Chapter In dialogo con i musei: innovazione e trasformazione digitale per una nuova visione del patrimonio

The 43rd UID conference, held in Genova, takes up the theme of ‘Dialogues’ as practice and debate on many fundamental topics in our social life, especially in these complex and not yet resolved times. The city of Genova offers the opportunity to ponder on the value of comparison and on the possibilities for the community, naturally focused on the aspects that concern us, as professors, researchers, disseminators of knowledge, or on all the possibile meanings of the discipline of representation and its dialogue with ‘others’, which we have broadly catalogued in three macro areas: History, Semiotics, Science / Technology. Therefore, “dialogue” as a profitable exchange based on a common language, without which it is impossible to comprehend and understand one another; and the graphic sign that connotes the conference is the precise transcription of this concept: the title ‘translated’ into signs, derived from the visual alphabet designed for the visual identity of the UID since 2017. There are many topics which refer to three macro sessions: - Witnessing (signs and history) - Communicating (signs and semiotics) - Experimenting (signs and sciences) Thanks to the different points of view, an exceptional resource of our disciplinary area, we want to try to outline the prevailing theoretical-operational synergies, the collaborative lines of an instrumental nature, the recent updates of the repertoires of images that attest and nourish the relations among representation, history, semiotics, sciences

La riproducibilità digitale per un nuovo approccio alla documentazione e fruizione del cultural heritage.

Il presente lavoro di tesi si inserisce nell'ambito del processo di trasformazione digitale del Patrimonio Culturale, di cui approfondisce i temi legati alla documentazione e fruizione tramite soluzioni tecnologiche innovative. L'integrazione di diversi metodi di acquisizione permette infatti di elaborare facsimili digitali che, sfruttando le potenzialità di realtà aumentata, mista e virtuale, nonché della fabbricazione digitale, offrono nuove modalità di tutela e disseminazione del Patrimonio. Partendo dalla documentazione del bene culturale, si sono così strutturate innovative esperienze di fruizione per ciascuno dei casi di studio affrontati: un’applicazione di realtà aumentata per i disegni del Codice Atlantico di Leonardo, in grado di generare dei modelli tridimensionali interattivi delle macchine leonardiane a partire dalle loro rappresentazioni originali; un’esperienza di visita virtuale immersiva dello Studiolo di Palazzo Ducale a Urbino, per svelare i tanti significati nascosti nelle rappresentazioni presenti sulle sue pareti; la ricostruzione fisica e virtuale delle Grotte di Palazzo Campana a Osimo, soluzione mirata a renderle accessibili preservandone il fragile equilibrio; infine il tour virtuale della Pinacoteca di Ancona, per una proposta di visita da remoto ai suoi spazi e alla sua collezione. Tali soluzioni, presentando alcune innovazioni sia nella filiera di documentazione che nella fruizione, propongono un’esperienza del Patrimonio Culturale accessibile “dovunque e a chiunque”, per un’esperienza più “evoluta”, che non sia semplice replica di quella dell’opera originale.This thesis explores the process of digital transformation of Cultural Heritage and it deepens the topics related to documentation and fruition through innovative technological solutions. The integration of different acquisition methods allows developing digital replicas that, exploiting the potential of augmented, mixed and virtual realities, as well as digital manufacturing, offer new ways of protecting and disseminating Cultural Heritage. Starting from the documentation, innovative experiences of fruition have been structured for each of the case studies addressed. First of all an application of augmented reality for the drawings of the Codex Atlanticus by Leonardo, able to generate three-dimensional interactive models of Leonardo’s machines from their original representations. An immersive virtual experience of the Studiolo at Palazzo Ducale in Urbino, to reveal the hidden meanings in the representations on its walls. The physical and virtual reconstructions of the Caves of Palazzo Campana in Osimo, two solutions aimed at making them accessible while preserving their fragile balance. Finally, the virtual tour of the Pinacoteca of Ancona, to visit its spaces and its collection remotely. These solutions, presenting some innovations both in the documentation and in the fruition, offer an experience of Cultural Heritage accessible "everywhere and to everyone", for a more "advanced" experience, which is not simply a replica of that of the original work of art

(Lezioni del Prof. Renato Angeloni)

Il testo raccoglie le lezioni del corso introduttivo alle nozioni di diritto commerciale e bancario somalo del Prof. Renato Angeloni._._Buuggan waxaa ku aruursan duruustii koorsada xuquuqda ganacsiga iyo Bankiga Soomaaliyeed, waxaana soo diyaariyay Prof. Renato Angeloni_._A collection of prof. R. Angeloni’s introductory classes on the Somali banking and commercial law system.Volume appartenente al fondo Renato Angeloni (messo a disposizione dalla Dott.ssa Marina Angeloni)._-_Buug la xiriira dhaqaalaha Renato Angeloni (waxaana dadka u soo bandhigay Dott. Marina Angeloni)._-_Volume belonging to Renato Angeloni’s fund (made available by dr. Marina Angeloni)

Diritto Costituzionale Somalo

Trattazione sistematica dell'ordinamento costituzionale della Repubblica Somala, alla luce dei principi della dottrina dello Stato democratico._-_Nidaamka dastuuriga ee Jamhuuridda Soomaaliyeed, mabaadi'da dawlad dimuqaratig ah._-_Systematic presentation of the constitutional system of the Somali Republic, in the light of the theoretical principles of a democratic State.Volume appartenente al fondo Renato Angeloni (messo a disposizione dalla Dott.ssa Marina Angeloni)._-_Buug ka mid ah milkiyada Renato Angeloni (waxaa soo bandhigtay Marina Angeloni)._-_Volume belonging to Renato Angeloni’s fund (made available by dr. Marina Angeloni)

The Somali penal code, with comments and annotations based on preliminary studies

Questo Codice Penale Somalo, approvato con Decreto Legislativo il 16 dicembre 1962 n.5, entrò in vigore il 3 aprile 1964. Il Codice Penale Somalo, commentato ed annotato in base ai lavori preparatori, si presenta come un testo bilingue utile anche agli studenti e agli studiosi di lingua italiana e di lingua inglese. Questo Codice Penale deriva sostanzialmente dal Codice Penale italiano del 1931, ma è stato profondamente revisionato e semplificato per divenire uno strumento di più facile applicazione nel Paese cui è destinato._-_Xeerkan ciqaabeed ee Soomaaliya, oo lagu ansaxiyayay go'aan sharciyeed oo soo baxay 16/12/1962, lambarkiisa 5, oo hirgelayo 03/04/1964. Xeerka waxaa laga bixiyay faalo ku salaysan hawlihii la diyaariyay, oo ku qoran laba af oo waxtar u leh ardayda iyo aqoonyahanna shisheeye ee taqaan af taliyaaniga iyo af ingiriisiga. Xeerkan ciqaabeed wuxuu asal ahaan ka soo jeedaa midka taliyaaniga oo la dejiyay 1931, laakiin si qoto dheer ayaa dib loogu habeeyay , loona fududeeyey, si uu u noqdo mid si fudud looga adeegsan karo dalka loogu talaggalay._-_The Somali Penal Code, which was approved by Legislative Decree of December 16, 1962, entered into force on April 3, 1964. The Somali Penal Code, with comments and annotations based on preliminary studies, is presented as a bilingual text useful to the Italian and English language students and scholars. This Penal Code substantially derives from the Italian Penal Code of 1931, but it was deeply revised and simplified to become an instrument easier to apply in the country in which it is intended.Volume appartenente al fondo Renato Angeloni (messo a disposizione dalla Dott.ssa Marina Angeloni)._-_Buuggani wuxuu ka mid yahay hantidii Renato Angeloni._-_Volume belonging to Renato Angeloni’s fund (made available by dr. Marina Angeloni)

Metodiche integrate di documentazione digitale per l’architettura in ferro e vetro: IL MERCATO DELLE ERBE DI ANCONA

Il mercato storico di Ancona, in pieno stile liberty, consiste in un fabbricato in ferro e ghisa costruito tra il 1923 e il 1926 con lo scopo di dare copertura al già esistente mercato cittadino di Piazza delle Erbe. Un edificio simbolo della città e di uno stile architettonico che si diffonde tra la fine dell’Ottocento e i primi anni del Novecento. Un edificio molto complesso per forma e materiali in grave stato di degrado e conservazione che pone una sfida tecnica e metodologica non indifferente alla sua digitalizzazione indispensabile strumento di conservazione e valorizzazione. Il contributo descrive questa complessa operazione di documentazione, ricostruendo, anche attraverso i disegni storici, la sua affascinate storia

Interactive immersive virtualmuseum: Digital documentation for virtual interaction

Thanks to their playful and educational approach Virtual Museum systems are very effective for the communication of Cultural Heritage. Among the latest technologies Immersive Virtual Reality is probably the most appealing and potentially effective to serve this purpose; nevertheless, due to a poor user-system interaction, caused by an incomplete maturity of a specific technology for museum applications, it is still quite uncommon to find immersive installations in museums. This paper explore the possibilities offered by this technology and presents a workflow that, starting from digital documentation, makes possible an interaction with archaeological finds or any other cultural heritage inside different kinds of immersive virtual reality spaces. Two different cases studies are presented: the National Archaeological Museum of Marche in Ancona and the 3D reconstruction of the Roman Forum of Fanum Fortunae. Two different approaches not only conceptually but also in contents; while the Archaeological Museum is represented in the application simply using spherical panoramas to give the perception of the third dimension, the Roman Forum is a 3D model that allows visitors to move in the virtual space as in the real one. In both cases, the acquisition phase of the artefacts is central; artefacts are digitized with the photogrammetric technique Structure for Motion then they are integrated inside the immersive virtual space using a PC with a HTC Vive system that allows the user to interact with the 3D models turning the manipulation of objects into a fun and exciting experience. The challenge, taking advantage of the latest opportunities made available by photogrammetry and ICT, is to enrich visitors’ experience in Real Museum making possible the interaction with perishable, damaged or lost objects and the public access to inaccessible or no longer existing places promoting in this way the preservation of fragile sites

Modelli digitali per comunicare il patrimonio e l'intervento di restauro. Palazzetto Baviera di Senigallia

The most convincing experiments currently carried out in the field of Digital Cultural Heritage consist in integrating more different information in order to contribute to the aim of enhancing the communicability of the heritage and its values. This is facilitated by widely tested technologies, including on cultural heritage. High-definition 3D models, which can be obtained from digital surveys, even if they are expeditious, are a powerful tool for visual dissemination, but they also pave the way for communicating the subject. A new type of storytelling, which organizes data operating around and for an artistic object, allows to create models enriched by increasingly stimulating information. The example of the Palazzetto Baviera 3D app, developed with the Municipality of Senigallia (AN), shows how a correct integration between 3D technology, historical-critical insights and technical documentation leads to interactive tools that can satisfy more curiosity, both scientific and tourist