Those who work on heritage know that heritage does not last forever either, but in the imagination the closest thing to lasting forever is the idea of monument, the idea of heritage. On the one hand, I was very interested in this temporal dimension, and on the other hand I was very interested that it was heritage that was invisible, but that was physical.
So, I became very interested in this idea that heritage could be something that was physical and yet invisible and, secondly, that it could be both temporal and connected to the space, and to the building. It made me start thinking about heritage as something that you perform, rather than something that you experience. Something that you have to play with, rather than something that you have to look at, as a kind of passive observer where you are really like - what T.
I started thinking heritage could be a kind of enveloping reality, something that you do not really become aware of until you do not start playing with it and performing it. Through smell I became interested in the idea of performance as a way of remembering. With smell you are both in the space and you are performing the space, but sometimes smell also projects you out to a previous space. Thanks to it, people remember another place.
There is a kind of dislocating element or force in it. Smell is, on the one hand, super-local and, on the other hand, it distributes your experience across time and space to other places that smell similarly. Again, this notion of the distributed monument, something that is not in one place at the same time, but that you somehow have to pull together in your mind through your experience. Smell is a quasi-object because this concept really means that the object does not really exist until it is not performed.
Once you begin to engage with the object it determines the whole social game. It helps us connect with each other. In a weird way smell also connects with people that are not in the room.
I think that at the heart of what heritage really asks us to do, there is a kind of empathise with people that are not there in the room. With it the body behaviours and the choreograph performances are the actual heritage objects. What we would call intangible heritage. I became so interested in how in dance they work to restage it. They are not only remembering a previous dance, but they are actually remembering the space where they learned the dance.
They are remembering the studio, because it has a particular size and if they go play on a bigger or smaller stage, they have to rearrange their relationships to one another; for instance, maybe something that can take one step now takes five steps to do.
So, they have to reconstruct the whole, they have to reinterpret the heritage. Thus, they are performing in a space that is not there, or that is there but only in memory. For me, this notion of performance has become very important recently, to try to understand ultimately how we remember as society and what is that we remember.
I am very interested in memory that sets you free, in memory that can be freeing. Remembering is a work that requires objects, and heritage has a lot to do with memory. I think that experimental preservation is also testing what can be considered heritage, what can really do that function of a kind of liberating memory, and that the kinds of objects which do that are not necessarily those that we already have as heritage. I think that you are also experimenting how the corporeal space, in its multidimensionality, engages relationships with the intangible, giving themselves a sense to one another.
Performing spaces, you evidence the links they generate. Thus, you open new visions about what can be relevant to us as social beings. It helps us in remembering.
The word heritage has much more a legalistic dimension to the notion of remembering. I do find that this word predisposes you to understand what you are doing in different ways. I think that it is a very strange division that between tangible heritage and intangible heritage. It is a very logocentric idea. In other way, it is all about what can be verbally described, that is exactly what becomes heritage. There is so much alchemy in those valuations of the social value of heritage.
I think there would be a very interesting moment in history when the big challenges of our time are not necessarily structured around objects that are not really perceivable within a frontal ontology and not really inscribable within a logocentric tradition: the environment, for example, or climate-change. To visualise that, it is something that we have not really done. That is why I am so interested in this notion of the distributed monument.
I am trying to think about what the atmosphere is, and how we relate to it. This is really an experiment for me. Experimental Preservation. Zurich Switzerland : Lars Muller Publisher, The Atmosphere as a Cultural Object. The Parasite, trans. Der moderne Denkmalkultus: sein Wesen und seine Entstehung.
Nuova fenomenologia. Un'introduzione, it. Atmospheric Architectures. The Aesthetics of Felt Spaces. Teoria del restauro, 1st ed. Roma IT Special issue, , 2, pp. January Torino IT : Einaudi, Structures and infrastructures of the central Adriatic. The role of art for the regeneration of the public city. Abandoned for good? Preliminary approach to conservative actions on artefacts of historical and monumental value. Alternative museum in Rome. The overseas contamination of Enlightenment legal thought.
Revitalization the integrated values of the Darius I the Great inscription, as the cultural property belonging to humanity. Discovering, conserving and communicating the past. Without Borders. Art and public space. Italy and China, between History and Nature. Early medieval Benedictine settlements and monastic landscape in Italy.
Rethinking the building envelope. Ancient Noto. Towards Eco-Planning principles. Acireale Living Lab Culture and Technology. Locus Umbria. History and project. The analyses of the settlement strategies of the minor historic centres. Intangible heritage between landscape protection and territory development. Historical Vessels as Cultural Heritage. Restoration and Ruins. Renewed Sicilian Urban Landscapes.
The impact of creative workers on economic prosperity. Landscape and memory of places. The Vases Collections of the Museo Campano. Cultural Capital vs. Structured around a series of interdisciplinary dialogues among practitioners and thinkers, and illustrated with recent projects, the book provides a window into the unfolding intellectual frameworks, aesthetic modes, cultural ambitions, and political commitments that are the basis of experimental preservation.
A view into the future of cultural preservation: A critical practice being just as creative as radical and provocative: Read Baunetz' review of Tabula Plena and Experimental Preservation. At AHO he teaches experimental preservation master studios with a focus on post-war architecture involving urban transformation, concrete structures, systems, and political spaces.
His architectural practice focusses on restauration and transformation of historic wood buildings, and he is the owner of a listed farm managed as a cultural and educational centre www. Experiments on the progress of and resistance to the dry rot , on specimens of wood subjected to different The first mentioned experiment appeared de. Hines, L.
Proceedings 1st International Conference on the Use of Antibiotics in Experimental preservation of fish and beef with antibiotics, J. Food Chem.
Experiment 2: Effect of Fluorocarbon Perfusion on the Preservation of Amputated Limbs and Prevention of Replantation Toxemia As long ago as , Clark and Gollan [14] demonstrated the high solubility of oxygen in fluorocarbon.
A key component of the ecosystem management approach is adaptive management, whereby management goals are treated as hypotheses, which are tested by monitoring the outcomes of experimental conservation interventions.
It should be also mentioned that vast majority of the strategies based on improvements in preservation solutions have been assayed in experimental models of isolated perfused liver. Although valuable scientific results have been For instance, if a few small populations of a rare plant species remain, and the goal is to reestablish new wild populations in sites that are conserved, experimental approaches are required.
One might establish pure samples from extant Science , Massachusetts Ave. Martem'yanova , article , Chemical Abstracts , vol.
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