The museum of contemporaneity is characterized by the need of constant connections with the territory and the audience. The educational role played by the cultural organizations aims to create efficient actions for an enduring and widespread learning, in which the idea of the museum as a static and contemplative place, and as the only place where knowledge is narrated, could be overcome in favor of a center where knowledge is produced and contaminated. Digital museums promote the storytelling and the setting up of education and exhibition spaces, through the use of technologies for the digitalization and visualization of the cultural heritage. The study records a methodological approach to make the ‘absent’ museum artworks accessible, in the perspective of accessibility and inclusion. The virtual modeling and the rapid prototyping are suitable for the research, analysis and reconstruction of the museum artifacts – both visible and invisible – so to determine the best communicative performances of cultural products, taken out of context or not exhibited, in order to enhance and promote them, in favor of the democratization of knowledge. Research is part of this perspective and with the help of different multidisciplinary contributions – performance, history, technology – identifies effective action plans to develop the audience engagement. We aim at creating a tool able to deliver, in a comprehensible form, even complex information. The tool will provide an easy access to the pieces exposed in the museum as well as those in still in storage or even left on site. The virtual modelling will allow us to combine the information gathered through literature and direct observation to produce a sound philological re-construction of the CH; with the use of 3D-printed models the information will also be accessible to all users, included those with visual impairments. For the visual impaired the tactile experience will provide an experience beyond the Braille alphabet; through the touch the users will be able to appreciate the different forms and textures of the materials. The models will represent the converging point of a complex multidisciplinary research work which provides a vivid and first-hand experience through the use of replicas of those elements that are not physically available for the exposition. In particular, a virtual and tactile reconstruction of the ruins of the Cappella Palatina of Noto Antica, whose fragments are partly exhibited in a museum and partly saved in storages, are presented.
Il museo della contemporaneità è caratterizzato dalla necessità di relazioni costanti con il territorio e i pubblici. Il ruolo educativo svolto dagli enti culturali mira alla creazione di azioni performanti per apprendimenti diffusi e permanenti, in cui sia superato il concetto di museo come luogo staticocontemplativo e di esclusiva narrazione del sapere, in favore di centro di produzione e contaminazione dei saperi. I musei digitali favoriscono lo storytelling e l’allestimento di spazi espositivo-educativi, mediante l’utilizzo delle tecnologie per la digitalizzazione e la visualizzazione del patrimonio culturale. Lo studio documenta un approccio metodologico per rendere fruibile, nell’ottica dell’accessibilità e dell’inclusione, le opere museali ‘assenti’. Il virtual modeling e la prototipazione rapida si prestano alla documentazione, analisi e ricostruzione dei manufatti museali – visibili e invisibili – al fine di determinare ottimali performance comunicative di prodotti culturali, decontestualizzati o non esposti, per valorizzarli e promuoverli, in favore di una democratizzazione del sapere. In quest’ottica si inserisce la ricerca che con l’ausilio di apporti multidisciplinari differenti – rappresentazione, storia, tecnologia – individua piani di intervento efficaci per sviluppare l’audience engagement. L’intento è di creare uno strumento di conoscenza atto a fornire informazioni complesse e rendere fruibili e comprensibili, nell’ottica dell’accessibilità e dell’inclusione, le opere museali esposte, connettendole con le ‘assenze’ – le opere custodite nei depositi o rimaste nei luoghi di scavo. Nei fatti, a partire dallo studio delle fonti documentarie e materiche – collocate in situ e decontestualizzate – con il virtual modeling e con la prototipazione rapida è possibile realizzare la ri-costruzione filologica del CH, argomentata e ragionata; con il modello stampato in 3D le informazioni sono rese accessibili a ogni tipologia di utenza, comprese le persone con deficit visivo. L’esplorazione tattile per gli ipovedenti si configura come un’esperienza di lettura che prescinde dall’alfabeto Braille; attraverso il tatto si apprezzano le forme e i materiali differenti – a seconda dei contenuti tematici. In tal modo, il complesso lavoro di ricerca, condotto con contributi disciplinari differenti, è stato convogliato nella realizzazione del modello che non si configura come un’opera muta, ma come un’ipotesi di replica di una realtà in gran parte ‘assente’ che si racconta attraverso sé stessa. Nello specifico, viene presentata una ri-costruzione virtuale e tattile della diruta Cappella Palatina di Noto Antica i cui frammenti sono in parte musealizzati e in parte conservati nei depositi.
Ri-costruzione filologica, virtuale e tattile della diruta Cappella Palatina di Noto Antica
Rita Valenti
Primo
Membro del Collaboration Group
;Concetta AlianoSecondo
Membro del Collaboration Group
;
2024-01-01
Abstract
The museum of contemporaneity is characterized by the need of constant connections with the territory and the audience. The educational role played by the cultural organizations aims to create efficient actions for an enduring and widespread learning, in which the idea of the museum as a static and contemplative place, and as the only place where knowledge is narrated, could be overcome in favor of a center where knowledge is produced and contaminated. Digital museums promote the storytelling and the setting up of education and exhibition spaces, through the use of technologies for the digitalization and visualization of the cultural heritage. The study records a methodological approach to make the ‘absent’ museum artworks accessible, in the perspective of accessibility and inclusion. The virtual modeling and the rapid prototyping are suitable for the research, analysis and reconstruction of the museum artifacts – both visible and invisible – so to determine the best communicative performances of cultural products, taken out of context or not exhibited, in order to enhance and promote them, in favor of the democratization of knowledge. Research is part of this perspective and with the help of different multidisciplinary contributions – performance, history, technology – identifies effective action plans to develop the audience engagement. We aim at creating a tool able to deliver, in a comprehensible form, even complex information. The tool will provide an easy access to the pieces exposed in the museum as well as those in still in storage or even left on site. The virtual modelling will allow us to combine the information gathered through literature and direct observation to produce a sound philological re-construction of the CH; with the use of 3D-printed models the information will also be accessible to all users, included those with visual impairments. For the visual impaired the tactile experience will provide an experience beyond the Braille alphabet; through the touch the users will be able to appreciate the different forms and textures of the materials. The models will represent the converging point of a complex multidisciplinary research work which provides a vivid and first-hand experience through the use of replicas of those elements that are not physically available for the exposition. In particular, a virtual and tactile reconstruction of the ruins of the Cappella Palatina of Noto Antica, whose fragments are partly exhibited in a museum and partly saved in storages, are presented.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.