Catálogo de publicaciones - libros

A biological “circadian” clock governs nearly all aspects of mammalian behavior and physiology. This control extends from activities of entire organ systems down to individual cells, all of which contain autonomous molecular clocks. Under this control, a significant fraction of the cellular metabolome—the collection of all small-molecule metabolites—varies in abundance according to time of day. Comparing the rhythmic expression of transcripts, proteins, and metabolites has yielded valuable insights into clock-controlled physiological mechanisms. In the future, their analysis could provide a glimpse of instantaneous clock phase, even providing notions of clock time based upon molecules within a single breath. Such knowledge could be important for disease diagnosis and for chronopharmacology.

The analysis presents some reflections on the changes produced by the use of digital technologies in contemporary Western societies. The scope is to understand the occurrences of the recent past, from the second half of the 1900s, and what is happening in social and individual experiences today. To devise a future, to decide how, when and what to offer in order to transmit to young people the fields of knowledge and skills that will be of use for managing their future successfully in a changing Europe. The prevailing theoretical approach is from an anthropological cultural point of view with interdisciplinary encounters. The chapter is divided into three parts: the first two are general reflections on the role of digital technologies in the past and present and focus on questions, expectations, characteristics that have interested scholars over time. The third level looks at the problematic features of people who were born after 1980, the so-called ‘digital natives’.

This chapter explores the convergence between performance-based cultural heritage and new technologies, with a focus on interdisciplinary collaborations in creation and making processes. These interdisciplinary work spaces present a tremendous potential for innovative art making, as they bring together deep knowledge of the arts and artistic sensibility with a sound understanding of technology languages and possibilities. At the same time, being situated at the confluence of different fields of practice and research dwelling on diverse epistemologies and approaches, interdisciplinary collaborations do more than configure new ways of making art: they contribute to synergies between arts and technology fields, marking places of cross-fertilisation, blurring boundaries and influencing their evolution. Through a close analysis of interdisciplinary undertakings in making digital performance, we show how creative work in mixed teams of performance artists, researchers and practitioners on the one hand, and researchers from technology and design-focused disciplines on the other, is instrumental to the development of what we call ‘interdisciplinary artscapes’ and ‘interdisciplinary knowledgescapes’. These spaces offer a fertile ground for creative initiatives and knowledge advancement drawing on integrated perspectives, theories, methodologies and approaches from arts and technology fields. Together, interdisciplinary artscapes and interdisciplinary knowledgescapes contribute to opening up and pushing the boundaries of thinking and art making, reconsidering taken for granted assumptions and coming up with radically new art forms.

The paper analyses the conflicting issues that arise when dealing with Intangible Cultural Heritage (ICH) held in audio digital archives, when the demand for open access conflicts with ownership rights and ethical issues. It describes two case studies in order to evaluate the procedures used for doing research on oral materials while respecting the rights of others. The first refers to the activities carried on at the , a French sound archive; the second refers to the solutions envisaged by an Italian research project, (), jointly carried out by Scuola Normale Superiore of Pisa and the University of Siena.

The introduction and diffusion of digital technologies have had a tremendous impact on the production, preservation and utilisation of cultural heritage. In Italy, the Ministry for Cultural Heritage and Activities and Tourism (MiBACT) has undertaken several programs involving the use of digital technology to promote a larger access to cultural heritage, through the collection of metadata on cultural products preserved in the country and the provision of digital cultural products. Digitisation techniques and web infrastructures affect most activities carried out by such institutions: the production of cultural goods, the use and valorisation of cultural heritage, as well as the costs of preservation. This study analyses the digital projects carried out by the MiBACT for the preservation and utilisation of cultural heritage that is managed by public historic archives so as to evaluate their impact on the access to cultural products.

EuropeanaPhotography was a project funded by the European Commission with the remit to digitise photographic collections from museums, libraries, archives and photograph agencies, and to make the digitised images available via the European portal, Europeana. The collections spanned 100 years of photography from 1839 to 1939 and many of the photographs depicted individuals and family life during these 100 years. In this contribution we explore the experiences of members of the consortium as they sought to navigate what are considered to be the complexities of copyright as it applies to digital photography. Of particular concern to many members of the consortium was (a) the desire to protect (family) privacy against commercial exploitation; (b) a concern to safeguard the authenticity and integrity of our cultural heritage; and (c) the perceived need to protect existing business models. This chapter discusses the challenges that members of the consortium faced and how they dealt with the challenges as they arose. Finally, the chapter suggests that the copyright strategy developed for the RICHES project that encourages cultural heritage institutions to think about their digitisation programmes first through the human rights lens to culture and cultural rights, and then ask how copyright may be used as a tool to meet those aims. While it is not suggested that such an approach could resolve all of the copyright conundrums that arise in this sector, what it could do is to help stakeholders to think differently about issues involved.

From 6 to 20 June 2014, the General Directorate for the Promotion of Cultural Heritage of Ministry of Cultural Heritage and Activities and Tourism (MIBACT) launched the online consultation #culturasenzaostacoli in order to financially support a project for museum accessibility. The National Archaeological Museum of Cagliari received the most votes. Since then the museum’s team started working on the project that was called “liquid museum”, mainly due to its aims of adaptability and inclusivity. This article describes the project and the main guidelines that led to the draft currently being developed. Issues related to the new exhibition and multimedia displays will not be addressed herein. The focus of this document is the new approach in the writing of a project that is not only easily replicable but especially sustainable over time, both in terms of economic costs and for the technologies that it uses, and thus ready to be changed, updated when necessary, and because of this ‘liquid’.

Although museums vary in nature and may have been founded for all sorts of reasons, central to all museum institutions are the collected objects. These objects are information carriers organized in a catalogue system. In this chapter, the museum will be conceived as an information space, consisting of an information system related to different methods of reasoning. We will highlight the new possibilities offered by digital technology and the changes brought by the way in which visitors come into contact with objects. Our central claim is that the visitor moved from being onsite within the museum’s information space to being outside the museum in the online information space of the Internet. This has fundamental implications for the institutional role of museums, our understanding of metadata and the methods of documentation. The onsite museum institution will, eventually, not be able to function as an institutional entity on the Internet, for in this new information space, objects, collections and museums, all function as independent components in a vast universe of data, side by side at everyone’s disposal at anytime. Potentially, users can access cultural heritage anytime, anywhere and anyhow.

In the 1990s when Nicholas Negroponte published his infamous comparison between bits and atoms for magazine, it was no longer strange to talk about a new concept for galleries, libraries, archives and museums (GLAMs). Pointing to a new future for libraries, Negroponte was already aware that being digital had its own reality, which was to create ambiguity in relation to the value of physicality or pure materiality, a reality that the world had been accustomed to since the Industrial Age. The Museum of Gamers, as a conceptual proposal we argue for here, sits at the convergence of these contrasting realities. On the one hand, there is a cultural artefact that has a concrete value attached to its authenticity. On the other, its digital interpretation has its own systems of values about being. And the visitor cares about a GLAM’s auxiliary services as much as the objects. As information is now available everywhere, people expect a new normal from museums besides mere objects and explanatory texts next to them. As the emblematic medium of contemporary societies games offer engagement methods. Recent marketing strategies such as loyalty games and gamification prove that use of technology is moving ever closer to video games and game-design methods. The Museum of Gamers is a creation not only for the dissemination of cultural heritage information but also for its production through contemporary media technologies.

Europe is growing closer and closer together, society is getting more and more diverse and characterized by migration. Museums need to adapt themselves to this process and to become places where all members of society feel represented and are stakeholders in their cultural heritage. But what about local and regional museums which are preserving cultural heritage? Are these museums ready for this type of Europe? For a society that is getting more varied, with more frequent migration, and resulting in more mixed audiences and modern viewing habits and learning habits, how can museums prepare themselves for this challenge?

The museum development project “EuroVision—Museums Exhibiting Europe” (EMEE), funded by the Culture Programme of the European Union, sees these as fundamental questions. The core element of the project is the idea of Change of Perspective (COP), a three-layered concept which encourages multi-layered meanings in museum objects to become more visible, aiming to renegotiate the roles of museum experts and visitors and to strengthen international networking between heritage institutions in order to broaden national perspectives on heritage and overcome Eurocentric views.

The EMEE project develops theoretical input on Change of Perspective but also puts into practice the ideas and reflects the experiences of international and interdisciplinary cooperation. The concepts developed by EMEE project are put to the test and conveyed to visitors and museums experts not only through the contest for young designers and scenographers, but also through the EuroVision Lab., an experimental series of exhibitions and actions. Ideas as well as statements of the executive museum partners provide an insight on how the Change of Perspective can be implemented in the museum work and contribute to presenting cultural heritage in a contemporary European way. The experiences of EMEE are conducive to the discourse and dialogue on cultural heritage in a changing world.