Risultati preliminari delle indagini archeologiche condotte in Piazza Mazzini (popolarmente detta... more Risultati preliminari delle indagini archeologiche condotte in Piazza Mazzini (popolarmente detta piazza Mercurio) tra 2011 e 2012 nell'ambito dei lavori PIUSS.
IX Giornate Gregoriane: "La persistenza della memoria. Vivere il paesaggio storico", 2017
The archaeological remains excavated in historic cities appear to be disconnected from the curren... more The archaeological remains excavated in historic cities appear to be disconnected from the current urban fabric: they can only regain their full meaning when reinserted into their original, ancient landscape. To do so, virtual reconstructions play a central role in recreating these historically accurate ancient cities. Starting from the case study of Terme di Nerone in Pisa, this paper delves into the difficulties to give shape to the absence, invisibility and emptiness of the archaeological report, in order to reconstruct the ancient landscape in a realistic way. A fundamental concern relates to the identification of shared protocols, which are based on the use of measurable, quantifiable and comparable data, in order to obtain a scientific and educational comunication.
Since 2000 a multidisciplinary team of archaeologists, geologists and paleobotanists has been car... more Since 2000 a multidisciplinary team of archaeologists, geologists and paleobotanists has been carrying out joint investigations at Ca’ Tron, a 11 km2 estate located at the northern lagoon of Venice and included in the east countryside of the ancient Venetian-Roman Altinum. During the systematic survey conducted in Ca’ Tron estate nine Roman sites were identified, three of which were excavated in extension. Two rural settlements are analyzed in this paper, both attended since Ist to IV-V th century AD, having different planimetric features and economic role: the first one was a farm with several outbuildings, the second one was specialized in breeding sheep, with a large rectangular building, interpretable as a sheepfold on the basis of comparison with the Roman “bergeries” investigated in the Crau of Arles (Provence). Particularly relevant to the understanding of economic activities were the micromorphological analysis of soil types, chemical and biological, especially to clarify th...
When we approach the problem of archaelogical landscape reconstruction, often we have to deal wit... more When we approach the problem of archaelogical landscape reconstruction, often we have to deal with a complex context, that can be hardly interpreted, even by researchers. In our case study, in which we are currently investigating and reconstructing the thermal landscape typical of the Euganean Hills, around Montegrotto Terme (Padova, Italy), within the project Aquae Patavinae VR (in coorperation with University of Padova, funded by MIUR and Veneto Region), the known elements are different and spread along a wide area: there is only a main/primary archaeological site, that is open to the public; others are still under excavation and cannot yet be seen; others are recognizable only through little scattered evidences identified through archaeological and geological surveys, historical studies and remote sensing of the whole area. It’s quite evident that we are facing a well-known scientific problem, quite recurrent in archaeology, that regards the interpretation and reconstruction of ...
Virtual technologies have proved be a valuable support for the knowledge and fruition of the Cult... more Virtual technologies have proved be a valuable support for the knowledge and fruition of the Cultural Heritage. The way they are employed shapes the affection and emotional involvement of the public to which the experience is addressed. On one side, Cultural Heritage represents the historical legacy of a group of people; on the other side, it is also something constantly changing, a process of social appropriation of cultural identity. Features like interactivity, storytelling and sensory immersion are typical of virtual environments; they lend themselves well to the field of Cultural Heritage because (a) they create the right conditions for a fruitful learning experience which "alert" many receptive channels; the latter stimulate strong emotions that allow creating mental connections between what we see, what we feel and what we have in our memory. They also (b) provide physical or simulated mobility that stands at the basis of any informal learning experience (so said " learn-by-doing "); in this sense, natural interaction applications and tangible interfaces are designed to let the user feel more embodied in the virtual space. They (c) make curiosity and interest arise in a spontaneous form, gradually shaping the memory and the understanding of what we are experiencing. From these premises, the Virtual Museum of the Tiber Valley project has been used as case study to conduct an user experience evaluation. The Italian National Research Council, with the support of national and international contributors, has progressively developed a methodological approach for evaluating user experience into museum contexts trying to come up with a matrix of elements to be further applied to other evaluative scenarios. The focus of such studies shifted recently from the pure usability of immersive virtual systems to the attention on the pedagogical aspects and cognitive affordances. The latter allowed to test some theoretical procedures about direct and informal learning. This is what this contribute is about. What is relevant here is the centrality of the end-user who needs to be the main protagonist of any cultural public transmission and thus of any investigation programme [7].
2016 IEEE 2nd International Forum on Research and Technologies for Society and Industry Leveraging a better tomorrow (RTSI), 2016
In the last decade, virtual museums emerged, becoming a continuous trend for museums that want to... more In the last decade, virtual museums emerged, becoming a continuous trend for museums that want to innovate, renew and involve their visitors. The European Network of Virtual Museums (V-MUST.NET) in its four years analysis (2011-2014) indicated and tested potentially interesting digital applications, for the future of museums. How these involving narrative applications should be treated and how they should be communicated? From the report recently presented by Civita about museum and social media, emerged that 9 million of people in Italy use social networks to get informed about art and culture. Therefore it seems an important direction to follow for public institutions and museums, to inform people about their activities. What museums and other institutions are currently doing in this direction? How can they fully benefit from social media? Virtual museums can be considered as museums and use the same strategies? In order to answer to those questions, we have started to analyse the interaction between Virtual Museums and institutions, starting with those institutions that participated to the Museum Week (#MuseumWeek). We have, at the same time, promoted a Virtual Museum (The Virtual Museum of the Tiber Valley) during the Museum Week 2016. The results of these activities and tests are presented.
1.The archaeological context In connection with the P.I.U.S.S. upgrade and enhance of the histori... more 1.The archaeological context In connection with the P.I.U.S.S. upgrade and enhance of the historical architecture of Piazza Mazzini and Piazza Aranci, in the period from February to May 2012 have been carried out stratigraphic investigations, which covered about a third of the square from east-northeast to the west and stopping at the project’s levels. In the roman period, Mazzini square was occupied by a production area with at least two kilns, one of which was investigated the combustion and fi ring chambers. The kiln, oriented towards south, was limited by a thick wall, built with large raw bricks become red-orange for the operation of the structure. From the combustion chamber, the heat was sucked up into the fi ring chamber through a thick clay grid fl oor (Kiln grille) mixed with fragments of pottery. The clay grid fl oor was supported by parallel arches in stone, set on the fl oor of the room below and arranged in two rows in order to create a central corridor. The parallelepiped structure, positioned in front of the entrance of the combustion chamber, was built by bricks over-burned with the function to distribute heat with the chimney positioned on the north. The combustion chamber was accessible from a little stoking aisle (prefurnium) in the south part, not explored,
In recent years, digital photogrammetry has enjoyed a renewed approval in the ield of Cultural He... more In recent years, digital photogrammetry has enjoyed a renewed approval in the ield of Cultural Heritage. This is due both to the relative cheapness of the instruments (a high resolution camera, possibly a relex with good lenses) and to new algorithms and software that simpliied the use, perhaps at the expense of the necessary knowledge of its principles. The 3D survey of the Mausoleum of Romulus, along the Via Appia Antica, within the European project 3DICONS, provided the opportunity to test different photogrammetric techniques, with the aim to verify the results and to evaluate the positive and negative aspects. In particular two different approaches have been applied: spherical photogrammetry and dense image matching. The irst technique is based on traditional photogrammetric principles, applied on panoramic images instead of frame images. The second one, the most recent and very widespread, is inspired by traditional photogrammetry and computer vision. In order to have a signiic...
This paper presents the different steps of a virtual archaeology project where different data are... more This paper presents the different steps of a virtual archaeology project where different data are produced using separate pipelines, and then are optimized and integrated in a real time environment, accessible online to specialists (restricted access to back end) and to public (open access to front end). The work is based on an open source tool (OSG4WEB) previously developed by the team that we recently optimized by adding new features and functionalities to enable the final publication of large spatial scale landscape reconstructions and virtual environments. The Aquae Patavinae project was chosen as a case study in order to explain the problematic aspects typical to virtual archaeology work where the main goals are the interpretation and reconstruction of an archaeological landscape through online virtual archaeology tools and making “transparent” to non-expert users the metadata used to construct and ensure the accuracy of the 3D models
established by: Mauro Cristofani and Riccardo Francovich, 2009
... Title, ARCHEOFOSS OPEN SOURCE, FREE SOFTWARE E OPEN FORMAT NEI PROCESSI DI RICERCA ARCHEOLOGI... more ... Title, ARCHEOFOSS OPEN SOURCE, FREE SOFTWARE E OPEN FORMAT NEI PROCESSI DI RICERCA ARCHEOLOGICA. ... Rif. Cignoni P., Palombini S., Pescarin S. (eds.) ARCHEOFOSS Open Source, Free Software e Open Format nei processi di ricerca archeologica. ...
How young museum visitors learn from cultural experiences and, above all, how can technologies en... more How young museum visitors learn from cultural experiences and, above all, how can technologies enhance the museum visit to improve memorization and provide high-profile educational moments? This paper, focusing on the "Keys To Rome" exhibition held at the Imperial Fora Museum (Rome), discusses the educational potential of digital technologies applied to Cultural Heritage together with the effectiveness of mixing up museum collections and technological applications. A tailor-made user experience evaluation has been designed for high school students according to the museum visit path. The evaluation programme, its strategy, tools and preliminary results will be illustrated in this work, providing a promising scenario in which operate to empower digital cultural products in term of learnability.
Risultati preliminari delle indagini archeologiche condotte in Piazza Mazzini (popolarmente detta... more Risultati preliminari delle indagini archeologiche condotte in Piazza Mazzini (popolarmente detta piazza Mercurio) tra 2011 e 2012 nell'ambito dei lavori PIUSS.
IX Giornate Gregoriane: "La persistenza della memoria. Vivere il paesaggio storico", 2017
The archaeological remains excavated in historic cities appear to be disconnected from the curren... more The archaeological remains excavated in historic cities appear to be disconnected from the current urban fabric: they can only regain their full meaning when reinserted into their original, ancient landscape. To do so, virtual reconstructions play a central role in recreating these historically accurate ancient cities. Starting from the case study of Terme di Nerone in Pisa, this paper delves into the difficulties to give shape to the absence, invisibility and emptiness of the archaeological report, in order to reconstruct the ancient landscape in a realistic way. A fundamental concern relates to the identification of shared protocols, which are based on the use of measurable, quantifiable and comparable data, in order to obtain a scientific and educational comunication.
Since 2000 a multidisciplinary team of archaeologists, geologists and paleobotanists has been car... more Since 2000 a multidisciplinary team of archaeologists, geologists and paleobotanists has been carrying out joint investigations at Ca’ Tron, a 11 km2 estate located at the northern lagoon of Venice and included in the east countryside of the ancient Venetian-Roman Altinum. During the systematic survey conducted in Ca’ Tron estate nine Roman sites were identified, three of which were excavated in extension. Two rural settlements are analyzed in this paper, both attended since Ist to IV-V th century AD, having different planimetric features and economic role: the first one was a farm with several outbuildings, the second one was specialized in breeding sheep, with a large rectangular building, interpretable as a sheepfold on the basis of comparison with the Roman “bergeries” investigated in the Crau of Arles (Provence). Particularly relevant to the understanding of economic activities were the micromorphological analysis of soil types, chemical and biological, especially to clarify th...
When we approach the problem of archaelogical landscape reconstruction, often we have to deal wit... more When we approach the problem of archaelogical landscape reconstruction, often we have to deal with a complex context, that can be hardly interpreted, even by researchers. In our case study, in which we are currently investigating and reconstructing the thermal landscape typical of the Euganean Hills, around Montegrotto Terme (Padova, Italy), within the project Aquae Patavinae VR (in coorperation with University of Padova, funded by MIUR and Veneto Region), the known elements are different and spread along a wide area: there is only a main/primary archaeological site, that is open to the public; others are still under excavation and cannot yet be seen; others are recognizable only through little scattered evidences identified through archaeological and geological surveys, historical studies and remote sensing of the whole area. It’s quite evident that we are facing a well-known scientific problem, quite recurrent in archaeology, that regards the interpretation and reconstruction of ...
Virtual technologies have proved be a valuable support for the knowledge and fruition of the Cult... more Virtual technologies have proved be a valuable support for the knowledge and fruition of the Cultural Heritage. The way they are employed shapes the affection and emotional involvement of the public to which the experience is addressed. On one side, Cultural Heritage represents the historical legacy of a group of people; on the other side, it is also something constantly changing, a process of social appropriation of cultural identity. Features like interactivity, storytelling and sensory immersion are typical of virtual environments; they lend themselves well to the field of Cultural Heritage because (a) they create the right conditions for a fruitful learning experience which "alert" many receptive channels; the latter stimulate strong emotions that allow creating mental connections between what we see, what we feel and what we have in our memory. They also (b) provide physical or simulated mobility that stands at the basis of any informal learning experience (so said " learn-by-doing "); in this sense, natural interaction applications and tangible interfaces are designed to let the user feel more embodied in the virtual space. They (c) make curiosity and interest arise in a spontaneous form, gradually shaping the memory and the understanding of what we are experiencing. From these premises, the Virtual Museum of the Tiber Valley project has been used as case study to conduct an user experience evaluation. The Italian National Research Council, with the support of national and international contributors, has progressively developed a methodological approach for evaluating user experience into museum contexts trying to come up with a matrix of elements to be further applied to other evaluative scenarios. The focus of such studies shifted recently from the pure usability of immersive virtual systems to the attention on the pedagogical aspects and cognitive affordances. The latter allowed to test some theoretical procedures about direct and informal learning. This is what this contribute is about. What is relevant here is the centrality of the end-user who needs to be the main protagonist of any cultural public transmission and thus of any investigation programme [7].
2016 IEEE 2nd International Forum on Research and Technologies for Society and Industry Leveraging a better tomorrow (RTSI), 2016
In the last decade, virtual museums emerged, becoming a continuous trend for museums that want to... more In the last decade, virtual museums emerged, becoming a continuous trend for museums that want to innovate, renew and involve their visitors. The European Network of Virtual Museums (V-MUST.NET) in its four years analysis (2011-2014) indicated and tested potentially interesting digital applications, for the future of museums. How these involving narrative applications should be treated and how they should be communicated? From the report recently presented by Civita about museum and social media, emerged that 9 million of people in Italy use social networks to get informed about art and culture. Therefore it seems an important direction to follow for public institutions and museums, to inform people about their activities. What museums and other institutions are currently doing in this direction? How can they fully benefit from social media? Virtual museums can be considered as museums and use the same strategies? In order to answer to those questions, we have started to analyse the interaction between Virtual Museums and institutions, starting with those institutions that participated to the Museum Week (#MuseumWeek). We have, at the same time, promoted a Virtual Museum (The Virtual Museum of the Tiber Valley) during the Museum Week 2016. The results of these activities and tests are presented.
1.The archaeological context In connection with the P.I.U.S.S. upgrade and enhance of the histori... more 1.The archaeological context In connection with the P.I.U.S.S. upgrade and enhance of the historical architecture of Piazza Mazzini and Piazza Aranci, in the period from February to May 2012 have been carried out stratigraphic investigations, which covered about a third of the square from east-northeast to the west and stopping at the project’s levels. In the roman period, Mazzini square was occupied by a production area with at least two kilns, one of which was investigated the combustion and fi ring chambers. The kiln, oriented towards south, was limited by a thick wall, built with large raw bricks become red-orange for the operation of the structure. From the combustion chamber, the heat was sucked up into the fi ring chamber through a thick clay grid fl oor (Kiln grille) mixed with fragments of pottery. The clay grid fl oor was supported by parallel arches in stone, set on the fl oor of the room below and arranged in two rows in order to create a central corridor. The parallelepiped structure, positioned in front of the entrance of the combustion chamber, was built by bricks over-burned with the function to distribute heat with the chimney positioned on the north. The combustion chamber was accessible from a little stoking aisle (prefurnium) in the south part, not explored,
In recent years, digital photogrammetry has enjoyed a renewed approval in the ield of Cultural He... more In recent years, digital photogrammetry has enjoyed a renewed approval in the ield of Cultural Heritage. This is due both to the relative cheapness of the instruments (a high resolution camera, possibly a relex with good lenses) and to new algorithms and software that simpliied the use, perhaps at the expense of the necessary knowledge of its principles. The 3D survey of the Mausoleum of Romulus, along the Via Appia Antica, within the European project 3DICONS, provided the opportunity to test different photogrammetric techniques, with the aim to verify the results and to evaluate the positive and negative aspects. In particular two different approaches have been applied: spherical photogrammetry and dense image matching. The irst technique is based on traditional photogrammetric principles, applied on panoramic images instead of frame images. The second one, the most recent and very widespread, is inspired by traditional photogrammetry and computer vision. In order to have a signiic...
This paper presents the different steps of a virtual archaeology project where different data are... more This paper presents the different steps of a virtual archaeology project where different data are produced using separate pipelines, and then are optimized and integrated in a real time environment, accessible online to specialists (restricted access to back end) and to public (open access to front end). The work is based on an open source tool (OSG4WEB) previously developed by the team that we recently optimized by adding new features and functionalities to enable the final publication of large spatial scale landscape reconstructions and virtual environments. The Aquae Patavinae project was chosen as a case study in order to explain the problematic aspects typical to virtual archaeology work where the main goals are the interpretation and reconstruction of an archaeological landscape through online virtual archaeology tools and making “transparent” to non-expert users the metadata used to construct and ensure the accuracy of the 3D models
established by: Mauro Cristofani and Riccardo Francovich, 2009
... Title, ARCHEOFOSS OPEN SOURCE, FREE SOFTWARE E OPEN FORMAT NEI PROCESSI DI RICERCA ARCHEOLOGI... more ... Title, ARCHEOFOSS OPEN SOURCE, FREE SOFTWARE E OPEN FORMAT NEI PROCESSI DI RICERCA ARCHEOLOGICA. ... Rif. Cignoni P., Palombini S., Pescarin S. (eds.) ARCHEOFOSS Open Source, Free Software e Open Format nei processi di ricerca archeologica. ...
How young museum visitors learn from cultural experiences and, above all, how can technologies en... more How young museum visitors learn from cultural experiences and, above all, how can technologies enhance the museum visit to improve memorization and provide high-profile educational moments? This paper, focusing on the "Keys To Rome" exhibition held at the Imperial Fora Museum (Rome), discusses the educational potential of digital technologies applied to Cultural Heritage together with the effectiveness of mixing up museum collections and technological applications. A tailor-made user experience evaluation has been designed for high school students according to the museum visit path. The evaluation programme, its strategy, tools and preliminary results will be illustrated in this work, providing a promising scenario in which operate to empower digital cultural products in term of learnability.
Da quando la comunicazione, con l’utilizzo dei social media, ha assunto un valore olistico, il te... more Da quando la comunicazione, con l’utilizzo dei social media, ha assunto un valore olistico, il tempo e lo spazio nelle attività dei musei presentano peculiarità inedite. Migliorare e diversificare la comunicazione di tipo esterno, al fine di instaurare un rapporto diretto con il pubblico e le altre realtà espositive, costituisce ormai un obiettivo fondamentale per le strutture di ogni tipo, importanza e dimensione. Le istituzioni culturali si devono infatti confrontare, oltre che con l’annullamento dell’unidirezionalità della comunicazione, con esigenze di divulgazione e fruizione a distanza che in qualche modo esulano dai consueti orari di apertura delle diverse realtà. In questo quadro, per l’interazione e la fidelizzazione dei diversi pubblici, è fondamentale l’impiego dei social media e, nell’ambito del loro piano editoriale, la creazione di rubriche periodiche e appuntamenti fissi di altro genere. In questa tipologia di iniziative si inseriscono manifestazioni quali #MuseumWeek e #MuseumSelfie, ma anche eventi non strettamente social come lo Slow Art Day e l’International Museum Day, o nuove sperimentazioni come #52museums. Scopo dell’intervento è analizzare le peculiarità e le opportunità comunicative caratterizzanti tali appuntamenti. Senza prescindere dalle finalità più elementari, come farsi conoscere, si affronterà la non trascurabile prospettiva, per i musei, di sfruttare queste occasioni per costruire una rete di rapporti con altre realtà espositive. Nel raccontare le diverse esperienze si porrà l’accento su quale tipo di storytelling sia possibile mettere in atto e quali siano le interazioni da attuare a seconda delle necessità e/o caratteristiche dei singoli musei. Sottolineate le criticità presenti, passate e future si concluderà con un focus sulle problematiche e la percezione dei musei virtuali nell’universo social. A tal fine si userà come case study l’esperienza del Museo Virtuale della Valle del Tevere. L’interazione tra questa realtà e le istituzioni che hanno preso parte alla #MuseumWeek ha permesso infatti di iniziare una riflessione su quali siano, nel caso dei Musei Virtuali, i punti di forza e le criticità di una comunicazione affidata interamente alla tecnologia. L’analisi partirà dall’assunto che l’uso del virtuale favorisce la comprensione e la lettura del Patrimonio Culturale ma, come nel caso dei "Musei Tradizionali”, necessita, per veicolare informazioni e incuriosire il pubblico, non solo di belle ricostruzioni, ma anche di un linguaggio chiaro e accattivante che annulli la distanza tra queste e il visitatore. (N.d.A.: il rapporto tra questo abstract e la presentazione risulterà più chiaro nel contributo che verrà presentato per la pubblicazione degli atti del convegno)
Presentazione relativa all'intervento proposto nel workshop "Museo virtuale della valle del Tever... more Presentazione relativa all'intervento proposto nel workshop "Museo virtuale della valle del Tevere. Nuove forme di narrazione e contaminazione dei media, tra scienza, tecnologia e arte." organizzato a Villa Celimontana, Roma, da CNR-ITABC e Società Geografica Italiana, il 10 maggio 2016.
Presentazione relativa all'intervento proposto al Workshop "Museo virtuale della valle del Tevere... more Presentazione relativa all'intervento proposto al Workshop "Museo virtuale della valle del Tevere: la ricostruzione virtuale del paesaggio possibile antico" organizzato da CNR-ITABC e Società Geografica Italiana, il 5 maggio 2016, a Villa Celimontana.
Museo Virtuale della valle del Tevere. Storia di un territorio tra passato e presente, 2017
Educational magazine related to themes of the interactive multimedia project "Virtual Museum of t... more Educational magazine related to themes of the interactive multimedia project "Virtual Museum of the Tiber River Valley" by CNR ITABC.
Copertina: a cura dell'Autore Composizione grafica: a cura dell'Autore È vietata la riproduzione ... more Copertina: a cura dell'Autore Composizione grafica: a cura dell'Autore È vietata la riproduzione non autorizzata, anche parziale, realizzata con qualsiasi mezzo, compresa la fotocopia, anche ad uso interno o didattico.
Questo volume si rivolge a tutti coloro che, per passione o per mestiere, scelgono di avvicinarsi... more Questo volume si rivolge a tutti coloro che, per passione o per mestiere, scelgono di avvicinarsi all'archeologia e ai metodi della sua ricerca. Con uno stile lucido e accessibile, offre un quadro sintetico ed esaustivo dei molteplici aspetti che compongono oggi la disciplina archeologica. Una rassegna delle metodologie applicate nella ricerca sul campo e in laboratorio, la storia degli studi, lo sviluppo di un'archeologia planetaria e globale che abbraccia tutto il mondo e che si spinge fi no all'epoca moderna. Il lettore, aspirante archeologo o attivo appassionato, scoprirà la "struttura concettuale" dell'archeologia e il lavoro concreto dell'archeologo che pone al centro della sua ricerca l'uomo nella sua globalità (fi sica e culturale), l'uomo nella sua interazione con gli altri uomini e l'uomo nella sua interazione con l'ambiente. Completano il volume due appendici. La prima è dedicata all'esperienza del Liceo Classico "Niccolini-Palli" di Livorno che dal 2002 ha ampliato l'offerta formativa inserendo l'indirizzo "Archeologico e di conservazione dei Beni Culturali". La seconda presenta, in modo sintetico, i percorsi didattici offerti nei Musei e nei Parchi Archeologici della provincia di Livorno.
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Papers by Ivana Cerato
Scopo dell’intervento è analizzare le peculiarità e le opportunità comunicative caratterizzanti tali appuntamenti. Senza prescindere dalle finalità più elementari, come farsi conoscere, si affronterà la non trascurabile prospettiva, per i musei, di sfruttare queste occasioni per costruire una rete di rapporti con altre realtà espositive. Nel raccontare le diverse esperienze si porrà l’accento su quale tipo di storytelling sia possibile mettere in atto e quali siano le interazioni da attuare a seconda delle necessità e/o caratteristiche dei singoli musei. Sottolineate le criticità presenti, passate e future si concluderà con un focus sulle problematiche e la percezione dei musei virtuali nell’universo social. A tal fine si userà come case study l’esperienza del Museo Virtuale della Valle del Tevere. L’interazione tra questa realtà e le istituzioni che hanno preso parte alla #MuseumWeek ha permesso infatti di iniziare una riflessione su quali siano, nel caso dei Musei Virtuali, i punti di forza e le criticità di una comunicazione affidata interamente alla tecnologia. L’analisi partirà dall’assunto che l’uso del virtuale favorisce la comprensione e la lettura del Patrimonio Culturale ma, come nel caso dei "Musei Tradizionali”, necessita, per veicolare informazioni e incuriosire il pubblico, non solo di belle ricostruzioni, ma anche di un linguaggio chiaro e accattivante che annulli la distanza tra queste e il visitatore.
(N.d.A.: il rapporto tra questo abstract e la presentazione risulterà più chiaro nel contributo che verrà presentato per la pubblicazione degli atti del convegno)