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
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
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
