1,720,971 research outputs found
Solving Cases: Book and Paper Artefact Restoration
No full textSolving Cases: Books and Paper Artefact Restoration is a collection of Italian restoration experiences documented by the author during his thirty years in this field. The author's intention was to take the reader by the hand and accompany him/her step by step as he confronts the complexities of each situation and resolves the case.
Anyone interested in or already studying conservation techniques for cultural heritage artefacts will find this book helpful as it is not a standard textbook but a series of cases where the author explains his reasoning and describes how he approached the investigation process that is necessary in any direct conservation procedure. The discussions in this book highlight how even the smallest folds in an artefact can be read to increase our historical and technical knowledge.
This book is divided into three sections, each offering a detailed investigation into different types of artefacts: manuscripts on parchment and on paper; books needing minimal treatment on their bindings to books requiring completely new bindings; drawings, prints, miniatures, oil paintings, and finally a globe covered with printed maps. The final part examines a unique case of virtual restoration on one of the oldest surviving images on paper.
The book comes complete with a CD full of colour photos so you can visually follow the step by step description of the investigation process
Watermarked Paper from Archives in Ravenna (1287-1693)
No full textThis first repertoire of watermarks, acquired in full size, directly from volumes of manuscripts will be equally interesting to paper historians and those who study or are passionate about antique paper artefacts, alike. The author’s conclusions trace a trail towards the continued study of paper as an important material in the history of humanity.
Reproducing the watermarked paper, in scale of 1:6, allows the author to contextualise the primary and countermark designs within the whole folio carrying the mark. The detailed set of paper measurements includes distribution and width of chain and laid lines. Countermark findings are described as specific case studies. Results and conclusions from experimental studies, such as porosity and transparency, provide additional evidence on the characteristics of antique paper.
A one of a kind, extensive study on the paper stocks used by civil notaries and Church offices in Ravenna, Italy, leads to hypotheses that shed light on the history of papermaking in Medieval Italy. New watermark designs and an additional group of designs have been documented, which are not listed in the Briquet or any other repertory.
This work is divided into three sections plus conclusions: a brief history with specific in-depth studies; a repertoire of almost 3,000 scanned images of watermark designs, listed by type; and 641 in scale reproductions of watermarked folios. The author ends this look into the world of antique paper with a discussion on the spread of paper to the city of Ravenna and notes a method for intrepreting the placement of the mark on the mould
Oltre il Bersaglio - A life on Target
No full textVaride Cicognani è un nome che oggi tutti gli amanti e i professionisti del tiro di precisione con la carabina conoscono. Campione dall'impressionante palmares, costruito in lunghi anni di carriera sportiva gareggiando nelle più importanti competizioni nazionali, europee e mondiali, Cicognani ha sin dagli albori del suo percorso posto le basi per la sua "seconda vita" di ideatore, costruttore e collaudatore di armi per il tiro di precisione. Di questa attività, divenuta sempre più rilevante nel corso degli ultimi anni, l'Armeria Cicognani a Poggio di Forlì rappresenta il punto di arrivo ideale e materiale, la realizzazione di un sogno nutrito di impegno e dedizione costanti. Due volti - lo sportivo e l'armiere, il campione e l'imprenditore - che fin da subito in queste appassionate memorie appaiono come due facce della stessa medaglia, due sfumature della stessa ricerca: quella del centro, da colpire sul bersaglio e oltre il bersaglio, in una costante tensione al miglioramento di sé e al raggiungimento di un equilibrio che non sarebbe sbagliato definire pace.Varide Cicognani is a name that today’s precision rifle shooting enthusiasts and sportsmen alike, know very well – a champion with an impressive list of credits to his name and a competitive shooting career spanning decades. Competing in the most important National, European and World tournaments, Cicognani has built an extensive foundation for his “second life” as a craftsman, designing, creating and testing custom precision firearms. Dedicating more and more of his time and energy to these activities, over the years, helped him fulfill his dream of opening his own shop to create and sell handcrafted firearms – the Armeria Cicognani in Poggio near Forlì, Italy.
Right from the start, we see two figures – the athlete and the gunsmith, the champion and the entrepreneur – that appear in his passionate memoire, as two sides of the same coin, two paths on the same quest. One aims at the center, sights set on the bull’s-eye, and the other pushes forward and beyond, aiming at self-improvement and a mental equilibrium that could be defined as peace. Peace and rifles, an unlikely pair. Yet, Varide Cicognani, a true Romagnolo, born, raised and still living in that surreal atmosphere of Romagna that feels like one of Fellini’s films, from the tall tales to the giant reeds, will tell us how guns – as he conceives them – are not for injuring, to shoot at the enemy, but to reach a state of perfection. Hidden behind those calm
movements of a champion are the obstacles that have been overcome, the falls, the failures, and the daily work on discipline and self-discovery. This is a life, the mission of a young man who – believing the road ahead of him was smoothly paved to enroll in the Carabinieri Force (part of the Italian Armed Forces) – was suddenly declared formally unfit to shoot because of an injury to his arm as a kid. This didn’t stop Varide, on the contrary: he grew wings. He understands that goals need to be ambitious, and to achieve them you have to bet your whole life on them, no holds barred.
All of this and much more is part of what Cicognani, with the valuable support of Maria Luisa Suprani, will tell us in this moving story of an amazing life on target that invites us all to look forward and set our sights beyond the horizon
ACHILLE CALZI TRA SIMBOLISMO E LIBERTY
No full textAchille Calzi è una delle più complesse figure del Novecento faentino (e,
oserei dire, anche italiano). Poliedrico e politecnico, seppe incarnare da protagonista il vero spirito dell’artista moderno, capace di adattarsi e misurarsi
con situazioni e necessità artistiche ed intellettuali varie.
Il rapporto tra Calzi, Gaetano Ballardini e il Museo Internazionale delle Ceramiche è stato più volte affrontato, mettendo in risalto i contrasti tra queste
due personalità forti e autoritarie, che hanno avuto entrambe un ruolo di
primo piano nello sviluppo artistico della città.
Certo è che la creazione di Ballardini del Museo delle Ceramiche non doveva essere parsa al neodirettore della Pinacoteca, Calzi, una mossa leale da
parte dell’allora amministrazione, tanto da opporsi alla cessione delle ceramiche della collezione municipale, avvenuta solamente dopo la sua morte.
Così come la creazione della Regia Scuola, sempre fondata e diretta da Ballardini, quando l’altro, Calzi, era stato nominato reggente della storica e secolare Scuola di Disegno faentina. È indubbia però la stima di Ballardini nei
confronti del “rivale”, allorquando, all’indomani della prematura scomparsa
di Calzi, si fece promotore dell’acquisto di un piccolo nucleo di ceramiche,
come testimonia il ritrovamento nell’archivio del Museo di un inedito documento datato 24 dicembre 1919. Furono poi i successivi direttori del MIC
Giuseppe Liverani e Gian Carlo Bojani, soprattutto, a iniziare una serie di
acquisizioni e a proporre diversi studi rivolti alla scoperta di questa straordinaria personalità, continuando il percorso intrapreso con la mostra promossa
per i cinquant’anni dalla morte nel 1969 da Antonio Corbara e da Ennio Golfieri, a cui si deve non solo l’arduo impegno nella ricostruzione della vicenda
biografia dell’artista, ma anche il fondamentale studio sulla sua attività di
caricaturista “in pace e in guerra” (Faenza, 1981). Un rapporto continuato nel
tempo, fino alla recente importante e significativa donazione dello scorso
2013 per opera della nipote, per la quale il MIC si impegnò ad iniziare un
serio lavoro critico, oggi compiutamente realizzato da Ilaria Piazza.
“Achille Calzi attende ancora una esegesi adeguata alla sua opera”, scriveva
Bojani nel 1991, in occasione di una piccola mostra dedicata alla ceramica
di Calzi, allestita a Forlì. Quello fu l’ultimo intervento di Bojani dopo le varie
parentesi di studi a lui dedicati nei contesti del liberty emiliano-romagnolo
(Bologna, 1977), del liberty faentino (Faenza, 1977), del Cenacolo Baccarini
(Faenza, 1983), della grafica (Riolo, 1984). Non va dimenticato inoltre l’impegno, sempre di Bojani, nel farsi promotore, nel 1982, presso gli Uffizi di
Firenze, della donazione dell’Autoritratto di Calzi, da parte della figlia Lidia,
per arricchire la prestigiosa collezione fiorentina.Achille Calzi is one of the most complex figures of twentieth century Faenza
(and perhaps even in all of Italy). Multi-talented and expert in different arts,
he was the spirit of a true modern artist incarnate, able to skilfully adapt and
respond to artistic necessities and contexts or intellectual endeavours.
The relationship between Calzi, Gaetano Ballardini and the International Museum of Ceramics is often mentioned, highlighting the contentious nature of
these two strong and authoritative personalities, who both played a leading
role in the artistic development of the city.
Clearly, when Ballardini established the International Museum of Ceramics,
it is unlikely that Calzi, the newly appointed director of the Municipal Art
Gallery, saw this as fair play, by the administration of the time. He opposed
ceding the municipal ceramics collection to the MIC; it only happened after
his death. In addition, the creation of the Royal School, also founded and
headed by Ballardini, happened while Calzi was regent of the historic secular
local School of Drawing. However, we can see that Ballardini undoubtedly held his “rival” in high esteem. After Calzi’s premature death, Ballardini
organised the purchase of a small core of his ceramics, as documented in
the unpublished text from the MIC archive, dated 24 December 1919. Later
aDirectors of the MIC, Giuseppe Liverani and especially Gian Carlo Bojani,
began acquiring pieces and proposing different studies aimed at discovering the extraordinary life of the artist. They continued what had already
begun with the 1968 exhibit, by Antonio Corbara and Ennio Golfieri, marking
50 years after Calzi’s death, which not only accomplished the arduous task of
reconstructing the artist’s biography, but was also a fundamental study on his
work in caricatures “in pace e in guerra” (In peace and war) (Faenza, 1981).
This close relationship has continued over the years and in 2013 an important
and valuable donation was made by his granddaughter, for which the MIC is
committed to realizing a series of critical interpretations, expertly completed
by Ilaria Piazza.
“Achille Calzi is still awaiting a critical explanation worthy of his work”, wrote
Bojani in 1991, on the occasion of a small exhibition dedicated to Calzi’s ceramics, in Forlì. That would be Bojani’s final contribution after the moments
he focused his attention on Calzi in the context of Liberty in Emilia-Romagna
(Bologna, 1977), Liberty in Faenza (Faenza, 1977), the Cenacolo Baccarini
(Faenza, 1983), illustrations and prints (Riolo, 1984). Let’s not forget that it was
Bojani, who in 1982 at the Uffizi in Florence, promoted and coordinated the
donation of Calzi’s Autoritratto (Self-portrait), by his daughter Lidia, in order
to enrich the prestigious Florentine collection
Il segno e il mito nei mosaici della provincia di Pesaro e Urbino
No full textOften it is difficult or perhaps impossible to outline the precise chronological evolution of mosaic art and it is even more complex to outline the development of this artistic technique in the Marche region of Italy which was already a Roman imperium during the Republican era and saw a notable "blossom" of urban areas and monuments during the Augustea era and the centuries of the Roman Empire.
At this point in time, archaeologists have documented very few intact remains of mosaic pavements dating before the Ist century BC. Most are fragments or parts of decorated opus signinum flooring (in Pesaro, Fano and Urbino) because it was considered less valuable than the tessellated, mosaic pavements.
Terracotta pavements are more frequent because they were usually general floors without a specific purpose while brick floorings arranged in a herringbone pattern were used in open areas especially in rural districts (there are numerous out of context findings all over the Province). Mosaics on a simple white background with black borders (Pesaro and Fano) are characteristic of the sobriety of the Republican era of the Ist century although, there are many elegant pavements of simple geometric designs that seem to be a constant theme during the Ist century BC.
Diamond and star motifs were very popular from the st century onwards including all the numerous variations which can be found when the motifs are inserted in different combinations throughout the design or as an emblem in the centre of the pavement. From the end of the Republican era onwards, sometimes a central decoration is inserted on the white tessellated background. This mosaic square contains a circle completely covered by a rosette of complex elements radiating in a decreasing manner towards the centre.
The panels of images were often polychromatic and probably were part of a larger scheme of images related to: the personality of the owner, function of the room, socio-cultural themes or current trends. Therefore, it is difficult to interpret mosaics that have been found out of context. In the 2nd century AD, the Adrianea and Antoninina era, we witness the blossom of mythological themes and iconography of the seasons. Figure emblems are found in compositions with basic. or elegant schemes.
In general we should take into account, the diffusion of stencils and the presence of local artisans when considering the
"phases" of growth of the ville, domus and other buildings.
The context and surroundings of a mosaic discovery are vital to studying and accurately dating it. Where possible, it is the Archaeologists and other experienced experts who carefully work on this interesting and valuable artistic patrimony
Déco Ceramics The style of an era
No full textIl volume mette a fuoco un patrimonio di opere di rara bellezza, che offre uno spaccato esaustivo del gusto Déco, raccontato principalmente attraverso la ceramica, ma anche attraverso grafiche, vetri e metalli.
Le opere presentate – italiane, ma anche europee e statunitensi, risalenti a un periodo compreso tra il primo dopoguerra e il 1929 – sono l’espressione di artisti ben noti che hanno segnato la storia ceramica italiana di inizio secolo ma di assoluto spessore internazionale, quali Domenico Rambelli, Francesco Nonni, Pietro Melandri, Riccardo Gatti, Giovanni Guerrini, per citare alcuni dei nomi più noti
Builders of Tomorrow - Imagining the future between design and art. Ediz. italiana e inglese
No full textI costruttori del mondo di oggi affondano le radici nelle avanguardie artistiche di un secolo fa: tra dadaismo, bauhaus e costruttivismo russo gli artisti, gli architetti e i progettisti di allora rivoluzionarono il modo di pensare le arti e il loro ruolo nella società, ideando un arte che avesse applicazioni nel quotidiano, in grado di cambiare i modi di abitare il mondo e migliorare la vita della gente. Marcel Duchamp ruppe con il passato inventando il readymade - forse il primo esempio di design disfunzionale - mentre walter gropius costruì una scuola capace di formare una nuova figura d'artista (il designer) e una diversa cultura del lavoro creativo al servizio della società. Oggi, a distanza di un secolo, il nostro è un mondo dove le loro utopie visionarie hanno dimostrato di avere ragione. Le nostre città, il nostro ambiente, i nostri corpi sono cambiati grazie ad una cultura del progetto in grado d'integrare le due anime del nostro tempo: quella antica, depositaria dei patrimoni culturali dell'umanità, e quella più ardita, tecnologica, futuribile della contemporaneità. “Builders of tomorrow” esplora le collaborazioni proficue tra design e arte alle soglie del terzo millennio, orientato alla produzione di oggetti e sistemi come esperienza etica ed estetica della realtà. Lo scambio d'idee, visioni, pratiche, progetti sta diventando un modus operandi sempre più esteso, che apre i confini di entrambe le arti a sconfinamenti, contaminazioni, influenze reciproche. Di fronte alle crisi del nostro tempo, oggi si può ripartire da qui: da un nuovo modo di intendere il design e l'arte anche nei loro rapporti con l'artigianato, l'economia, l'industria e l'hand made, in continuità con la cultura del passato e nell'ottica di un futuro tanto tecnologico quanto umanistico. Catalogo della mostra tenuta presso il MIC (Faenza, 28 settembre-25 ottobre 2017). Presentazioni di Maria Letizia Melina, Vincenzo De Luca, Massimo Isola, Claudia Casali.Today’s world builders are rooted in the avant-garde arts of a century ago: between Dadaism, Bauhaus and Russian constructivism artists, architects and designers at that time revolutionized the way of thinking about the arts and their role in society, art that has applications in the everyday, able to change the ways of living the world and improving people’s lives.
Marcel Duchamp broke with the past by inventing the readymade – perhaps the first example of dysfunctional design – while Walter Gropius built a school able to form a new artist figure (designer) and a different culture of creative work at the service of society. Today, with a distance of a century, our world is a world where their visionary utopias have proven to be right. Our cities, our environment, our bodies have changed thanks to a project culture that can integrate the two souls of our time: the ancient one, the custodian of the cultural heritage of humanity, and the most daring, technological, futuristic of contemporaneity.
Builders of Tomorrow explores the profitable collaborations between design and art at the threshold of the third millennium, oriented to the production of objects and systems as an ethical and aesthetic experience of reality. The exchange of ideas, visions, practices, projects is becoming an ever-expansive modus operandi, which opens the boundaries of both arts to bounds, contaminations, and mutual influences. In the face of the crisis of our time, today we can start from here: from a new way of understanding design and art in their relationship with craftsmanship, economy, industry and hand made continuity with the culture of the past and the perspective of a technological and humanistic future
Lingue e università: strumenti di e-learning per l'apprendimento attivo della lingua speaking and writing
No full textIn linea con l'aspetto trasformativo dell'apprendimento delle lingue, sono stati scelti come aree di sperimentazione tre corsi di lingua presso il Centro Linguistico per valutare come l’approccio flipped potesse incentivare un ambito di apprendimento più attivo. Sono stati integrati nell'ambiente Moodle uno strumento di e-portfolio (Mahara) e uno strumento di registrazione audio (PoodLL) come supporti per gli esercizi e le attività da svolgersi in classe. Tutte le attività in aula sono state progettate come compiti “autentici” in modo che potessero essere utilizzati, sia all'interno che all'esterno della classe, anche per scopi non prettamente didattici.
Gli studenti, creando all'interno dell'ambiente e-learning artefatti di testo e audio, hanno continuato ad utilizzarli sia per migliorare la competenza, sia al di fuori del contesto universitario.
Le nuove possibilità della rete, quali le risorse didattiche in HTML5, adatte quindi a qualsiasi moderno device, facilitano la fruizione dei materiali da parte degli studenti, che ormai non trovano difficoltà ad usare queste tecnologie. La sperimentazione ha evidenziato quindi come gli strumenti informatici di nuova generazione facilitino il processo didattico incentivando la collaborazione studente-studente e studenti-docente e permettendo finalmente agli studenti di impossessarsi davvero del loro percorso di apprendimento e di interagire con i materiali didattici nei tempi, nei luoghi e nei modi più consoni alle proprie esigenze
Integrating E-Learning and Test Objectives: the dynamic process of design and evaluation
No full textSince 2008, the process for designing prova di idoneita' English language testing has be en integrated with e-learning development, at the Centro Linguistico of the University of Bologna (CLA sedi di Romagna). The design and development process begins with an analysis of the test objectives, the instructional materials, the instructional environment, learner profile, and program objectives, includes a formative evaluation, then finishes with an evaluation phase which identifies need for revision. This article examines the ongoing and iterative nature of creating effective assessment instruments (tests) which align to the university’s program level outcomes (for second language skills) as defined by the academic departments at the Romagna Campuses. An obvious benefit to adopting an integrated approach is the flexibility which allows the CLA to respond to university or department level changes, in a timely manner, with very few additional resources. For example, during university reforms affecting departments and degree plans, the integrated approach provides a coherent system to evaluate and identify which instructional or test materials should be revised or created in order to align with current objectives. Longevity of the prova di idoneità tests can be increased when technical and pedagogical obsolescence is addressed in an iterative manner. Limitations are recognized in evaluating the effectiveness or impact of instructional materials on learner performance
Sharing Digital Resources among Teacher Educators
No full textAbstract: ShareTEC “Sharing Digital Resources in the Teaching Education Community” is a 3-year project (2008 to 2011) co-funded by the European Community. Share.TEC is devoted to develop and cultivate a digital culture in Teacher Education. It supports the development of a European perspective of Teacher Education. To achieve this goal the Share.TEC-project is developing an online platform which will help practitioners across Europe search for, learn about and exchange resources. A major objective is supporting the sharing of experience about using the resources. The system is primarily designed for teacher educators and teachers engaged in pre-service education and professional development. Other target groups are publishers of digital resources for Teacher Education. Search and communications functions are presented as well as communities and workshops set up to facilitating use of resources. Finally the benefits, obstacles and challenges of using and producing digital resources in a portal are discussed
- …
