Access to image-based resources in the context of the IIIF protocol

key details

17, 23 September
Online on Zoom
3pm — 5pm (CET)

Reference

Fondazione Giorgio Cini
Factum Foundation

about

Access to high-resolution image-based resources is fundamental for research, scholarship, and the transmission of cultural knowledge.

The IIIF (International Image Interoperability Framework) standard is a set of technical specifications designed to enable the sharing, reuse, dissemination, and scientific research of digital images. Numerous projects and institutions worldwide have adopted IIIF to make collections accessible and interoperable online. IIIF supports the uniform presentation of images of cultural heritage items, allowing for display, manipulation, measurement, and annotation by scholars and students worldwide. Although initially conceived in libraries and primarily used by academics, IIIF also benefits a wider public.

Programme

September 17, 2024

Improving the access of cultural heritage through IIIF

Gennaro Ferrante | Università Federico II, Napoli
Flavia Bruni | Università di Chieti-Pescara
Ilenia Maschietto | Fondazione Giorgio Cini
Dario Peluso | Fondazione Giorgio Cini

The lecture aims to present a selection of projects on a variety of scales leveraging IIIF to improve the accessibility of collections. The examples show how IIIF connect cultural heritage scattered in different parts of the world, providing users high-quality image-based resources, ready to be compared, shared, reused, annotated and studied.

The first example is Europeana and its latest strategies (including Europeana Pro and the Europeana API), a project funded by the European Union that provides access to millions of items from institutions across Europe, allowing users to interact with them dynamically.

The second is the Illuminated Dante Project, born within the University Federico II of Naples, a systematic survey of early illustrations of Dante’s Divine Comedy virtually united on the same platform, carefully described and put in context. The project includes a digitization campaign, and the first clear classification and explanation of the illustrations that these precious artefacts contain.

The third is the work in progress of the new Digital Library of Fondazione Giorgio Cini which showcases the digital collections of the Venetian institution, IIIF compliant and based on contentDM, a software to store and display digital collections conceived by the largest international library network (OCLC, also full member of IIIF Consortium).

September 23, 2024

3D image-based resources and IIIF

Thomas Flynn | IIIF 3D Community Group
Richard Allen | Bodleian Libraries, Oxford University
John Barrett | Bodleian Libraries, Oxford University
Dylan Schirmacher | Bodleian Imaging Services, Oxford University

The IIIF standard, originally designed for 2D images, is being extended to support 3D content. This evolution allows for the sharing, viewing, and annotation of 3D models using the same principles that have made IIIF popular for 2D images. This represents a significant step forward in making rich, interactive media more accessible and usable across a wide range of disciplines.

The lecture introduces the work of the IIIF Consortium and the community, particularly the IIIF 3D Community Group, being the role of IIIF community and users extremely relevant to the development of software and technologies. Moreover, the lecture addresses technical aspects of the recent challenges faced by developers in presenting three-dimensional images within IIIF-compliant viewers. The ARCHiOx team provides updates from the Digital Bodleian platform and shares insights into the ongoing research on implementing 3D viewers with material qualities—such as texture, moving lights, and reflectance—to enhance user experience and deepen the understanding of the artefacts’ materiality.

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Workshop on Analysis and Recording of Cultural Heritage in Venice

key details

30 September — 2 October 2024
20 hours / Location: Venice / Cost: €350
Deadline 8 September 2024

about

The ARCHiVe Centre of Fondazione Giorgio Cini is presenting a workshop for the second consecutive year, focusing on the application of high-resolution, contactless digital technologies for the digitisation of documentary, archival, and library materials. Over 20 hours, the intensive workshop will introduce participants to specific 2D digitisation technologies and methods, as well as the application of deep learning techniques, computer vision, and the use of artificial intelligence in the post-production of digital files.

The three-day workshop will be held in person and will be based on a learning-by-doing approach, alternating theoretical training on photography, archives, and the preservation and enhancement of digital heritage with practical sessions, allowing participants to experience the handling and acquisition of materials. The workshop is open to a selected group of participants (students and professionals from various backgrounds) who will have the opportunity to learn and interact directly with the ARCHiVe team.

Accommodation for two nights at the Vittore Branca Centre Residence on the Island of San Giorgio Maggiore, lunch on the first day, and an ACTV pass for travel within the lagoon for the duration of the workshop are included in the participation fee. A certificate of attendance will be issued at the end of the workshop.

Programme

September 30, 2024

Day 1

Morning (11am – 1:30pm)

Welcome, general intro and programme overview
Ice-breaker: student presentations (3 mins each)
Presentation of Fondazione Giorgio Cini and its Archival Funds and Collections + Q&A
Visit to the Fondazione Giorgio Cini (including the Library, the Rare Books Collection and the Photo Library)

Afternoon (2:30pm – 5:30pm)

ARCHiVe presentation (projects, research and technologies)
Introduction to the principles of Photography + Q&A
Feedback and reflections from day 1
Optional: visit to the Homo Faber exhibition

October 1, 2024

Day 2

Morning (9am – 1:30pm)

Introduction to the different types of documents and how to handle them + Q&A
Practical 2d recording (session 1 and 2), divided into 4 groups
Post-processing

Afternoon (2:30pm – 5:30pm)

Practical 2d recording (session 3), divided into 4 groups
Post-processing
Feedback and reflections from day 2

October 2, 2024

Day 3

Morning (9am – 1:30pm)

Practical 2d recording (session 4), divided into 4 groups
Post-processing
Lecture on metadata creation, digital archives and digital library + Q&A
Developing projects for final presentation, divided into 4 groups

Afternoon (2:30pm –5pm)

Final presentation of the preliminary results of the workshop and possible outputs for the data recorded
Reflection on how to use the recorded information to preserve, study and disseminate cultural heritage
Feedback and reflections
Certificates and celebration drinks
Close

Useful information

The course will only proceed if 12 participants are reached.

If your application is accepted, you will receive an email by September 11 that will provide a deadline for accepting and paying for your place. Your place will be held until this deadline.

If you have any questions, please get in touch: info.aoa@cini.it

Fashion and Textiles between Digitisation and AI

Prato Phygital, MIMIT-funded project for the development of 5G technology

Midjourney, outcome of 'Fashion editorial with models' prompt, 2023

Acne Studio, F/W 2020 men's collection in collaboration with Robbie Barrat and AI, 2020

key details

11 April 2024
Online on Zoom
3pm — 5pm (CET)

Reference

REI Design Lab | University of Florence

about

The online course, curated by Elisabetta Cianfanelli, Paolo Franzo, Leonardo Giliberti, and Margherita Tufarelli (University of Florence), investigates the digital transition taking place in the fashion system and the implications of the diffusion of artificial intelligence in creative and production processes.

Through the presentation of a series of research projects and case studies, the ‘phygital’ landscape that has been characterising the textile and clothing industry in recent years will be analysed. It will explore how, in this evolution, archives are being transformed into multi-sensory and multi-vocal datasets that can be drawn on through algorithms to create new content, thanks to a redefinition of professional skills and design methodologies.

Lecturers

Elisabetta Cianfanelli

Full professor in Design, she has been president of the master’s degree course in Fashion System Design until 2023.

She is co-responsible for CU 2 of the Doctorate of National Interest ‘Design for Made in Italy’, scientific responsible for UniFI of the inter-university research centre ‘Fashioning AI’ and director of the journal Fashion Highlight.

Paolo Franzo

PhD at Iuav, he has been a researcher in fashion design at the University of Florence since 2023.

His international and transdisciplinary research activity focuses on the ecological and digital transition in fashion, in particular on pre-consumer waste in the textile-clothing industry and AI in fashion design.

Leonardo Giliberti

He is a PhD student at the University of Florence within the PON Research and Innovation programme with a thesis on the role of artificial intelligence in fashion design and its production processes.

He carried out a research period at the Lisbon School of Architecture of the University of Lisbon

Margherita Tufarelli

PhD, she is a researcher in fashion design at the University of Florence. Her research interests concern the opportunities and impacts of digital transformation on design, production and communication processes in the textile and fashion industry.

Her most recent research projects include: Prato Phygital and E tex – The haptic Library.

Fashion and Textiles between Digitisation and AI

3D Digital Investigation for Canvases and Painted Panels

Colour and 3D rendering of *San Giorgio* by Cosmé Tura at Galleria di Palazzo Cini

Detail of the surface of *The Crucifixion* by the Master of the Lindau Lamentation, courtesy of Museum Catharijne Convent

Printing the colour of the facsimile of *The Crucifixion* by the Master of the Lindau Lamentation © Oak Taylor Smith for Factum Foundation

The Lucida 3D Scanner recording *The Creation of the Animals* © Factum Foundation

Recording *The Creation of the Animals* by Tintoretto at Gallerie dell'Accademia © Factum Foundation

Handwoven historical patterns recostructions at Factum Foundation

key details

7 and 14 March 2024
Online on Zoom
3pm — 5pm (CET)

reference

about

Online course featuring two projects undertaken by ARCHiVe, alongside other case studies: the digitisation of the Palazzo Cini Gallery (47 panel paintings) and the digitisation of a painting by Jacopo Tintoretto from the collections of the Gallerie dell’Accademia in Venice (The Creation of the Animals, 1550-1553). The course offers a detailed examination of the digital recording of these works and the investigative opportunities afforded solely through the three-dimensional digital recording of painting surfaces and supports.

In addition to unveiling 3D digital acquisition techniques, the meetings are intended as moments of restitution and exchange to disseminate the research possible thanks to this type of technology applied to Cultural Heritage. Therefore, the course shares the outcomes of the reconstruction of The Crucifixion by the Master of Lamentation from Lindau in Utrecht and the recreation of historical textile patterns derived from digital analyses of pictorial surfaces on both panel and canvas.

Programme

Class 1 March 7, 2024

Painting on panel

Luca Massimo Barbero | Fondazione Giorgio Cini
Sanne Frequin | University of Utrecht
Carlos Bayod Lucini | Factum Foundation

Two case studies compared: the three-dimensional recording of panel paintings in the Gallery of Palazzo Cini in Venice and the reconstruction of The Crucifixion by the Master of Lamentation of Lindau in Utrecht.

On this occasion the results of the first three-dimensional, high-resolution digitisation campaign of the painted panels in Palazzo Cini, carried out by the Factum Foundation in collaboration with the Cini Foundation, will be presented. The campaign is part of the activities promoted by the Foundation to preserve, publicise and make the collections more accessible.

Next, the results of a project to digitise, digitally restore and rematerialise a panel work from the first half of the 15th century, the Crucifixion by the Master of Lamentation of Lindau, the result of a collaboration between Factum Foundation, Museum Catharijne Convent, Utrecht University, Leiden University and Technische Universiteit Delft. The project intends to demonstrate how digital technologies and facsimile production can be part of the decision-making process in the field of conservation, becoming a possible alternative to physical intervention on the objects.

Class 2 March 14, 2024

Painting on canvas

Cleo Nisse | University of Groeningen
Helena Loermans | Lab O
Carlos Bayod Lucini | Factum Foundation

The analysis and creation of historical textile patterns and the digitisation of Tintoretto’s The Creation of Animals as case studies.

The second appointment, dedicated to paintings on canvas and the micro-analysis of the supports, sees the participation of a weaver specialised in the manual creation of historical textile patterns to support technical art history (particularly Italian and Spanish between the 15th and 17th centuries) to present a recent rematerialisation project made possible thanks to the digital acquisition of the original supports. This will be followed by a researcher who focuses her investigations precisely on canvas supports in relation to the pictorial language of Venetian works from Bellini to Tintoretto. In both cases, the aim is to demonstrate how this type of micrometric investigation can now be carried out more comprehensively thanks to high-resolution three-dimensional digital surveys.

lecturers

luca massimo barbero

Historian and critic of modern and contemporary art, he is Director of the Institute of Art History at the Fondazione Giorgio Cini in Venice, and scientific advisor to the Lucio Fontana Foundation in Milan. He is the author of numerous publications and exhibitions on the art of the Italian post World War II period.

sanne frequin

She is an art historian who specialises in digital art history. Her research focuses on the digital reconstruction of lost or damaged artefacts and on the use of digitised artefacts for research and education. The projects of Sanne Frequin concern mediaeval and early modern art and digital reconstruction. Sanne Frequin is the academic coordinator of the master Art History at Utrecht University.

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.

Portrait of architect Carlos Bayod looking intensely at the camera.

cleo nisse

She is Assistant Professor of Early Modern European Art at the University of Groningen. Her research concentrates on the materials, techniques, and meanings of artistic practices, complemented by a concern for how artworks change over time. After postgraduate studies in painting conservation at the Courtauld Institute, her Columbia University PhD investigated the significance of canvas supports for Venetian painting from Bellini to Tintoretto.

helena loermans

She has been a weaver since 1960. Now a member of CIETA, in 2017 she founded Lab O, a research laboratory focusing on the hand-woven patterned canvases used by the Spanish and Italian Old Masters. Photomicrographs, x-ray images, 3D recordings and softwares for generating weave drafts, allowed Loermans at Lab O, to reconstruct the weave drafts of patterns in Old Master paintings’ canvases and reweave the textiles on a hand loom.

1/2 3D Digital Investigation for Canvases and Painted Panels

Copyright for cultural property and AI

*Cuarto Amarillo*, Vettor Pisani, Michelangelo Pistoletto, Ettore Spalletti and Franz West, 1992

Outcome of "Creativity, copyright and AI" prompt, 2023

key details

22 — 23 February
Online on Zoom
3pm — 5pm (CET)

about

This two-lesson course will be an excellent opportunity to reflect on the value, legitimacy and ‘rights’ of contemporary works of art within our society and the relationship between copyright and artificial intelligence.

In the first lecture Virginia Montani Tesei (lawyer), Mario Pieroni (gallery owner) and Giovanni Floridi (notary public) will explore the themes of copyright, authenticity and different interpretations for works of art and the world of digital creativity.

During the second meeting, Francesco Paolo Micozzi (lawyer) will offer an insight into current regulations and future perspectives for adequate protection of intellectual property in the field of artificial creativity, examining both opportunities and emerging legal challenges.

Programme

February 22, 2024

Copyright for Cultural Heritage: a case study

Virginia Montani Tesei
Mario Pieroni
Giovanni Floridi

The issue of copyright for the cultural property will be discussed through the analysis of the case of the work Cuarto Amarillo, an installation created by four artists (Vettor Pisani, Michelangelo Pistoletto, Ettore Spalletti and Franz West) on the occasion of the 1992 ARCOMadrid fair. The heirs of one of the artists requested part of the artwork after his death. After a brief excursus on the history of the eight-handed work and the risk of its destruction to dismember it, the topic of co-authorship under Italian Law and the difference between the joint ownership of the patrimonial copyright resulting from the co-authorship of the work and the joint ownership of the work will be discussed.

February 23, 2024

Artificial intelligence (AI) and copyright

Francesco Paolo Micozzi

During this meeting, the dynamic intersection between artificial intelligence (AI) and copyright will be explored. With the advent of increasingly advanced technologies, the field of AI has led to the emergence of relevant questions on intellectual property and artificial creativity. The basic principles of copyright law will be introduced and how these apply (or fail to apply) to AI-generated works will be discussed. Through a series of case studies, we look at concrete examples of how AI is transforming the intellectual property landscape, examining both the opportunities and emerging legal challenges. Participants will gain an in-depth understanding of the legal and ethical implications of content creation through AI, exploring topics such as authorship attribution, liability for copyright infringement and potential legislative reforms, including in the European context.

lecturers

Virginia Montani Tesei

She graduated in Law from the University of Rome Tor Vergata and pursued her studies between Italy and Spain. She perfected her studies with advanced courses in art law at the Scuola Superiore Sant’Anna in Pisa and subsequent masters in the subject, including the Master of Art at the Luiss Business School. Following experience in international law firms, she founded his own firm specialising in art and cultural heritage law. Author of numerous essays and articles on the subject, listed by We Wealth among the top 200 professionals in the private wealth sector and invited speaker at the LUISS University of Rome master courses. In 2020, she promoted at ArtVerona the Montani Tesei Under 35 Prize, now in its third edition.

Mario Pieroni

Born in Rome in 1937, he moved to Pescara to follow his family’s textile and furniture business. From 1971 he worked in contemporary art, starting with the realisation of Giacomo Balla’s furniture and tapestries. From 1975 to 1978 he opened and managed the exhibition space Il Bagno Borbonico in Pescara. In 1979 he moved to Rome where, together with Dora Stiefelmeier, he opened the Galleria Pieroni. In 1992 he ended the Gallery’s activity to found Zerynthia, Association for Contemporary Art. He is also Artistic Director of RAM radioartemobile, a platform for contemporary art created in 2003 and dedicated to sound research and exhibition activity. In 2017, he set up the Fondazione No Man’s Land in Loreto Aprutino (Pescara).

Giovanni Floridi

He was born and works in Rome, where he practises as a notary public.

Since the end of the 1990s, he started collecting contemporary art, now holding a collection ranging from the second half of the 20th century to the present day. Together with his wife Clara Datti, he also set up the Fondazione ‘D’ARC – Rifugio di Arte Contemporanea’, which is opening a new exhibition space in Rome.

Francesco Paolo Micozzi

Lawyer and lecturer in Legal Informatics at the Department of Law, University of Perugia, is author of monographs and essays on data protection, cyber security, computer crimes and copyright. He leads the Jean Monnet “CIBER” module at the University of Perugia on the subject of data breach and is a member of the academic board of the Jean Monnet Centre of Excellence “BALDUS” at the same University on the subject of personal and non-personal data protection. Member of the Working Group of the Italian Foundation for Forensic Innovation at the CNF (National Forensic Council).

1/2 Copyright for cultural property and AI

2/2 Copyright for cultural property and AI

Creative Access and Digital Innovation

© Carolyn Lazard, *A Recipe for Disaster (still)*, 2018

© Liza Sylvestre, *Captioned-Channel Surfing (still)*, 2016

23 January 2024
Online on Zoom
4:30pm — 6:30pm (CET)

Curator

Virginia Marano | University of Zurich and MASI Lugano

About

The event features four professionals and experts in the fields of accessibility and emerging digital innovations: Virginia Marano (University of Zurich and MASI Lugano), Nina Mühlemann (Artist, Bern Academy of the Arts), Kamran Behrouz (Visual artist), Saverio Cantoni (Visual artist) and Georgina Kleege (University of California, Berkeley). The event explores the role of new digital technologies from an artistic and academic perspective, delving into issues related to digital knowledge and spatial fruition. Guests and the participating group will have the opportunity to discuss and initiate a discussion on the points of convergence between art, scientific research and digital innovation with a view to new strategies for accessibility and inclusion.

The online panel discussion is curated by Virginia Marano, a Fondazione Giorgio Cini fellow in the PNRR–PEBA project for the Removal of Physical, Cognitive and Sensory Barriers in Cultural Sites (EU-funded grant – NextGenerationEU).

The class is held in English and has live American sign language (ASL) interpretation by First Choice Interpreting Service.

Contributors

Virginia Marano

Holds a PhD in art history from the University of Zurich. She is the coordinator and co-founder of the research project “Rethinking Art History through Disability” at the University of Zurich. Currently, she is fellow researcher at the Fondazione Giorgio Cini in Venice and works as curatorial assistant at MASI (Museo d’arte della Svizzera italiana), Lugano.

Kamran Behrouz

They are a Non-binary Visual Artist, born and raised in Tehran, currently working, and living in Zurich. Their PhD, entitled ‘Cosmopolitics of the Body’, uses posthuman critical theory as a navigational tool to examine the boundaries of bodies and humanity’s embedded and embodied cultures. Kamran saturates the Queer Identity throughout their art, in order to draw a cartography of belonging and displacement.

Nina Mühlemann

Is an artist and scholar based in Zurich. They are currently working as a postdoc on the SNF-funded research project “Aesthetics of the Im/Mobile” at the Bern Academy of the Arts, researching im/mobile practices of disabled artists. In 2020 Nina Mühlemann and Edwin Ramirez founded Criptonite, a crip queer theatre project that centres an aesthetics of access.

Georgina Kleege

Is a blind writer and disability studies scholar who recently retired from the University of California, Berkeley, and now lives in New York City. Her recent books include: Sight Unseen, Blind Rage: Letters to Helen Keller and More than Meets the Eye: What Blindness Brings to Art.

Saverio Cantoni

Is a white-passing cyborg, disabled –oral Deaf– artist based in Berlin. Situating their practice in the sonic space, Saverio is working through the lenses of crip theory, queer theory and disobedient archives, with the aim to destabilize existing power structures and to rethink the normative understanding of sensorial experiences. Saverio is actively participating in the Sickness Affinity Group (SAG), a group of art workers and activists who work on the topic of sickness/disability and/or are affected by sickness/disability.