well as the related methods of reintegration as a development of Brandi’s Theory and the methods of the Istituto Centrale per il Restauro in Rome. Furthermore, he shortly outlines actual Italian positions in theory and practice of conservation-restoration

Chromatic alteration on marble surfaces analysed by molecular biology tools

The patina represents a superficial natural alteration of the constituting matter of the work of art. It emerges from the natural and usual stabilization process that the materials of the surface undergo because of the interaction with outdoor agents characterizing the surrounding environment. Besides, it is not linked to an obvious phenomenon of degradation that can be noticed through the change in the original colour of the matter. This is what we intend when we talk about biological patina usually generated by macro and/or micro-organic colonization (fungi, bacteria, alga) which contributes to surface bio-deterioration and thus lead to the formation of orange, red or even brown and dark pigmented areas. The presence of chromatic alterations (rose-coloured areas), as a consequence of bacterial colonization, was most particularly pointed out in different sites, such as in the marble slabs on the facades of both the Cathedral of Siena (Duomo di Siena) and the Certosa of Pavia. The present study shows an example of chromatic alteration of the surface of marble works due to bacterial colonization

Tecniche di documentazione dei tappeti musivi del sito archeologico di Umm Al-Rasas – Kastron Mefaa (Giordania)

The research expedition of the CNR-ITABC in the archaeological site of Umm Al-Rasas, near Madaba (Jordan) was partially supported by the Italian Foreign Ministry. It started in 2013 and was mainly focused on the 3D documentation of two Byzantine churches with magnificent floor mosaics, dedicated to Saint Stephen and Bishop Sergius respectively. To improve the analysis of the archaeological structures, different investigation techniques were used and reciprocally integrated, in an effort to create geometric models enabling the interpretation of data related to the masonry and floor mosaics, as well as to the documentation of the archaeological area. In order to facilitate handling and mobility, lightweight tools were chosen and Micro Photogrammetry and Close Range Photogrammetry methods were applied. A correct description of the floor warp was achieved thanks to laser scanner techniques and the resulting geometric data were integrated with the chromatic data coming from photogrammetry, obtaining a 3D restitution of the two adjacent structures and a metric and spatial analysis of their morphological features. New devices, specifically designed for the project, helped to solve some practical problems that the survey operations had to cope with during the fieldwork. This paper illustrates the results of the survey, which will be useful to develop restoration projects in order to make the whole archaeological site attractive to tourists

Lightness constancy: ratio invariance and luminance profile

The term simultaneous lightness constancy describes the capacity of the visual system to perceive equal reflecting surfaces as having the same lightness despite lying in different illumination fields. In some cases, however, a lightness constancy failure occurs; that is, equal reflecting surfaces appear different in lightness when differently illuminated. An open question is whether the luminance profile of the illumination edges affects simultaneous lightness constancy even when the ratio invariance property of the illumination edges is preserved. To explore this issue, we ran two experiments by using bipartite illumination displays. Both the luminance profile of an illumination edge and the luminance ratio amplitude between the illumination fields were manipulated. Results revealed that the simultaneous lightness constancy increases when the luminance profile of the illumination edge is gradual (rather than sharp) and homogeneous (rather than inhomogeneous), whereas it decreases when the luminance ratio between the illumination fields is enlarged. The results are interpreted according to the layer decomposition schema, stating that the visual system splits the luminance into perceived lightness and apparent illumination components. We suggest that illumination edges having gradual and homogeneous luminance profiles facilitate the luminance decomposition process, whereas wide luminance ratios impede it