ARCHiVe

Course Tag: Digital Innovation

Access to Materials in Digital Archives, Copyright and Related Rights: the Archivio Progetti IUAV as a Case Study

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28 and 30 January 2025
Online on Zoom
3pm — 5pm (CET)

about

The course will begin with a presentation of the Archivio Progetti IUAV, followed by a description of some of its collections of interest for industrial design. In relation to these, the legal issue of copyright and related rights (for example photography) will be addressed, particularly focusing on the use of digitised materials from the archive (such as photos, projects, etc.) with some examples of best practices adopted by the Archivio Progetti IUAV.

The course will be held in Italian.

Lecturers

Barbara Pasa

Barbara Pasa, Full Professor of Comparative Private Law at the Iuav University of Venice, teaches Comparative Intellectual Property, Contract Law, and Consumer Law. A graduate and PhD from the University of Trento, she worked for over 10 years at the University of Turin. A qualified lawyer, she is a member of national and international academic bodies, with research and teaching experience at universities across Europe and the US.

Rosa Chiesa

Researcher in Design at the Iuav University, she is an architect with a degree from the Politecnico di Milano and a PhD in Design Sciences from Iuav. Her research focuses on glass and design, exploring Murano’s entrepreneurial history through archival sources. A board member of AIS/Design and the ISEC Foundation, she has taught design history at several institutions, curated exhibitions on Luca Meda and Toni Zuccheri, and collaborates with scientific journals and publishers.

Giovanni Marras

From 2004 to 2014, Associate Professor of Architectural Composition at the University of Trieste, currently a member of the doctoral board in Architectural Composition at Iuav University of Venice, where he earned his PhD. His research focuses on form, construction, and architectural character, with emphasis on Latin America, cultural heritage, and landscape. He led the MIUR project re-HOUSING and has authored essays on memory and contemporary design.

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Art and Innovation, a new idea of Archives

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10 and 12 December 2024
Online on Zoom
3pm — 5pm (CET)

about

The course, curated by Valentino Catricalà,  focuses on the relationship between art and innovation, on how artists, using media that are changing our societies, not only open up new reflections on media but also create new practices that impact the world of innovation.

Therefore, the point of interest of the research is not only how the world of art can develop through technology but also how the world of innovation can benefit from the relationship with artists.

These issues will be developed through case studies with a focus on artists who use databases and archives, to understand how archives reinterpreted by artists can be a source of technological innovation. In the second lesson, the artist Donato Piccolo will discuss the poetics of his creative process and the ongoing dialogue between science, technology and art in his work.

The course will be held in Italian.

lecturers

Valentino Catricalà

He is curator and museum director. He has been founder and artistic director of MODAL Gallery at SODA in Manchester and lecturer at Manchester Metropolitan University. He is currently involved in a big new project in Saudi Arabia. He has curated exhibitions in important Museum and Galleries such as Fondazione Prada (Milan, Tokyo), Minnesota Street Project (San Francisco), Ermitage (Saint Petersburg), MAXXI (Rome), ADI Design Museum (Milan), Museo Riso (Palermo), Media Center (New York), Istituto Italiano di Cultura Nuova Delhi, Ca’ Foscari (Venice).

Donato Piccolo

His art investigates natural, physical and biological phenomena through design drawings and technological and mechanical installations. Through the study of human cognitive faculties, his art analyses the perceptive aspects of the natural world. Most of his works combine two complementary aspects: they are sculptures and machines, forms and processes at the same time. This hybrid character constitutes the very nature of a “holistic art”: an art whose essential function is to explore “the incomprehensible mystery of the visible world”. He is an acclaimed Italian artist on the international stage and his creations have been showcased in prominent museums and institutions worldwide.

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Collective Artificial Intelligence: Large Language Models and Human Sciences

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19 November 2024
Online on Zoom
3pm — 5pm (CET)

about

Curated by Cristiano De Nobili, this lecture provides an overview of recent advances in LLMs emergent abilities focusing in particular on multi-agents collective behaviour.

This refers to the collective (artificial) intelligence that emerges from the cooperation and interaction of several different agents. Multi-agent architectures show promising results for tasks where several ideas/feedback are needed or when the complexity of the problem requires collective intelligence. This is an exciting field where Physics, Computer Science and Sociology intertwine. Countless are the applications in Human Sciences and Human-machine interaction.

The lesson will be held in Italian.

Lecturer

Cristiano De Nobili

Theoretical Physicist, PhD from SISSA in Trieste. Ten years of experience in Scientific Computing and AI, mainly working on environmental challenges. Lecturer at the Master in High-performance Computing (ICTP/SISSA) and Emerging Tech Advisor for startups and VC fund. His collaborations range from ESA to the SIOS Remote Sensing Centre in the Svalbard Islands. He runs a newsletter: Beyond Entropy.

 

Portrait of Cristiano De Nobili

MEET and Digital Experience: Revitalising an Archive

Renaissance Dreams, Refik Anadol_ph Elena Galimberti

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18 November 2024
Online on Zoom
3pm — 5pm (CET)

about

MEET is the first International Centre for Digital Art and Culture, established in Milan in February 2018.
Maria Grazia Mattei is its founder and director and has been leading the Meet the Media Guru platform for meetings and knowledge since 2005.
Her aim is to support the development of a new awareness regarding technology as a resource for people’s creativity and the well-being of society as a whole. During this lecture, the curator will discuss the theme of immersiveness as a new form of entertainment, communication, and knowledge enjoyment, involving some of the most significant figures and phenomena in the sector.

The lesson will be held in Italian.

Lecturer

Maria Grazia Mattei

Humanist and art critic, she has been exploring digital territories for over thirty years. She has been investigating its frontiers and potential since the 1980s. In 2005 she founded Meet the Media Guru, a platform for discussion and public debate on innovation issues. With the support of Fondazione Cariplo in 2018 Mattei created MEET Digital Culture Center, the first International Centre for Digital Art and Culture based in Milan. She is now Founder and President of MEET Digital Culture Centre.

Artificial Aesthetics

Chinese landscape paintings produced using Generative Adversarial Networks (from: https://arxiv.org/abs/2011.05552)
Images in Impressionist style generated by Generative Adversarial Networks in 2021
Arca Musarithmica, Athanasius Kircher (1602-1680)

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22 October 2024
Online on Zoom
3pm — 5pm (CET)

about

Curated by Professor Emanuele Arielli, this lesson will discuss the use of artificial intelligence (AI)-based systems in the creation and interpretation of artworks raises questions concerning authorship, originality, and aesthetic perception. While machine learning algorithms can generate visual, musical, and literary works that emulate traditional styles, there is the dilemma of whether such creations can be considered genuinely artistic or merely technical reproductions.

This topic also explores how technology can extend or limit human understanding of beauty, proposing a critical reflection on how AI-generated art challenges established aesthetic categories. Artificial aesthetics, therefore, invites reconsideration of the definitions of art and creator in the digital age, offering new perspectives on the evolution of art and its cultural and social impact. Additionally, the ethical implications of these developments will be considered.

The lesson will be held in Italian.

Lecturers

Emanuele Arielli

He is Associate Professor of Aesthetics at IUAV University in Venice. He has extensive teaching experience at several universities, including IULM University (Milan), G. D’Annunzio University (Pescara), Ca’ Foscari University (Venice), and the Technical University of Berlin. He has authored multiple books and academic papers, and collaborates internationally on research exploring the intersection between aesthetics, media and technology.

 

Maps are too exciting! Digital innovations in Cartography

Celestial Globe by John Senex (1728), Rare Books and Manuscript Reading Room of the Weston Library, Oxford

key details

10 October 2024
On site (Weston Library, Oxford) – Online on Zoom
11am — 5pm (CET)

Reference

about

For the past two years, Factum Foundation has been working with the Bodleian Libraries and Oxford University on ARCHiOx (the Analysis and Recording of Cultural Heritage in Oxford), parallel project to ARCHiVe. Both projects share the vision of making high-resolution 3D and color-recording a regular part of the workflow in libraries, museums, and private collections, with the final goal of improving accessibility and research.

This Sunderland Collection Symposium, dedicated to digital innovation in the field of cartography, was conceived and generously funded by the Sunderland Collection. The symposium is organised in association with The Bodleian Libraries and ARCHiOx.

Complete recordings of the talks, along with insights about the speakers, are available at Oculi Mundi – Sunderland Collection.

 

Programme

11am (CET)

Morning Session: The art of cartography and new evidence

  • Richard Ovenden | University of Oxford
  • Judith Siefring | Bodleian Library
  • John Barrett | Bodleian Library
  • Nick Millea | Bodleian Library
  • Yossef Rapoport | Queen Mary University
  • Sanne Frequin | Utrecht University

11–11.15am: Welcome by Richard Ovenden OBE, Bodley’s Librarian, Head of Gardens, Libraries and Museums at the University of Oxford.

11.15am–1pm: Panel and Q&A: The art of cartography and new evidence
Chaired by Judith Siefring, Head of Digital Collections Discovery, Bodleian Libraries

  • Material evidence of the surface of objects (20 minutes)
    John Barrett, Lead Photographer at ARCHiOx and the first person to use the Selene Photometric Stereo System within a major library.
  • Spectacular! A digital exploration of medieval Gough Map of Britain (20 minutes)
    Nick Millea, Map Curator at the Bodleian Libraries
  • The Greatest Medieval Map-Maker: Al-Sharif al-Idrisi and Roger’s Silver Disc (20 minutes)
    Yossef Rapoport, Professor of Islamic History at Queen Mary University, London
  • A Ship’s Globe in the Centraal Museum, Utrecht (20 minutes)
    Sanne Frequin, Assistant Professor of Humanities and Art History, University of Utrecht

1.30pm (CET)

Special presentation – Nesting Globes: visualising the current global situation

  • Bruce Mau | Massive Change Network

1.30pm–2pm: Special presentation – Nesting Globes: visualising the current global situation
Bruce Mau, designer, philosopher, architect, and educator.

3pm (CET)

Afternoon session: Mapping in a digital world

  • Giovanni Pala | University of Oxford
  • Katherine McDonough | Lancaster University
  • Sarah Kenderdine | École Polytechnique Fédérale de Lausanne
  • Ed Parsons | Google Earth
  • Adam Lowe | Factum Foundation

3–4.45pm: Panel and Q&A: Mapping in a digital world
Chaired by Giovanni Pala, economic historian of technology and information

  • Map Search: Using AI to explore map content (20 minutes)
    Katherine McDonough, Lecturer in Digital Humanities at Lancaster University; Senior Research Fellow and head of the Machines Reading Maps Project at The Alan Turing Institute.
  • Deep Mapping: from archives to the universe (20 minutes)
    Sarah Kenderdine, Professor of Digital Humanities at École Polytechnique fédérale de Lausanne (EPFL), Switzerland; Director of the Laboratory of Experimental Museology.
  • Geospatial transformation (20 minutes)
    Ed Parsons, Geospatial Technologist, tech evangelist, and co-founder of Google Earth.

4.50pm–5pm: Conclusions: Adam Lowe, Founder of Factum Foundation and Factum Arte

Three-dimensional digitization

Lucida 3D Scanner recording the surface of a painting © Teresa Casado for Factum Foundation
3D surface model of the predella of Polittico Griffoni by Ercole de' Roberti (Pinacoteca Vaticana, Rome) © Factum Foundation
Digital models of Ercole de' Roberti panel of Saint Petronius from the Polittico Griffoni (Pinacoteca Nazionale, Ferrara) © Factum Foundation
Recording Raphael cartoons at Victoria and Albert Museum (London) © Gabriel Scarpa for Factum Foundation
Laas Geel site (Somaliland) recorded with photogrammetry by Otto Lowe © Ferdinand Saumarez Smith for Factum Foundation
3D render relief of Laas Geel site (detail) © Factum Foundation
3D render of the Cellini Bell recorded at British Museum (London) © Irene Gaumé for Factum Foundation

key details

13, 14, 27, 28 October & 4, 18 November 2021
Online on Zoom
4pm — 6pm (CET)

reference

the course

Curated by Carlos Bayod Lucini, project director at Factum Foundation, this 12-hour course aims to expand and deepen understanding of the concepts and practices of 3D digitisation for cultural heritage.

The content is organised into two parts: Input (capturing information) and Output (sharing information). The course explores the theoretical and technical aspects of digital preservation of cultural heritage through the recording, processing, and dissemination of digital outputs and, in some cases, material reproductions of the originals.

Additionally, the classes offer practical demonstrations of the methods and technologies discussed, akin to a workshop. The discussions are enriched with relevant case studies and examples of projects developed by Factum Foundation.

Programme

October 13, 2020

Recording the relief of paintings

  • Carlos Bayod Lucini

Carlos Bayod presents the Lucida 3D Scanner, Factum and ARCHiVe’s system for digitising relief. The class explains the process of planning, capturing, processing, visualising, sharing and reproducing the surface of paintings and other low-relief artifacts for conservation purposes.

October 14, 2021

The Lucida 3D Scanner (practical session)

  • Carlos Bayod Lucini

This class includes practical sessions demonstrating how the recording process with Lucida 3D scanner works, showing the type of software needed and the obtained files.

October 27, 2021

Recording (and reproducing) surface and shape

  • Carlos Bayod Lucini

Class concerning 3D and colour recording of an object’s surface and shape employing close-range photogrammetry and structural light scanning: reliefs, sculptures, architectural elements, rock art, city and landscape, etc. The class explains how these techniques are used for the production of facsimiles through the combination of digital technology and craft skills.

October 28, 2021

Close-range photogrammetry (practical session)

  • Carlos Bayod Lucini
  • Otto Lowe

The practical session concentrates on close-range photogrammetry to record scultpures, architectonic elements and other tridimensional objects. Otto Lowe explains in depth the method, the gear, the softwares needed and the possible outputs of this recording method.

November 4, 2021

Stereo-photometric recording

  • Carlos Bayod Lucini
  • Jorge Cano

In this class we enter Factum laboratories with Jorge Cano discovering the stereo-photometric recording system. This technology is experimented to obtain extremely detailed 3D data from surfaces (as for paitings, impressions, print matrices, engraved surfaces,…).

November 18, 2021

Digital restoration and analysis

  • Carlos Bayod Lucini
  • Irene Gaumé

In the final class, Carlos Bayod and Irene Gaumé analyse new approaches to higher-resolution surface 3D recording and 3D modelling: surface scanning for research and analysis. The concept of digital restoration and its methodologies for non-contact conservation are also talked in depth.

Lecturers

Carlos Bayod Lucini

He is Project Director at the Factum Foundation. His work is dedicated to the development and application of digital technology to the conservation, study and dissemination of Cultural Heritage. Bayod has taught at the MS in Historic Preservation at Columbia University in New York among other institutions, and is a frequent speaker for centers such as Museo del Prado, Harvard Art Museums and Fondazione Giorgio Cini. 

Jorge Cano

He is Head of Technological Research & Development at Factum Arte and Factum Foundation. Cano is an expert in 3D recording, image filtering and Geographical Information Systems. For Factum he has developed several scanners and numerous tools for data processing. His latest design, the Selene Scanner, has been used by the Bodleian Libraries allowing imaging specialists and researchers to look at ancient objects with new eyes.

Irene Gaumé

Irene Gaumé is the head of the 3D design department at Factum Arte and leads re-creation projects at Factum Foundation, where she has pioneered the use of 3D modelling to reconstruct cultural heritage, promoting preservation through innovative technology. Her journey as a 3D artist is rooted in a traditional background in sculpture, dedicated to translating ideas into meticulously researched and rendered objects. With a strong foundation in Fine Arts, Irene has honed her expertise in 3D organic modelling, collaborating with renowned artists.

Otto Lowe

He is Senior 3D Recording Specialists and Project Manager at Factum. Otto has also specialised in teaching photogrammetry to universities and local communities conducting training programmes and workshops for Columbia University (USA), Urbino University (Italy), the Royal Commission for AlUla (Saudi Arabia), Art Jameel (Saudi Arabia), the Peri Foundation (Russia), Tokyo University of the Arts (Japan) and Art UK (United Kingdom).

1/6 Recording the relief of paintings
2/6 The Lucida 3D Scanner
3/6 Recording (and reproducing) surface and shape
4/6 Close-range photogrammetry
5/6 Stereo-photometric recording
6/6 Digital restoration and analysis

Recording the Island of San Giorgio Maggiore and its collections

Un ragazzo fotografa la facciata della chiesa di San Giorgio Maggiore.
Recording with photogrammetry the facade of San Giorgio Maggiore Church © Otto Lowe for Factum Foundation
3D model of San Giorgio Maggiore Church © Factum Foundation
3D render of the altar in the San Giorgio Maggiore Church © Factum Foundation
Using LiDAR to record the Longhena Staircase at Fondazione Cini © Otto Lowe for Factum Foundation
3D render of the cloisters © Factum Foundation

key details

27 September 2021
Onsite at ARCHiVe / Online on Zoom
4pm — 6pm (CET) 

Reference

about

Participating in the celebrations for the 70th birthday of Fondazione Giorgio Cini, Adam Lowe and Frédéric Kaplan, introduced by Renata Codello, Secretary General of the foundation, presented the methods and technologies in use for the monitoring and recording of the Island of San Giorgio Maggiore and the surrounding waters.
This presentation explains the 3D recording methods and the data processing actions to the audience at ARCHiVe, introducing the possibilities offered by these innovative techniques.

Adam Lowe explains the project of documenting the Island of San Giorgio Maggiore, starting from the photogrammetry recording of the Basilica of San Giorgio Maggiore by Andrea Palladio, then of Fondazione Giorgio Cini architectures and spaces. Concludes Frédéric Kaplan explaining the process of analysis of recorded data, introducing to the idea of a “mirror world”.

This talk introduces the topics later developed in the course Three-dimensional digitization curated by Factum Foundation in 2021.

Lecturers

Adam Lowe

He is the director of Factum Arte and founder of Factum Foundation for Digital Technology in Preservation. He was trained in Fine Art at the Ruskin School of Drawing in Oxford and the RCA London. In 2001, Lowe moved to Madrid and created Factum Arte, a multidisciplinary workshop dedicated to digital mediation for the production of works for contemporary artists. Lowe founded Factum Foundation in 2009 with the aim of using Factum Arte’s innovative processes and technologies for preservation, high-resolution recording, education, and the development of thought-provoking exhibitions.
He has been an adjunct professor at the MS Historic Preservation at Columbia University, New York since 2016. In 2019, Lowe became a British Designer Industry, awarded by the British Royal Society of Arts.

Frédéric Kaplan

He directs the College of Humanities at the Swiss Federal Institute of Technology in Lausanne (EPFL). He also holds the chair of Digital Humanities and is president of the Time Machine Organization, a non-profit organization of over 600 institutions. He is the author of a dozen books, translated into several languages, and more than a hundred scientific publications. His work has also been exhibited in several major museums, including the Venice Architecture Biennale, the Grand Palais, the Centre Pompidou in Paris and the Museum of Modern Art in New York.

On Digital Creativity. The Mask of Time

Video still from The Mask of Time
Performance at the Teatro Verde © Fondazione Giorgio Cini
The Teatro Verde © Fondazione Giorgio Cini
Video still from The Mask of Time
Video still from The Mask of Time

key details

29 September 2022
Onsite at Fondazione Giorgio Cini
4pm — 6pm (CET) 

Reference

about

“The Mask of Time” (La Maschera del Tempo) is the first digital artwork commissioned by Fondazione Giorgio Cini and elaborated from the data of the three-dimensional digitisations of the Teatro Verde (Island of San Giorgio Maggiore) and the documents of the Iconographic Archive made available by the Institute for Theatre and Melodrama. Experimental technologies were used to create this film, such as Midjourney, an image-to-text generator derived from Open AI’s DALL-E and Unreal Engine 5.

Maria Ida Biggi, Director of the Fondazione Giorgio Cini’s Institute for Theatre and Opera, gives us an overview of the history of the Teatro Verde and its artistic events over time.
Mattia Casalegno and Maurizio Martusciello also known as Martux_m, authors of The Mask of Time, dialogue with curator Ennio Bianco about the creative process of their digital artwork, following the preview screening.

Lecturer

Mattia Casalegno

He is an Italian multimedia artist, based in Naples and New York. Since 1999 he has exhibited his work in several solo and group shows and in galleries and festivals, such as MACRO, Netmage Festival, Sant’Arcangelo dei Teatri and the Romaeuropa Festival in Italy, the Mutek Festival in Canada, the Kuandu Museum of Fine Arts in Taiwan, the International Symposium of Electronic Arts (ISEA) in Gwangju, the Chronus Art Center in Shanghai, the Cimatics Festival, Nuit Blanche and Update Biennial in Belgium, Le Cube Contemporary Art Museum in France, OFFF in Spain, ARTES in Portugal, and LACMA and Untitled Art Fair in the USA.

Martux_M

Maurizio Martusciello aka Martux_m is an Italian composer and producer of electronic music. He has performed and collaborated with many national and international musicians and groups. He has played at the Villette Numérique, Paris (2004) and the Venice Music Biennale and has participated in the MUTEK Festival, the Sonar Festival, the Romaeuropa Festival and the AltaRoma Festival. From 2003 to 2005, he was curator and artistic director of Sensoralia, an audiovisual electronic art exhibition staged at the Teatro Palladium, Rome, as part of the Romaeuropa Festival.

Ennio Bianco

He is an eclectic figure in the field of contemporary art. He has alternated his work as an entrepreneur in the ICT sector with his roles as an artist — he was part of Renato Barilli’s Generazione Elettronica as Bianco & Niero in the 1980s — and later as a curator. He has presented among others: an exhibition of the Korean video artist Nam June Paik (1993), the first internet and social media exhibition held in Italy “Atelier d’Artista n. 22” (1996) by Franco Vaccari, a series of conferences on digital art “Digital Dreamers” (2017) at the PUK Gallery in Castelfranco Veneto and “Intersezioni digitali” (2018) as part of the “Alta Percezione” event in San Martino di Lupari.

Maria Ida Biggi

Associate professor at Ca’ Foscari University in Venice and director of the Fondazione Giorgio Cini’s Institute for Theatre and Opera. She is curator of exhibitions and author of numerous books, essays and articles on the history of theatre and set design, theatre architecture, directing and the history of the actor. Her research deals with the history of stage design and theatre architecture and is an expert of prominent personalities such as Eleonora Duse and the theatre actresses of the 19th and 20th centuries.

Venice Long Data: A New Platform for the Consultation and Analysis of (Long) Historical Data

Dendrogram on the materials preserved by the State Archives of Venice
The diagram shows the place of emigration (left) and the sestiere of settlement within Venice (right)
Number of galleys sailing along the four main Venetian trade routes during the years covered by the first part of the research
Bubble chart representing all deliberations of the Serenissima Senate on "citizenship"

key details

28 June 2022
Online on Zoom
4pm — 6pm (CET) 

Reference

  • Ca' Foscari University of Venice
  • UDELAR Montevideo | Universidad de la Republica Uruguay
  • Università di Parma
  • Ateneo Veneto
  • EPFL | École polytechnique fédérale de Lausanne

about

Guido Caldarelli and Alessandro Codello present Venice Long Data (VLD), an interdisciplinary research project that aims to address historical analysis from an integrated point of view, in the Venetian context, based on the historical database of the State Archives of Venice (ASVe) and the Fondazione Giorgio Cini, using techniques from Big Data analysis, Machine Learning, Complex Networks and generally related to quantitative modelling.
The approach aims to study history from a MACRO perspective, complementary to the MICRO perspective usually conducted, always starting from the original sources and using the most modern techniques available to deal with the transcription and analysis of historical sources.
The dual scope of the VLS project is to obtain a historical meta-database representing a fully searchable interconnected digital version of the ASVe and, above all, to create the basis for a quantitative study of the history of Venice, Europe and the Mediterranean.

Lecturer

Guido Caldarelli

Full Professor of Theoretical Physics at Ca’ Foscari University (Venice), and a LIMS Fellow. He graduated in Statistical Physics at Sapienza University (Rome) and holds a PhD from SISSA in Trieste. After Postdocs in Manchester and Cambridge, he became firstly “Research Assistant” at INFM and secondly “Primo Ricercatore” at ISC-CNR where he is still working. From 2012 to 2020 he has been Professor at IMT Lucca. In 2019 he was one of the founders of SIFS. Since 2018 he has been the President of the Complex Systems Society and since 2016 he has been on the board of the SNP Division of European Physical Society.

Alessandro Codello

He is Principal investigator of the Venice Long Data project & adjunct professor at UDELAR Montevideo (Uruguay). He is also visiting scholar at SUSTECH Shenzhen (China).
He holds a PhD from THEP Mainz (Germany). Before, his post-doctoral research activity was carried out mainly at CP3-Origins SDU Odense (Denmark) and at SISSA Trieste (Italy).