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EDUCATIONAL PROJECT "RIO+20:THORNY PASS TO SUSTAINABILITY" Devoted to the 25th anniversary of Open Ecological University

Art and Environment as media for Ecosustainability, Ethics and Aesthetics


Art, that is, cultural and environmental heritage, is linked to the history of man

Our past is part of our future and the future is founded on our past

This truth is the basis of my didactic activities and research as a technician in the Department of Histories and Methods for the Conservation of Cultural Heritage at the Alma Mater Studiorum University of Bologna, Italy


Ecosustainability, Ethics and Aesthetics

Man

aspires to

an ideal world

It is true that there are those dominated by: epistemological nihilism ethical nihilism skepticism

·justice ·love ·happiness ·beauty

moral relativism

· lack of value · lack of purpose · absence of duty will guilt merit responsibility
It follows that man is: · as an object of science, inside nature · as the object of a conscience, outside nature

sy no ny wi mous th


Ecosustainability, Ethics and Aesthetics
So, in the course of his life Man works on the basis of these goals and nurtures aspirations and dreams Science can explain them, modify them, manipulate them, but it is always man who decides

This is what the World Wild Fund asserts, pointing out moreover that "Nature does not support the human footprint "

This is especially true if one refers to the Code of Cultural Landscape and Heritage issued in Italy in 2004 by the Ministry of Cultural Heritage and Activities, which comprises: ·all buildings ·and areas expressing historical, cultural, natural, morphological aesthetic

values of the territory
Hence the importance of overcoming the "dichotomy between the economic sphere and the socio-cultural one" trough ethics respecting others and the environment in its entirety: therefore ecosustainability This did not happen in the case of the present: a crisis for the economy and for values


Art beyond beauty: from aesthetics to ethics

Is art synonymous with beauty?

In other words, Is beauty attributable only to aesthetics?

And is aesthetics all there is to the idea of art?

This would be an outdated, decadent idea, belonging to those who dislike or distrust it and believe they can banish it to the farthest corners of the cultural world On the contrary, art is never solely or forcedly beautiful, its vocation is not decorative but metaphysical. There remain curiosity, knowledge, learning and intelligence with their great alchemy, giving a sense or meaning to what has none or showing why its sense or meaning is impossible.

It can therefore be said that within our perception our sense of ethics goes accompanies that of aesthetics


Evolution of art and technical-material knowledge over the centuries

A reading of Western artt over the years can be based A reading of Western ar over the years can be based on a critical methodology linked to the evolution on a critical methodology linked to the evolution of society's technical-material knowledge of society's technical-material knowledge

But not for this should every work of art be considered as the result of determinism indeed, starting with common tools each artifice provides its own symbolization represented by the artifact itself

And this can be an expression of society at the time And this can be an expression of society at the time as well as determining an anticipation and opening as well as determining an anticipation and opening towards a sense of ethics and meaning through towards a sense of ethics and meaning through the work of artt seen as an epiphany the work of ar seen as an epiphany


Evolution of art and technical-material knowledge over the centuries

Historical periods

Events and knowledge

Modus operandi

Representatives

Roman art

Warfare techniques

Mimetism


Evolution of art and technical-material knowledge over the centuries

Historical periods

Events and knowledge

Modus operandi

Representatives

Early 1400s

Science of vision

Perspective

Brunelleschi, Alberti, Piero Della Francesca, Masaccio


Evolution of art and technical-material knowledge over the centuries

Historical periods

Events and knowledge

Modus operandi

Representatives

Renaissance

Great discoveries
(Christopher Columbus, merchants)

Hazy dynamism, motions of the soul

Leonardo


Evolution of art and technical-material knowledge over the centuries

Historical periods

Events and knowledge

Modus operandi

Representatives

1600s

First investigation of the human body parallel to that in anatomy

Frenzied figures

Bernini, Rubens


Evolution of art and technical-material knowledge over the centuries

Historical periods

Events and knowledge Advent of bourgeois society
·painting of great fear ·celebratory (the rise of the new ruling class is metaphorised)

Modus operandi

Representatives

The break of 1789
(French Revolution)

·"Monsters" ·Rediscovery of the classics

Goya, FÝssli, Friedrich, David, Ingres

·"Monsters" ·Rediscovery of the classics


Evolution of art and technical-material knowledge over the centuries

Historical periods

Events and knowledge

Modus operandi

Representatives

1800s

Development of thermal energy, the discovery of electricity (Galvani), the battery (Volta)

· pathologies of the individual · popular reality is fixed on canvas · or escape into an imaginary past

·GÕricault ·Coubert ·Preraffaelliti


Evolution of art and technical-material knowledge over the centuries

Historical periods

Events and knowledge

Modus operandi

Representatives

Modern Age

Invention of photography

· ·

Response to the birth of photography Impressionism as the final expression of mimetism

Monet


Evolution of art and technical-material knowledge over the centuries

Historical periods

Events and knowledge

Modus operandi

Representatives

1900s

Technological innovation: discoveries of Marconi, Einstein

Season of the AvantGardes: painting becomes the witness of doctrines elaborated by the "masters of suspicion" such as relativism, Marxism, psychoanalysis

Picasso, Chagall, DalË


Evolution of art and technical-material knowledge over the centuries

Historical periods

Events and knowledge

Modus operandi

Representatives

The Contemporary Art

Everything is more rapid

A return to alternative representations in the arts, (installations, performances,....) together with the renewal of instruments: a transition from from traditional to electronic systems

Christo Javacheff, Pollock, Cattelan


Art between price and value
But today there is another aspect of art which is coming to the fore: everything in art must have a price.

The confusion between price and value

­ in fact the price is what is paid and the value is what is obtained ­
is one of the greatest cultural calamities of our time, as regards price quotes for works of art, whether ancient, modern or contemporary

What is truly important in art is not the pseudoscientific processes, but the moments of intensity, insight and vision that cannot be attributed to a method and cannot be repeated by others, but are the product of the individual artist.

William Blake, vividly sums up the meaning and greatness of art when he says: "If the parts of perception were cleansed, everything would appear as it is, infinite" and it is the artist who puts us in touch with this process of perception.


And if one passes from this perceptual process to the expert's evaluation of the conservation state and authenticity of the artifact, it is essential to underline how this subjective evaluation ­ which comes from a comprehensive knowledge of style, iconography, aesthetics and a participatory, emotional understanding, emanating from the work ­ must necessarily be accompanied by an objective evaluation based on the use of diagnostic and analytical equipment that supports or confutes the former

Reference is made in particular to the authenticity of the work, whether it is an artifact of historical-artistic, archaeological, archival-library or music interest

It is this aspect that gives a real dimension of "cultural education " and "personal ethics" From this derive two interconnected aspects:

The need to complete and integrate different skills "protection of cultural heritage"

Setting limits for the technical interventions in compliance with a higher instance "ethics of conservation and restoration"


Interdisciplinarity in the cultural heritage sector

It is crucial today that experts from different backgrounds and with different expertise contribute in an interdisciplinary way.

That is to say, it is important for a professional with a historical-humanist background to complete his training with an input of technical-experimental as well as legal-management aspects. This will not only enable him to resolve problems concerning the protection and valorization of cultural heritage, but also compete at a professional level nationally and internationally, enhancing territorial resources which may potentially be a source of qualified training.


The Faculty for Conservation of Cultural Heritage and the Department of Histories and Methods for the Conservaton of Cultural Heritage
The Faculty founded in 1996, together with the Department established in 1998, aim to offer historical and technical-experimental support in elaborating strategies and methods for the conservation and valorization of cultural heritage

The Diagnostic Laboratory for Cultural Heritage
Change Performing Arts, an international company, which organizes artistic and cultural events, in conjunction with the Ministry for Cultural Heritage and Activities (MiBAC) and the National Institute for Foreign Trade (ICE), have recognised the Diagnostic Laboratory for Cultural Heritage, as being among those of excellence in public Italian institutions and universities.

an artifact to be catalogued

Diagnostics involving the use of non-destructive, non-manipulative and non-invasive investigations allows:

indications for restoration work its virtual use in cultural environments the detection of fakes or partial tampering

knowledge of the author, materials, techniques, history of interventions

verification of authenticity and dating

verification of conservation state of artifact, both aesthetically and structurally


Equipment
-for environmental monitoring

·Electronic thermohygrometers ·Luxmeters ·pHmeter and conductivity meter ·Dry/wet automatic sampler ·Fixed and portable samplers for total suspended particulate matter and fine dust ·Surface moisture meter

- techniques for monitoring artifact

Principal diagnostic techniques used in relation to different material typologies
Mineral Metal Glass-Ceramics-Porcelain Paints-Inorganic pigments Organic

-X-ray -X-ray

diffractometry fluorescence

-X-ray -X-ray

diffractometry fluorescence microscopy analysis

-X-ray -X-ray

diffractometry fluorescence microscopy analysis

-X-ray -X-ray

diffractometry fluorescence microscopy

-IR -G

spectrometry

as chromatography

-Spectrometry -Electron

-Electron -Isotopic

-Electron -Isotopic -Thermo

-Electron

microscopy

luminescence


1. 2. 3. 4. 5.

Appropriate methodologies and analytical techniques for the characterization of cultural heritage Air pollution and deterioration of monuments and historical and artistic environments Micro and macroclimatic monitoring in confined spaces: Museums, Libraries, Archives Art diagnostics and verification of authenticity Evaluation of the suitability of products used for restoration, conservation and maintenance of cultural heritage

Research

Case studies : themes

Attribution and state of conservation of a painting, a sculpture and a codex: diagnostics and authentication State public libraries in Rome: assessing their conservation status and quality of life and work Restoration of the Basilica of St. Peter's: correctness of the intervention

Pollution and degradation of the artifacts Research on submerged artifacts in underwater archaeology


Case studies
Historical anamnesis
the case history includes the "historia" of the artifact and the attribution given before our examination

Attribution and state of conservation of a painting, a sculpture and a codex

Subjective evaluation
the subjective evaluation refers to the assessment made by the historian (art historian, archaeologist, bibliologist and/or documentalist and/or paleographer) which accompanie s

Objective evaluation
the objective assessment made by the technician (diagnostician, chemist, conservator, restorer)

Results

Madonna with child and devotee

Madonna with child Dante codex

Oil on wood attributed to Alvise Vivarini
Our subjective-objective evaluation confirmed the attribution made before our examination

Parchment palimpsest manuscript Marble sculpture attributed to Francesco Laurana
Our subjective-objective evaluation confuted the attribution made before our examination Our subjective-objective evaluation contributed to increasing its historicaldocumental value and therefore its cultural value, determining its consequent economic commodity value


The diagnostic technologies employed :
Visible, infrared, ultraviolet photography

Microscopy

Infrared reflectography X-ray diffractometry Videomicroscopy for image analysis

Fourier transform infrared spectrophotometry

X-ray fluorescence

Colorimetry

Thermohygrometry


Didactics Book series "Cultural Heritage and Environment"
("I Beni Culturali e l'Ambiente")

Topic covered:

- - - -

knowledge of materials knowledge of the environment scientific methodologies interventions for protection and valorization

The 11 volumes include both general and specialist subjects.

Book series "Training and Research in the Sector of Cultural and Environmental Heritage"
("La Formazione e la Ricerca nel Settore dei Beni Culturali e Ambientali")

The first volume contains presentations given by experts who participated in several Study Days held recently on this subject


Master in "Planning and Promotion of Artistic and Cultural Events"
activated by the Faculty for the Conservation of Cultural Heritage University of Bologna The following are actively involved: - Cultural Units (Museums, Libraries, Archives, Foundations) - Research Centres (Centre for Planning, Design and Materials Technologies, Brindisi; Interdepartmental Research Centre for Automation Systems Engineering, University of Palermo) - Productive Units ( Banks, Companies, Firms ) - Ministries ( Ministry for Education, University and Research, Ministry for Cultural Heritage and Activities ) The Master is designed for all those who for work or for personal interest wish to improve their knowledge related to technical, legal, managerial, economic, and marketing issues in the specific sector.


Research Historical-techincal Journal "Conservation Science in Cultural Heritage"
available in hardcopy and online edited by: ·Department of Histories and Methods for the Conservaton of Cultural Heritage Alma Mater Studiorum University of Bologna, Italy ; ·Interdepartmental Research Centre for Automation and Systems Engineering,University of Palermo; ·Centre for Planning, Design and Materials Technologies, Brindisi

It has responded to issues regarding both interdisciplinarity and internationalisation. The Journal has a Creative Commons License and has been given the opportunity of applying the SPARC "seal" (Scholarly Publishing and Academic Resources Coalition): important certification for "open access" journals. The Journal is accessible online and has been included in several international websites and platforms EBSCO Publishing and HW Wilson Company (USA)


Conclusion

The driving force of the three
culture

T

s

research

economy

Talent Talent Technology Technology Tolerance Tolerance
that is to say human, scientific and social resources

the achievement of the achievement of specific objectives specific objectives starts with this and with starts with this and with the presence of a new the presence of a new social category:: social category The creative class The creative class

This class - whether composed of experts This class - whether composed of experts sciences or scholars from human science sciences or scholars from human science ··individuality individuality ··difference difference ··merit merit

from experimental from experimental ­ share values of ­ share values of


Initialy I underline:
<< There is no doubt that "past" means · · · · · treasure experience heritage enrichment education

In research In research and training >> and training >>

<< There is also no doubt That one must necessarily think on the "present" in relation to and in function of the "future" in particular in the field of cultural and environmental heritage >>