indeed, a critical stance towards historical and geographical approaches to
cultural heritage is always valuable. Both tangible and intangible heritage
has been, as you point out, processed in different ways for different
political and economic motives and no mode of preservation and presentation
of the heritage can be taken for granted. Precisely for this reason I think
a hypothetical discussion of moving from unavoidably prejudiced human
neural nets to hypothetically impartial digital neural nets might be in
place. With almost unlimited computational resources, what would computers
make out of it all? To what degree can we restrain the human bias is, as
you have noticed, an important issue to consider. Even defining the area
can be troublesome, let alone the artefacts. The naturally given concept of
Mediterranean rim, the shores of the basin filled with Mediterranean sea,
might start changing with changes in the global climate – which coordinates
are included and which excluded? Cultural concepts as well go naturally
with their context and converting them into a digital form does not
encompass the complete picture in "high definition." If we were to feed the
model with the "raw" data – what would constitute "raw" at this very
moment? The heritage that was already digitized and uploaded from all
possible sources or the analogue data from carefully selected institutional
sources? Running the model for a week, a month, a year, …, its data set
constantly increasing, its neurons ceaselessly forming new connections,
would it provide us with clues that we could relate to or with alternative
views, alien viewpoints of culture we considered familiar.
On Tue, May 16, 2017 at 5:40 PM, Pier Luigi Capucci <firstname.lastname@example.org>
> Dear all,
> among the Yasmin invited respondents to the art*science Leonardo 50
> discussion there is also Elena Giulia Rossi. Many thanks to Elena Giulia
> for joining us!
> Elena Giulia Rossi - email@example.com <mailto:
> firstname.lastname@example.org> (Italy)
> Elena Giulia Rossi lives and works in Rome. Her research and experience
> have been addressing contemporary art and its relation with technology.
> Oscillating between tradition and modernity, and under a
> socio-anthropological perspective. With a degree in History of Art from the
> University of Roma La Sapienza (1999), she gained a MA in Arts
> Administration from The School of The Art Institute of Chicago (2002). She
> has been collaborating with different galleries and institutions in Italy
> and abroad, such as the MAXXI Museum (Rome, 2003-2012), P.S.1 Contemporary
> Art Center (New York 2001); The Renaissance Society at The University of
> Chicago (2002); the Joan Flasch Artists' Book Collection at The School of
> The Art Institute of Chicago (2002), and Studio Stefania Miscetti (Rome
> 2004-2005). She has been writing regularly for catalogues and magazines.
> She is the author of Archeonet (Lalli: Siena, 2003), and the editor of
> Eduardo Kac: Move 36 (Filigranes Éditions: Paris, 2005). She currently
> teaches Net Art and Theory of Multimedia Art at the Accademia di Belle Arti
> in Rome and she is founder and editorial director of the multidisciplinary
> platform Arshake (www.arshake).
> Thank you in advance,
> Pier Luigi
> Pier Luigi Capucci
> via Rovigo, 8
> 48016 Milano Marittima (RA)
> Tel.: +39 (0) 544 976156
> Mobile: +39 348 3889844
> e-mail: email@example.com
> web: http://capucci.org
> skype: plcapucci
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