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The beauty

few days ago I was at the airport, sort of sitting on a bench that is located right in the middle of the passage that connects the arrivals with departures.

After a business trip, I waited for the arrival of a friend, who came to retrieve them to take me home at last.

Exhausted from the trip, in the middle of a stream of cold air that penetrated through the doors Automatic opening not far away, preventing the arrival of a snowstorm, as my usual, I started to look around.

I immediately jumped to the eye that most of the people who passed by had a look on his face rapt, fixed on something that apparently was not too far from me.

Although busy in a conversation, suddenly their attention was inaccurate as magnetized to that point very close to me.

Intrigued I tilted a bit 'head to understand what attracted the attention of all and I knew immediately when I saw it.

A beautiful girl was sitting not far from me. He seemed straight out of an ad for sunglasses or perfume, or underwear. A small body, a thin face, eyes clear, a trendy hairstyle and clothes unkempt appearance but actually very nice, they were the focus of attention of all passers-by.

Men of all age groups, children and even some women, he passed the pace slowed down, turned around very slowly and peered into every detail.

She was the objective beauty of the XXI century, the kind that rarely matches the reality in the small town where you live: a Venus de Milo of our times.

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performing urban Italian museums


When art appropriates also explodes the size of urban spaces and creative innovation, invading the urban and domestic daily life, thus contributing to improving the quality of life.

On September 21, 1969 in the historic center of Como the event "Urban Field", an event that has inspired many groups, the intervention was aimed at radical part of the urban community. Bruno Munari invited people to bend and cut pieces of paper and throw them from the tower Piazza Duomo; John Pettena intervened in the architectural structure of the square with violating clothes-line of laundry hung in the sun; Dadamaino threw fluorescent material in the lake.

Art becomes a series of actions, gestures, thoughts in the space where you live. The work of art leaves the sense of representation to incorporate in them the values \u200b\u200bof sharing and participation of individual and collective moving from street art to public art, through the land art and performance up to the contemporary FlashMob . Art, creativity and social innovation, and become key features new patterns of use of the genius loci urban .

Alberto Garutti for Arts in 2005 continues in the Church of SS. Peter and Paul, a work composed of thousands of bulbs on the wall of the nave left the lights is made by a number to call from landline or mobile phone. In 2000 in Bergamo, Piazza Dante, the same artist created the work those born today: a lamp is lit in every place at every new birth.

And yet, today, the art takes over ownership of spaces and places unusual, not art declined as roads, buildings, sewers, underground tunnels to show relationships, interactions or symbols could not be possible elsewhere.

Everything becomes a different way to interact with the city, in the event as "Above the Below" held in Milan to celebrate 10 years of Metroweb, the company with more than 5000 kilometers of fiber optic cables made Milan most wired cities in Europe. Thirty drains designed by sixteen artists get as many pictures en plein air for a new urban renaissance where art becomes something you can even step on daily living and a new means of communication.

The young Londoner Conrad Shawcross {use the abandoned tunnels built in 1906 by King Edward VII} for the Kingsway Tram Subway, tram turn of the century
closed in 1952 and makes it a place for contemporary artistic representation.

Urban Fields, the international network of artists and creative aims to explore critically and operationally the physical and social development of metropolitan areas with measures of re-appropriation of urban spaces, collective action and performance, installations and events , performing actions space, ritual actions, collective involvement and playgrounds.

Urban

In the video tape you see the tape as it appropriates the road space and limiting the movement of persons in full-fledged "cages
adhesive tape." Ground strecking In contrast, the urban space is redrawn, mapped, path, creating a maze.

The group Improv Everwhite accomplishes participation and involvement of urban missions affect the number of people recruited through social networks {} such that today they give rise to more of 85 events including improvised musical in supermarkets, rallies, mass mobilizations. In September, New York, during a Sunday afternoon, there was a mission : 2000 people took a walk with a leash of invisible dogs invading the streets of Brooklyn. In October, the group organized the Mp3 Experiment in Barcelona, \u200b\u200bMadrid, Murcia and Vigo: people were asked to wear a red or green or blue or yellow, to bring an MP3 player stability and time to listen to a file Audio in English in synchronous mode. Their specialty is to create crowd scenes in public places, with the aim of creating chaos, wonder, joy.

would be a serious challenge to draw up a chronology that summarizes the multiple actions and the resulting relationship between art and urban space.
is inherent in human nature to enable relationships between people and things around us, we move, transform, share and share experiences, moments, things and relationships.
The art shows us a variation of these actions, can move the stability and immobility of renewing urban architecture of new connections and junctions.
enhancing it with new, sometimes unusual interests.

Guido Faggion
ThePrimate.it

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2.0


Even in Italy, albeit slowly, museums are beginning to experiment with new modes of communication to stimulate the curiosity of visitors. The tools of Web 2.0 are available from social networks.

Some international examples allow us to understand what are the trends and future developments: the Brooklyn Museum abandoned the now obsolete audio guide to prefer the smartphone and to build pathways but not more pre-selected directly by the visitor: the integration applications on mobile devices allows a more immediate use of information and details of the works.

II Museo del Prado digitized high definition some of the masterpieces in the museum to make them accessible through Google Earth : a definition of 14,000 million pixels you can watch even in the works detail to discover the brush strokes and matter.

The MoMA launches an application on Facebook to synchronize the dates of any forthcoming trip to New York with the calendar plan of the museum and then a stop at the museum, with path Custom, based on the forthcoming trip.

Important institutions like the Smithsonian Institute eo the Getty Research Institute , participating in the project The Commons on Flickr to show the treasures hidden in public photo archives all over the world and to contribute, thanks to ' aid users, to enrich the description of the photographs and to add new tags and comments.

Technology and museums at first sight seem at odds: how is it possible, one wonders, that museums have found their own dimension in this context or that may have begun to take their first steps within the landscape of Web 2.0, user generated content of and participation and sharing of resources and experiences. Instead, we are in front of the natural evolution of the idea and the very definition of a museum. It is defined as "a permanent, non-profit, serving the society and its development. It is open to the public, research regarding the tangible and intangible evidence of people and their environment, acquires, conserves, communicates and, above all, the exhibits, for purposes of study, education and enjoyment " [ ICOM , International Council of Museums , 2004] .

The museum has an important role in society as it maintains and represents our memory, collective and individual, to see and share with the community. Who better than a museum would benefit from these new models of communication to enhance the evidence of contemporary society?

The Canadian museologist Duncan F. Cameron in an essay reflecting on the usefulness of the museum-temple, a simple storage of collections, introducing to the museum and forum focused on discussion, comparison, experimentation, on the meeting and public hearing, all concepts that are tied in perfectly with the reality of Web 2.0.

For Cameron " the museum was the place where you could go to compare their individual perception of reality with the vision of so-called objective reality of the socially accepted and validated ... The museum has a function more similar to that of the church than to that of the school. The museum offers the opportunity to reaffirm faith and offers the opportunity to experience intimate and private experience, as shared with many other " [i] .

This revolution affects poorly in the Italian scenario: the potential use of these new tools allow the subversion of thought and mode of action in an area often considered too close to the conventions, rules, hierarchy, all 'elite and for the sole purpose of education.

The museum must be able to communicate with different audiences by updating the tools available, even if it is at the level of communication that this environment seems to be too tied up and attached to traditional patterns of communication too.

How are this developmental challenge facing the museums?

Although the solutions adopted at the international level have made a real contribution to growth of society, as Italy is able to meet these new requirements, such as arise in comparison with the ' user, especially the web?

Facebook, the best known social network of the moment, has a group that collects and documents the presence of ripples museums: a list is growing thanks to which you can search and create relationships with the museum or preferred which they will maintain some sort of direct contact to evolve from mere passive observers of what the museum validation as objective an active role, with the help of a personal vision.

In the world of Twitter there are 719,380 people who follow the "chirps" of 623 museums and galleries around the world: first in the standings on Twitter MoMA in New York continues to have the greatest number of 43,578 followers and follow the Brooklyn Museum with 25,339 , the Tate in London 22,500 and the Getty Museum with more of 16,000 . It was not until 237 ° in the standings to see the first museum in the Italian ones with the highest number of followers , MART of Trento and Rovereto [source: www.museummarketing.co. uk , Museums on Twitter, Oct 09] .

the Italian scene you can certainly say that it is the world's most modern and contemporary art that led to use the new tools of Web 2.0 and the models of participation and sharing of resources and content. The phenomenon remains less conspicuous, perhaps because the institutions are committed to dealing with budget cuts to survive, trying to find solutions rather than further action for participation and dissemination of knowledge, but there are also noticeable exceptions.

The MAO - Museum of Oriental Art of Turin for his openness to a campaign has relied entirely thought through with the 2.0 tools Facebook, YouTube , Mogulus and Flickr .

The

System Museums of Rome began a campaign for 2.0 shares of culture with a blog on WordPress for comments, a channel on YouTube for video and Flickr for images, updates on Twitter , exhibitions visited by SecondLife , all for a cross-media promotion and dissemination of cultural heritage, for sharing information and resources with people and bring everything to the museum system. Some data: the videos have been seen by approximately 7,000 users and photos from about 5000, the works and installations on SecondLife were visited by approximately 3,700 users from around the world and the blog has had 47,000 unique visitors, for an average of 5,000 / 6,000 visitors per month [source: Zètema] . He has also edited and produced the draft of ancient Rome on Google Earth with a three-dimensional reconstruction and geospatial than 6,700 buildings of ancient Rome reconstructed in 3D on a virtual tour of history.

The Peggy Guggenheim Collection exits from the chest Palazzo Venier dei Leoni on presenting Facebook and Twitter to promote the ongoing events, meetings, exhibitions and photographic archives dell'estroversa American in Venice was able to realize his dream of house-museum of art of his century.

Also in Venice, even if they are an exhibition space for temporary exhibitions, Palazzo Grassi together Punta della Dogana with the permanent collection of Francois Pinault, an entire section devoted to online communities on Twitter , Facebook and YouTube .

Since 2006, the MART , Art Museum of Trento and Rovereto, began a cross-media and cross-communication plan that also involves new media, a process that today's forward looking and progressive proclaimed as the best museum of modern and contemporary Italian. has a complete division of the portal dedicated community of users, who headed mart2.0. Talk to blows tweets on Twitter last September and if the " chirping" of the museum was on the Trent 580 th place among the museums most popular on Twitter, in October reached the 237 th place. It has a personal page on Facebook to update and keep in touch with visitors to the museum to inform and update on events and exhibitions and to gather comments and suggestions. YouTube On instead created a dedicated channel with videos, video interviews, behind the scenes work on the documentation of exhibitions and other events and arrangements. Finally, a dedicated channel also Flickr to share images and comment on exhibitions, openings, events, photographs of professionals and not visiting the museum, where you can tag their contributions to tag and share mart_museum the photos taken during the visits. Finally, the webTV is present in live stream on Mogulus .

The initial doubt on the authority of many institutions related to the presence on the web is rapidly turning into an indicator of institutional prestige because of the coordinated and advanced by the strict best international museums. We begin to understand that not being present in the web part does not mean missing an opportunity for visibility or communication, but above all it means not being able to control his reputation . Web 2.0 enhanced, documents and enhances the commitment "institution" of the museum to be at the service of society, helps with the help of contemporary society to enrich the tangible and intangible evidence of people and their environment.

The museum is preparing to cross a new frontier: that of the renewal that involves listening to new ideas, new projects and stimuli of the collaboration, sharing of values \u200b\u200band growth of the community.

change is taking place: participation, discussion, debate and production.

for a global development of knowledge and memory.

The people talk and discuss, the museum is the listening ear
[Kinard, J., 2005] [ii ]

---

[i] Duncan F . Cameron, "The Museum: Temple or the Forum", in Cecilia Riba (Eds.), The new museum : Origins and pathways , vol. 1, Basic Books, New 2005.

[ii] J. Kinard, "an intermediary between the museum and the community," in C. Riba (Ed.), The new museum. Origins and pathways , vol. 1, Basic Books, Milano, 2005.

http://www.theprimate.it

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respective Urban Experience in the new digital cities

Generation after generation of our city, made up of streets and squares, are subject to constant changes to ensure comfort to the people who care and therefore adapt to the lifestyle and activities of every single citizen. A succession of layers that you add, or change the existing sediments in relation to the needs and development of society.

cities have evolved, grew horizontally and then vertically, have been modeled on the basis of daily living, for the production and exchange of goods, then the transit the carriages, and machinery and then retrace your steps and give priority to pedestrians for a sustainable improvement and attention to environmental impact. The constant evolution and adaptation are in this continuum is represented by the man and the network of relationships and interests in land and in the city manages to weave.

Today, live and re-live the city, discovering its unique aspects and moods of those, or know and appreciate new symbols and feelings, including digital tools can enhance the experience of living and sharing between people, is emerging as a model of innovation closely associated with creativity and responding to issues of nomadism, tourism and investors to the crisis and reverse the trend of depopulation of some cities. This inclination forcing cities such as Venice and Siena, the symbol par excellence of cities / city-museum, to seek a new configuration for the second innovate and design new organizational models that can overturn and reverse this perspective, a path to a non -back.

What are the ways to experience the city, experiences, comparisons and relationships that are created with space and people? As a place to live, to give meaning in an innovative and creative the genius loci of the territory, the spirit of place and identity that make it up?

The individual, resident or urban traveler was the instrument to attach importance to the place not only in consumption but especially in the production of new wealth immaterial. The individual emerges from the whole to bring sense to the problem of loss of identity, anonymity, the loss implicit in the non-places cultural homologation and that many cities are now experiencing. The added value of a product or a place, but also a process of use and enjoyment, is increasingly linked to the impact they can create or capacity to surprise people and yet the innate ability to evoke meaningful experiences and affirming. The individual, today, demands a role and a name no longer wants to be swallowed up by the anonymity and passivity. The technology thus become useful tools to be used in this process to release the contents contained implicit in the territory, often available just elected them on a daily basis, and to contextualize the experience to help those who live the city or whoever is to discover .

In modern urban cities diversity of experience and local variations represent the added value that creates new relationships and dynamics, is a motor capable of activating a social network interconnected urban, multi-level and multi-actor. The city of the twenty-first century, based on open access -based society, has evolved, new generation, stands as a place accessible to the public and city-users ; promotes, offers, thinks and acts on the part and aware, has a multiplicity of viewpoints, a plurality of actors and a chorus that participates in a lively and never noisy to reconstruct a unified vision, starting with a kaleidoscopic vision of diversity.

In this projection technologies web 2.0 based tools are essential process because they allow the growth of new reports: users, individuals have the ability to implement or to give immediate feedback and personal digital radio and acoustic tagging , geoblogging , interaction design, location and georeferencing , mapping, social tagging, sensors, video sharing live set, creativity, social and participatory performance, become the means to explore the city, to give value to experience cognitive and learning and enriching of works, landscapes, traditions and identity. Tagging places of the city with barcode data-matrix, a real real social tagging to mark the places with virtual labels, accessible technology tools and editable by anyone via SMS, MMS, barcodes digital video blogs or label attached to the walls to give the territory a new meaning to create a real map senses collaborate and collective memory.

Territory and the city gains new ground for the individual to be studied and decoded according to its own vision, his point of view, since the web 2.0 tools allow individuals / user (at the same time citizens and travelers) of become a full member in this complex dynamic. Each individual person / user, and So each point of view, the system feeds and enriches it with many facets and nuances of personal experience which, when added to the experiences of other people / users, intervenes to create new forms of cultural interaction and cross-media original.

The person recovers his size now lost, the encoding according to their lived experience, the assimilation and re-proposes others to create a complex and multi-layer mapping of identities.

This is the most meaningful sense of urbans experience: urban experiences, from city to ever-evolving technology that contributes to the expansion conduct creative and innovative. New paradigms of social and participatory urban usability able to use and re-invent space, territory, city.
applications and the involvement of individuals / users to create a kaleidoscopic range of activities and actions that are vital and buttons.

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Books digital network: a network or a tangle of interests?

http://theprimate.it/libri_digitali

The lure of Google to create a truly universal library and digital network begins to falter, as its free digitization project books and arrangements for printing expressed and economic gave rise to a sudden need of an economic, moral and comprehensive books and digital libraries.

The story begins when Google, with its project Goole Search Books, a process of free use of books free of copyright or trade off, "flying" on the friction between American publishers and the alarms those in Europe who have started to raise protectionist barriers in this area.

Bigg begins to scan a catalog of approximately one million orphans of texts, or fallen into the public domain because it was published before 1923. The principle on which the project is very simple: any publisher can send their books to Google, who will scan them and insert the content on the web, so that they are available in the results of user queries fans. In this mode of use for free, plus a small amount of text, still protected by copyright, which, unlike previous ones in '23, are usable only in part, in a mode called "preview".

Bigg has also entered into an agreement with the company On Demand Book producing equipment which is able to print and bind a book of 300 pages in paperback in less than five minutes. The catalog of Bigg therefore be added to the On Demand Book, to reach nearly 3.6 million tests that anyone can print at reasonable prices and freely.

Obviously this trigger the wrath of American publishers who are at risk of losing bargaining power in the publication of books. The on demand, then, could completely upset the balance of the traditional publishing world, based on delicate relationships that govern every step of the birth of a book and its dissemination. We move by Google, from a centralized model with a single production center and many distribution points, one plain and horizontal, where your book browsing without the intermediation of the publisher to the public. A risk that publishers seek to avoid in all ways but that shows and produces, at speeds at least electronically, benefits in terms of availability and dissemination for libraries, schools, universities and readers in general. Regardless, then, the value led to literacy and schooling in developing areas.

Three years ago the Association of American authors [The Authors Guild] , the Association of American Publishers [Association of American Publishers - AAP] and a group of authors brought a for infringement against Google Books Search of copyright. And even though the Google project is supported by worthy intentions, the issue has led to the intervention of the Justice Department U.S. called by the editors to comment on the case and to find a common agreement. In short, the benefits must be no doubt, but on both sides.

the base of the litigation there is no respect for copyright law and anti-trust, since Google's initial agreements would favor some players in the publishing market to the detriment of others involved. So the Justice Department has strongly urged the Constitutional Court in New York to revoke the agreements already made and to assess the introduction of a new agreement [Settlement] allowing competitors to the Bigg have equal access to the market.

European publishers have also put a lookout, as the deal would also involve any European work available in the U.S. market. The editors of Italy, Germany, France, Austria, Norway and Sweden, but also the EFF [Federation of European Publishers ] and the IEA [Italian Publishers Association] , sided against the initiative of Bigg, for by asking the non-applicability of the solution of the Google and America / USA within the European Union.

The objections raised by European publishers include: the violation of Berne Convention on copyright {copyright normally expires 70 years after the death of the writer, while the solution is not just free to use the copyright work is no longer available in bookstores}, also Monopoly digital books on the Bigg return of the project, and finally major problems in managing regulatory and physical database Google Books.

In America, the ruling is expected in November, and - anyway - if the judges accept the compromise reached between Google, the Association of American writers Authors Guild and the Association of U.S. publishers AAP , there will be no more book "unavailable." And while the Bigg lets you know that books are no longer available in the U.S. market but still on sale in Europe will not be included in the database of Book Search, the EU to be armed or {} try to do it, in discussions with rights holders, libraries, businesses, consumer groups, to find their best solution to this "challenge".

It must be said that there are other projects in the world who have similar aspirations: the EFF supports reaffirming its position as an alternative to Google Books the Arrow project [Accessible Registries of Rights Information and Orphan Works Towards the European Digital Library], a project coordinated by the IEA. With means Arrow arrive at a technical solution that satisfies everyone involved, from authors to libraries and publishers themselves. The Arrow project is developed in fact to create a distribution infrastructure [for now the European Union] for the management of information on copyright of literary works and to facilitate access to digital content. The objective is to support the i2010 Digital Library Project the European Commission and the identification, through the interoperability of the actors involved, the holders of copyright clarifying the legal status. Still

previous Europeana, the European digital library that aggregates multiple documents not only libraries, books, films, paintings, newspapers, sound recordings, maps, manuscripts and archives, from the 27 European Union countries, and divided for over 23 languages. Europeana provides millions of items of our cultural heritage that are already in the public domain in perspective with the aim of reaching ten million works by 2010. Over the past nine months has doubled its database the digitized content from 2 to over 4 million and a half of material, is only 5% of assets in the EU, but is a value that has its greatest strength in the potential untapped. However, problems remain with regard to adjustment copyright: a public consultation, which ends November 15, the Commission will vote on the future of Europeana and the digitization of books.

We just have to wait for the ruling to the U.S. and the EU opinion about the future of publishing and libraries and archives. Opinions differ and some opposing positions.

So, while you sign the agreement on the dispute that affects millions of titles already crawled {37% gains on securities subject to copyright should be online in Google while the remaining 63% to the holders of Rights}, the President of the Library French National , Jean-Noel Jeannery, denies his consent to the proposed Google for cooperation, free of charge, in the work of digitization of part of the 30 million texts Library Fund. The Colossus, in fact, asked how the exchange can then spread them on the web, and cash in the agreement of other prestigious European libraries, which they consider inadequate time Europeana, and its almost unattainable goal.

What are the next evolution? It is hoped that whatever the future emerged from battles and judgments, to conduct the impulse for the first major renovation of the entire wealth of knowledge generally, with appropriate tools to solve a problem that has roots in the springs of civilization, namely dissemination of knowledge.

In between is an actor too atavistic and again victorious, rich and full of achievements: the Market.

Guido Faggion

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Virtual Museum of Iraq: an international success for the Italian cultural-tech

In Italy the culture for the protection of cultural heritage of ancient origins. It relied on the protection and preservation of our memory material, concretely reproduced Standing in the exposition of the many museum exhibits in our country. Italy receives - especially abroad - many awards for its expertise and technology acquired over time, devoted to the use of cultural heritage. One among many is that of Virtual Museum of Iraq in which the Italian technological skills were made available for the reconstruction of historical and archaeological heritage of Iraq.

In February 2009, after six years as from April 2003 was brutally raped and severely looted, it was re-opened National Museum of Iraq Bagdagd. That event was a major blow to the memory and the identity of paese.Nel 2005, the Italian Ministry for Foreign Affairs through Iraq task force that worked in the Directorate General for the Mediterranean and the Middle East, gave the Council National Research [CNR] the task of achieving the "Virtual Museum of Baghdad" in order to make available online, both the public and to scholars, this invaluable heritage. The choice of the CNR was not a casual view of the proven experience in the virtual reconstruction of monuments, artistic and archaeological sites.

The Virtual Museum of Iraq returns to honor culture and heritage of a nation and return to the public during a priceless heritage. The project, among other things, is an opportunity for cultural development as well as diplomatic: the museum presents, in fact, a selection of the most significant works of ancient Mesopotamian civilization, including those housed in major museums around the world. Through the creation of the virtual museum, the works (accessible in English, Italian and Arabic) are exposed in a way that allows the visit of a much larger audience than the actual capacity of a traditional exhibition environment.

"They were clicking more than 400,000 pages and over 120 thousand visitors. The English pages have received more visits than those in Italian, about two-thirds more, "explains Roberto De Mattei, vice president of CNR. "In the ranking of 'navigators - De Mattei continues - the United States ranked first with over 35 000 hits, from Italy, which has registered about 24 000, followed by Brazil, Canada, United Kingdom, Puerto Rico. " stand out in seventh place, the UAE before the visits, Turkey, Germany and Sweden.

It was a job that has allowed the emergence of the eminence in the science field of exhibition and preservation of cultural heritage and museums, often not considered as being of secondary interest. A synergy between experties and better technology laboratories of the CNR and scholars of the ancient world, thanks to advanced techniques of 3D modeling and multimedia presentation, shows a high skill on the world stage.

So, not simply a website that allows browsing of the assets in a museum, but a real environment where experience of digital images taken in context in his own era and the historical site. Just the approach to the problem of contextualization, characteristic of the museum especially archaeological, has been a major goal of the exhibition "Virtual Museum of Iraq." The work presented customarily room museum that houses it, it loses track of its history, the knowledge of the historical setting for the user, if not for the contributions captions are inadequate for the benefit of editorial balance, often purely aesthetic. The representation in a different context, that of the museum room, means a loss of value and understanding of the operation, the virtual reconstruction of the Virtual Museum of Iraq puts the audience in a position to understand and appreciate the context in which the work was created, why the need for and the duties performed.

The Virtual Museum of Iraq reconstructs a journey through 6000 years of history, and traces the main stages of historical development and cultural civilizations that have lived in ancient Mesopotamia. A priceless heritage, as a female statuette in alabaster from Tell Es Sawwan (6200-5700 BC), the gold leaf of Elmo Meskalamdug (2450 BC), king of Ur, the glazed panel of Nimrud (IX century BC), the slab depicting his subjects Assyrians (VIII sec. BC).

The museum is divided into eight broad thematic rooms, which present the story chronologically from prehistory to the Islamic age: the birth of the first village communities to urban revolution, the emergence of large systems of domination supra-regional dimension to the empires universal

The tour ends with the foundation, in 762 AD, Madinat al-Salam ('city of peace'), today's Baghdad, a symbol of new role of land between two rivers in the Muslim world.

Each room features a selection of artifacts representative of the historical period under consideration, according to different modes of use: 70 artifacts, 40 three-dimensional models, over 100 archive images, 22 videos, 18 archaeological sites, all viewable in about six hours Navigation through the explanatory files, images, and three-dimensional models, video clips, movies, animations and reconstructions, maps and geopolitical interactive maps, satellite images, floor plans and reconstructions of the monuments.

A reconstruction and presentation, though not exhaustive of all civilization, capable of contribute to the knowledge of a historical heritage of inestimable value.

an advanced design that will certainly become a model for the use and enjoyment of cultural heritage that the National Research Council, the largest Italian public research body, achieved through the provision of civil society on its technological expertise, historical and artistic works for a new technology for the conservation and utilization.

The Institute for Technology Applied to Cultural Heritage of the National Research Council, for example, has developed within the Virtual Heritage Lab some platforms of virtual reality to take a fascinating walk nell'App Ancient Rome. Also in Rome, was set up by researchers at a multimedia station that allows for an interactive walk on the ancient Via Flaminia, visiting the Villa of Livia. In Padua, in order to avoid the deterioration of frescoes by Giotto, you can visit the Scrovegni Chapel through a large Media Room with seven locations. In Bologna, however, the CNR technology in the service of Cultural Heritage has created the "Virtual Museum of the Chartreuse."

A merit of Italy, which is at the service of humanity allows you to enjoy and promote our history, our past, what we were, are and will be.

In the name of protection and care.

(G. Faggion)

http://www.theprimate.it

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Telemaco Signorini, international artist and dandy committed

ISSN 1127-4883 BTA - Telematic Bulletin of Art, October 9, 2009, No 538
http://www.bta.it/txt/a0/05/ bta00538.html

In Padua, until January 31, 2010, you can visit the exhibition "Telemaco Signorini and painting in Europe" , edited by Fernando Mazzocca, exhibition spaces Palazzo Zabarella. The exhibition compares the work of Telemachus Signorini - one of the "Macchiaioli best known at international level - with some works of European masters of his time, from Degas to Tissot, Decamps, Troyon, Corot, Courbet and Rousseau. An exhibition celebrating the decade-long activities of the fourteenth-century Palazzo Zabarella venue with an international artist, or almost unique, among Macchiaioli to enjoy in life and successful European market.

BABTISTE JEAN-Camille Corot, Landscape with a Lake , 1860-1873, oil on canvas, cm. 53 x 65.5 cm (The State Hermitage Museum, St. Petersburg Photograph, © The State Hermitage Museum).

Telemaco Signorini (1835-1901) a leading exponent of Macchiaioli among the most fervent and the most "angry", the protagonist of the Tuscan and European bourgeoisie, was a refined intellectual, an artist innovative spirit and the reality and the society in which he lived. Italy was recently established, the bourgeoisie rose to political power and the second industrial revolution was at hand.

Fiorentino origin and son of John Signorini view painter, painter of the Grand Duke of Tuscany, animated those feverish years of art with a new painting of light and atmosphere of European realism. It is perhaps the only truly international, Italian painter of his time, a true cosmopolitan spirit, willing and able to relate to compete with other intellectuals and artists.

Telemaco Signorini, Castiglioncello Pascoli, 1861, oil on canvas, cm. 31 x 76 (Private Collection, Courtesy of Piero Dini).

in Florence was a frequent visitor to the Caffè Michelangelo, a meeting place for many young artists, where they exchanged their ideas, where the critic Diego Martelli coined the term Macchiaiolo and where they founded the group of the artistic movement that will influence the French Impressionists.

Macchiaioli The movement has developed in Florence in the late nineteenth and early twentieth century made the impressions received from life with splashes of color of light and dark. They used a poetic realist as opposed to Romanticism, Neoclassicism and the academic purism, where the light was the trigger of an innovative and artistic revolution that then involve all the best expressions of the twentieth century.

Signorini frequented the salons of many intellectuals as the poet Mary Robinson, Violet Page (Vernon Lee) and almost certainly John Singer Sargent. Asseduo also attended the Paris intellectual Troyon, Corot, Degas, Zola, and which participates in all major exhibitions. Spirit curious traveler stays in Borgone, Switzerland and Great Britain. A refined dandy, frequenter of the salons à la page , intellectual snob that he preferred "the imperfect intellect" than the "perfect mediocrity."

EDGAR DEGAS, Dans un café (L'Absinthe) , 1875-1876, oil on canvas, cm. 92 x 68.5 (Paris, Musée d'Orsay, legs Isaac du comte de Camondo, 1911, © RMN (Musée d'Orsay) / Hervé Lewandowski).

of him saying that "there is nothing sacred to the infernal mouth", also space in poetry and fiction with his celebrated writings caricaturist and caricature to the Caffè Michelangelo it reflects criticism and the art of Macchiaioli through caricatures, and Zibaldone where pasted cutouts of their articles of art criticism with graphic illustrations taken from newspapers of the time (of his paintings, engravings, etchings, cartoons), and drew his own hand in ink poems , starlings, autobiographical reflections, caricatures.

The exhibition in Padua Signorini compares with international colleagues, without losing strength and ability here then one of the great icons of the nineteenth century, L'Absinthe by Edgar Degas at the Museum today d'Orsay in Paris and presented for the first Impressionist exhibition of 1876, is set in the terrace coffee Nouvelle Athènes , meeting center of the Impressionist painters, in which the glimpse of Parisian life is represented through an original perspective cut, with all the tension of a moment of solitude and alienation. Or oil of Jean-Baptiste Camille Corot, Landscape lake, the collection of 'Ermitage in St. Petersburg, where a landscape like this, relived in the memory and interpreted as a state of mind, definitely influenced Signorini, frequent visitor to the his study, to overcome the excessive realism of the first phase of the "stain" to paint a nuanced and emotional values. To Signorini then, it was very important friendship with Coubert that he has always been committed to the ideal of the artist to inspire them in addressing issues of social protest. In shows his portrait in prison Sainte-Pelagie in Paris in which Courbet autoritrae absolutely enthralling and original the prison where he was imprisoned for six months because of his complicity in the destruction of Vendôme column during the riots of the Paris Commune.

Telemaco Signorini, The towpath (detail), 1864, oil on canvas, cm. 54 x 173.2 (Private Collection, Courtesy Jean Luc Baroni Ltd).

From Signorini typical themes of the movement often went into seclusion for a more guided search on social issues and engaged in the work as the towpath of 1864, chosen as the emblem of the exhibition, which tells of the exploitation of workers and the lives of the marginalized. Embankment (towpath) Arno, five men drag something heavy, perhaps a barge, where the effort is perceived by the composition of light and shadow. Five men are mule-represented from top to bottom, with their backs broken by fatigue in the light of a sun that will not go down. With this strong "closes the final test phase of the stain. It is not just an example of a painting of a complaint, inspired by Courbet, the issue of the exploitation of workers and the social injustice, but a grand metaphor of human life, pain and fatigue of life. It 'an image that still retains its relevance and strikes us with its expressive violence carried out by the pure color "(F. Mazzocca).

Telemaco Signorini, The agitated in the hospital room of St. Boniface , 1865, oil on canvas, cm. 66 x 59 (Venice, Galleria Internazionale d'Arte Moderna Ca 'Pesaro).

Its revolutionary and critical spirit is also apparent in the work of the troubled hospital The hall of St. Boniface of 1865, owned by the International Gallery of Modern Art of Ca 'Pesaro in Venice, commonly known as "Shake," which deals with the issue of mental illness, insanity. The work, to cut the strong perspective and chiaroscuro of violence, was admired by Degas, but was harshly criticized and upset many in his first exposure because they carry scary attractions "abyss", according to the playwright Giuseppe Giacosa (1847 -1906). Signorini work is the exclusion of madmen locked up in hospitals as good as the exploited workers and prisoners.

Two examples of how art is no longer just the representation of beauty, but is also the complaint of a fact often forgotten, an art that is also a political prosecution and commitment. On the one hand the efforts of these men want to be a metaphor of human life, pain and fatigue of living, while across the gaze of the painter stops exaggerated attitudes of women locked in the room of the old mental hospital in Florence, in a dark and oppressive atmosphere marked by a livid light.

Telemaco Signorini painter, critic and intellectual, an extraordinary man who was able to tell us with his art, society and era.

Datasheet:
TELEMACO SIGNORINI AND PAINTING IN EUROPE
Padova, Palazzo Zabarella
19 September 2009 - January 31, 2010
Zabarella
Palace Via S. Francesco, 27 35121 Padova

www.palazzozabarella.it

Catalog:
Telemaco Signorini and painting in Europe (edited by Giuliano Matteucci, Fernando Mazzocca and Carlo Sisi)
Marsilio
size 24 x 29 cm, pp. 268 with 126 ill. in col and 40 b / w

year 2009 ISBN: 978-88-317-9840-2

Photo courtesy Studio Esseci, Padova

Matula Herbal Formula And Reviews

The sense of safety of the commuter

Up and down the regional trains,

slowly learn some funny habits of commuters,

where I fit awkwardly.

At first I had serious trouble understanding why, day after day, on the train back, no matter what position I coach, I always saw the usual four faces.

I thought it was just a matter of hours and, in fact, this would be the most logical solution, except that I felt that there was another component, much more interesting coincidence of time.

The commuter needs and safety habits: no matter how many times controls the boards of times to know which track to start the day his train, the commuter feels safe and comfortable only when he sees that this train sitting in the usual four familiar faces, who long ago identified as "his dear fellow travel ".

And then, only then, that the pendulum can relax and travel. Does not need to talk or get to know, the mere presence of his "friends commuters" is enough!

But just as strange and incomprehensible reaction occurs when the meeting takes place outside of the custom, in places, days and different times, perhaps at times when the shuttle is in the company of other people outside the world of commuting.

Here, on this occasion, the commuter feels bewildered, unsettled, as if someone had taken a piece of the puzzle that is his life and he moved, trying to frame him, where, of course, can not enter.

warns that the security of his private life was violated by someone who should not, for no reason at all, were there out of the habit of travel.

Here, then, that the pendulum begins to feel a threat in the face and, without even realizing it, click on the following days other faces that accompany him on his journey back home.

only way the pendulum will return to that sense of calm and security that feels the need to finally get her happy home.

Can You Sleep In An Xterra

License creative and collective: new models for sharing and the use of content protected by copyright

http://www.theprimate.it

The social and political debate about copyrights for digital content distributed on the network can not find solutions that give a concrete answer to the problem of protecting the interests of authors and consumer users. It is a clash of interests between various rights and the search for balance between the fundamental right of authors to the protection of their moral and material interests, with access to all culture. This concept in 1948 already provided for in Article 27 of the Universal Declaration of Human Rights which, in the second paragraph states that " Everyone is entitled to the protection of moral and material interests which he is entitled by reason of scientific, literary and art of which is the author ", while the first paragraph states that:" Everyone has the right to participate freely in cultural life of the community, to enjoy the arts and to share in scientific advancement and benefits resulting from this " . We try to make a twofold consideration: the authors attempted to evaluate the possibilities offered the new licensing more flexible and less bound, able to promote full works, while from the consumer, let us reflect on how the sharing of content does not necessarily turn into the spread of piracy but rather an opportunity for development and Social economic growth according the remuneration of rights holders with greater access to knowledge by all. But what is

Copyright ? Under Italian, copyright and "deals with the allocation of a set of faculty who achieves creative intellectual work (literature, music, the arts, architecture, theater, film) with the intent to reserve moral and economic rights. " Its main aim is the diffusion of culture, innovation and social progress. Although today we are united, it differs in some respects from Copyright for a wider significance beyond the protection of a number of exclusive rights over the work (rights of the author) also provides for the protection of moral rights of the author's personality. Copyright, however, literally means right to copy, namely the right to reproduce and distribute market copies of a work. It follows that is protected by Copyright legislation of any work the subject of marketing, leaving the second floor in its originality and creativity.

The debate on the protection / control of copyright and creativity in general, is divided between those on one side tends to a total control and regulation of the work ("all rights reserved"), and who has a more subversive and free, without any protection ("no rights reserved"). There are indeed new models for the management of copyright to make available tools based on the concept of Copyleft , that is strictly based on copyright. This is a good solution because if the copyright holder may exercise certain exclusive rights in the work, is both his right to freely choose whether and how to transfer these rights to others.

In relation to File Sharing content protected by copyright, but the issue remains unresolved and thorny. The economic interests that underlie the work probably prevent identify one or more solutions to protect the interests of the author and the work itself, in addition to those who wish to benefit from it. Technology has allowed the spread and re-distribution, even in sharing mode peer-to-peer/file and often free, content in digital format, but the law prohibits any activity which involves sharing of works covered by copyright. There are several cases of judgments against people who have shared content protected by copyright and the network have been questionable penalties applied. It is unthinkable that the answer to the question can be used only to solutions imposed through dissuasive criminal penalties. Among the various solutions identified, there is that of general taxation in which it is expected that both the state and to remunerate holders of copyright through general taxation or a tax purpose expressly provided for remuneration of right holders (such as a fee for internet connection). It is also thought several licenses that permit the use of the work due to a vested right to compensation paid. The license may be required or extended collective: the first is required by law and is enforced, while the second is negotiated between those involved to protect copyright, such as SIAE and who is committed to protect the right of users, such as associations consumers. While the first option should be to meet with the Community and national legislation regulating the matter, the use of extended collective licensing is a solution already adopted by the Nordic countries-for-fire, for example, the rights of broadcasting of Literary and musical, to authorize the re-broadcasting , the reproduction of works for educational purposes and distribution of digital works by libraries. The use of these licenses is not to undermine the exclusive nature of the right by virtue of its non-compulsory and aims to balance the interests between authors and users of the work or benefit from it. Finally, it is approved by Directive 2001/29/EC, Article 18 and opens therefore use the Member States.

Since 2001, the non-profit association Creative Commons is working to make copyright more flexible. This is not a performance rights of copyright in contrast to the SIAE or other similar reality, does not offer legal advice but promotes debate on new models for the management of copyright and disseminate new legal and technological tools such as Creative Commons Licenses Public License (CCPL). National legislation and international rules on copyright gives the holder of a work of genius a series of rights and privileges. The concept underpinning these licenses is flexible in its ability to reason, freely dispose of these rights by allowing or excluding the use of the work according to the individual needs of each. If the copyright-protected works are considered works in which "all rights reserved," those free and public domain have, however, "no rights reserved". The project of Creative Commons is located right in the middle, and the median balance in accordance with the formula that "some rights reserved" (some rights reserved). The basic concept is that flexible licensing, using the private law, create public goods and works issued for specific uses for wider dissemination and promotion of culture.

the CCPL, in fact, simply to allow the right holder to indicate clearly that the reproduction, distribution and circulation of his work is explicitly permitted. The latter, therefore, decide what rights to allow and which to exclude the second predetermined characteristics. The licenses differ in two areas: the freedom user and conditions of use of the work. All licenses allow copying and distribution of the work and some will require modification or deploy. The terms of use, however, provide for the allocation, ie a clause in all licenses that indicates the authorship, non-commercial use of the work without permission, the derivation of work which is not without permission of the author, and his share in the works that flow from it. The choice and combination of freedom with the terms of use allows the holder the right to choose among six types of Creative Commons licenses, very flexible and thus covering a large range of options to choose from. To use a Creative Commons license is sufficient to report the use you intend to work with a note on the license choice, as well as where the work is filed, such as: Copyright © 2009 Surname Name - Some Rights Reserved - This work is released under the terms of the Creative Commons Attribution-NonCommercial 2.5 Italy . The association also offers a search engine to search for works subject to the licensing http://search.creativecommons.org or just refer to the archives as: http://sciencecommons.org/ dedicated to the scientific literature, www.jamendo.com http://ccmixter.org/ specifically for music, sounds and music samples, www.flickr.com / CreativeCommons for images, www.spinxpress.com / getmedia for video and multimedia content, http://ocw.mit.edu/ of teaching aids and manuals, and www.commons.wikimedia.org for works of various kinds. dedicated to music,

The debate today is still running and complex: on one hand the authors, and who protects the interests, lauding the loss in value of their work and the illegal exploitation and abuse, the other the network users, the users, who feel restricted in the possibility to enjoy free content, blamed piracy and to promote the cause of death of the arts. Should pursue the matter further and promote alternatives capable of transforming that clash into a gathering of collective economic and social growth for all.

(G. Faggion)

Selected Bibliography:

S. Aliprandi, Theory and practice of Copyleft, Guide Licensing OpenContent , NDA Press, www.copyleft-italia.it/libro2/ , 2006.

S. Aliprandi, Understanding Copyright, guided visit to the copyright , Primaore editions www.copyleft-italia.it/libro3/ , 2007.

S. Aliprandi, Creative Commons: CPS , Guide to licensing and other CC, 2008, Alternative Press / New Balance, 2008. M. Ciurcina, JC De Martin, T. Margon, F. Morando, M. Ricolfi, Creativity paid, free knowledge: File Sharing and extended collective licensing , NEXA Center on Internet and Society, Politecnico di Torino, http://nexa.polito.it/licenzecollettive/ , 2009.