Search

April 15th, 2019: Notre-Dame Cathedral in Paris was burning, the spire collapsed on the nave, vaults crumbled and most of the timber roof was gone. In the post-disaster context, the authenticity and the monitoring of the archaeological remains are crucial for their potential reuse during reconstruction. This paper analyzes the collapsed transverse arch from the nave of Notre-Dame as a case study of reconstruction, using the digital twin framework. We propose four facets for the digital twin experiment—physical anastylosis, reverse engineering, spatio-temporal tracking of assets, and operational research—that are described in detail, while being assembled to support a hybrid reconstruction hypothesis. The digital twin can realize the parallel unfolding of physical-native and digital-native processes, while acquiring and storing heterogeneous information as semantically structured data. The results demonstrate that the proposed modeling method facilitates the formalization and validation of the reconstruction problem and increases solutions performances. As result, we present a digital twin framework application ranging from acquisition to data processing that informs a successful hybrid reconstruction hypothesis.

National audience; The recent multiplication of autonomous visiting devices in cities of art and history calls for a conceptual framework that makes it possible to reverse design these devices, to identify the visiting strategies to which they respond, to map the strategies that are widely instrumented and those that are more neglected, and thus to open up avenues for the design of complementary devices. Integrating the results of the literature on the diversity of visiting strategies, our conceptual framework is built around five functionalities that are combined to respond to these strategies: (1) discovering an item of interest, (2) accessing the related information, (3) receiving what is transmitted, (4) engaging, (5) reasoning. Each functionality is then broken down into “Form”, then “Conceptual approach” and finally “Implementation”. The use of this framework in reverse design and design is illustrated by the autonomous visit devices of the city of Troyes and its stained glass.; La multiplication récente des dispositifs de visite autonome dans les villes d'art et d'histoire nécessite un cadre conceptuel permettant de rétro-concevoir ces dispositifs, d'identifier à quelles stratégies de visite elles répondent, de cartographier les stratégies qui sont largement instrumentées et celles qui ont été plus délaissées, et ainsi d'ouvrir des pistes pour la conception de dispositifs complémentaires. Intégrant les résultats de la littérature sur la diversité des stratégies de visite, notre cadre conceptuel est construit autour de cinq fonctionnalités à combiner pour répondre à ces stratégies : (1) découvrir un élément d‘intérêt, (2) accéder à l’information associée, (3) accueillir ce qui est transmis, (4) s'engager, (5) raisonner. Chaque fonctionnalité se décline en « Forme », puis en « Approche conceptuelle », et enfin en « Implémentation ». L'usage de ce cadre en rétro-conception et en conception est illustré sur les dispositifs de visite autonome de la ville de Troyes et de ses vitraux.

International audience; Following the trend towards open data, various cultural organisations offer information about their collections. However, these knowledge bases are not used to accompany a visit to historical monuments. We think that a possible explanation for this observation lies in the distinction between availability and accessibility of the knowledge offered: although these knowledge bases make this knowledge available, it is difficult for non-experts to make use of it and make it their own. Rather than a semantic approach to visiting based on description, we advocate an active and semiotic approach based on comparison. We have identi- fied four challenges in applying this approach to church stained-glass windows. The first two challenges are to link the physical space of the building and the stained glass with the documentary space so that visitors can move between the two. Visitors also need to understand and use 'reading keys' to match a represen- tation with its subject. Visitors should afterward finally be able to use their knowledge and skills on other visits. Through interviews and observations, we have iteratively designed paper and digital prototypes to meet these challenges.

International audience; In the standard folkloric and ethnographic tradition of Albanian studies, various efforts toseize an authentic, traditional and popular culture, supposed to have really functioned in a society of official ideology, were devoted primordially to a catalogue of descriptivist and empiricist research, which only served to confirm the ultimate goal of constructing a primarily essentialized national specificity and a particularly antiquated view of national culture. Whereas the long-term continuities in the Albanian studies of people’s culture (kultura popullore), which pre-dated and out-lived socialism, together with the ambiguous relationship to anthropology are emphasized elsewhere, in this paper we look more closely at the limited changes and innovations that occurred in the decades of communist regime in Albania. The aim is to uncover how the traditional ethnographic-­folkloric studies of people’s culture, marked by intellectual isolation and stigmatized by association with moralist and nationalist ideologies, were mobilized to service the shifting ideological needs and state policies towards the cultural hegemony of the communist regime.; В общепринятой фольклорной и этнографической традиции албанистики осуществлялись попытки представить аутентичную, традиционную народной культуру, которая, как предполагалось, существовала в обществе официальной идеологии. Однако эти попытки изначально сводились к дескриптивистским и эмпирическим исследованиям, которые только подтверждали конечную цель создания эссенциализированного национального своеобразия и архаизированного взгляда на национальную культуру. В то время как долгосрочная преемственность албанских исследований народной культуры (kultura popullore), которые предшествовали социализму и пережили его, наряду с неоднозначным отношением к антропологии, отмечается в других работах, в данной статье мы более детальным образом рассмотрим незначительные изменения и новшества, наблюдавшиеся в течение десятилетий коммунистического режима в Албании. Мы стремимся выяснить, как традиционные этнографо-­фольклорные исследования народной культуры, проводимые в обстановке интеллектуальной изоляции и запятнанные связью с морализаторской и националистической идеологией, использовались на службе идеологических нужд и государственной политики для обеспечения культурной гегемонии коммунистического режима.

International audience; This paper describes an innovative method, and related equipment, developed by the authors to monitor non-invasively historic panel paintings under museum display conditions. This method permits in-depth knowledge about such artworks, allowing us to understand their reactions to climatic variations, and pro- vides objective data on which conservation decisions can be confidently based, since the data are directly obtained from the individual artwork. Since 2004, following the invitation from the Louvre Museum and the C2RMF (National Centre for Research and Restoration of French Museums), the wooden panel on which Leonardo da Vinci painted his Mona Lisa has been studied by an international research team of wood technologists and engineers, including researchers from French and Italian universities and related scientific institutions (Montpellier, Clermont Auvergne, Poitiers, Florence), to understand its mechanical, hygroscopic and shape characteristics and behaviour, to evaluate its present state, and to provide sug- gestions for optimizing its conservation conditions. Non-invasive methods and equipment were therefore devised and implemented to measure (during the annual opening day of its display case) and automat- ically monitor (during the time the display case remains closed) both the deformations that the panel undergoes (mainly produced by the inevitable small climatic fluctuations within the case) and the con- straining forces acting on the panel itself. The method and the related equipment, improved over the years, are based on miniature load cells and displacement transducers, whose outputs are automatically logged at desired time intervals, typically ranging between 30 min for monitoring during the whole year, and a few seconds for manual measurements, calibrations, and other selected events; the stored data can be downloaded both through a cable connection and wirelessly, by means of a specially developed con- nection apparatus. The panel is confined in a climate-controlled display case, which typically is opened only for a few hours once a year. Additionally, close restrictions must be respected, including absolute non-invasiveness, non-interference with the enjoyment of the artwork by the public, and compliance with strict procedures for safe and secure conservation. The implementation of this method has provided significant information about the actual behaviour of the panel during the whole year. Comparing several annual force-deformation curves, their good linearity suggests that no unacceptable stress or deformation has taken place in it, showing that the climatic conditions (air temperature and relative humidity) main- tained in the display case can be considered favourable to the conservation of the artwork. Moreover, based on the collected data, reliable Finite Element Method (FEM) models are being developed and cali- brated, with the aim of describing the mechanical behaviour of the panel and virtually evaluating the risk of damage (including the propagation of an ancient crack) deriving from external conditions or actions to which it would be unthinkable to submit the original historic artwork.

International audience; The poster provides a first overview of the wall ornaments uncovered during the recent archaeological excavations at Ostia Antica (September 2022). The research project, carried out by the University of Graz (Marcello Turci PI) in cooperation with Sapienza University of Rome (co-director Alessandra Ten), focused on a large suburban area, mostly known from geophysical surveys. They revealed the presence of monumental structures subsequently investigated through stratigraphic excavations. These consist of a large hall dating to the 3rd century AD, further flanked by an apse (Sector 1), and a complex sequence of water channels and rooms, including heated spaces (Sector 2), which can be dated from the 1st century AD onward. Both sectors yielded consistent finds, including several fragments of plasters from walls and ceilings. They constituted part of the rich decorative apparatus that characterized these rooms, alongside polychrome marble, glass paste and black and white mosaics.

This paper discusses interdisciplinary collaborative practices based on the AdA project (meaning “Affektrhetoriken des Audiovisuellen” https://projectada.github.io/) in which institutionally situated research groups from computational sciences and film studies developed approaches for the analysis of the temporal dynamics of audiovisual expressivity by bringing together a theoretically informed methodology of film analysis and computational video analysis and semantic video annotation. In an earlier publication, we already presented how co-building a Digital Humanities tool could be seen as instrumental genesis. In it we concentrated on the iterative development of a visualisation framework to highlight the need for a common language and for the consideration of time needed for collaboration.We would like to pursue the reflection on the instrumental genesis (Rabardel, 1995) of collaboration tools along the time dimension. We saw that every step of tool development for such qualitative and exploratory research requires time: may it be for tool sketching, development, testing, or documenting its usage for manual annotation.

International audience

International audience; William Robinson (1838-1935) was one of the most influential gardeners of the Victorian period. His publishing empire in particular can be considered as one of the strongest impetuses that fostered the self-definition of the British people as “a nation of gardeners”. Robinson’s journalistic work and editorial enterprises, rather than his landscape creations, have indeed contributed to the reinvention of a national tradition in the late 19th century by giving written and visual space – a voice and views – to an imagined community of gardeners. My presentation will demonstrate that garden periodicals in general, and William Robinson’s in particular, can be read as the primary locus through which a number of gardening practices, aesthetic forms and representations came to embody a national heritage. As such, gardening, gardens and landscapes emerged as an invaluable heritage to be preserved and protected.I will first explain how the diffusion of knowledge and its co-construction in gardening newspapers and magazines contributed to the creation of a sense of community among readers. I will then ponder over the notion of collective horticultural memory, which I suggest materialised in the pages of his publications, and I will explain the extent to which it appeared paradoxically attuned with modernity. Finally, I will analyse how the collection of this “garden lore” in the mass media partook in the national effort for preserving gardens and landscapes both as material, biological inheritance and cultural heritage.; William Robinson (1838-1935) est l’un des jardiniers les plus marquants de l’époque victorienne. Son empire éditorial, en particulier, peut être considéré comme l’un des facteurs ayant conduit les britanniques à s’auto-définir comme « une nation de jardiniers ». Son œuvre journalistique et ses entreprises éditoriales, bien davantage que ses créations paysagères, ont, en effet, contribué à la réinvention d’une tradition nationale dans la dernière partie du XIXe siècle en offrant un espace d’écriture et de mise en images – une voix au chapitre – à une communauté imaginée de jardiniers. Ma présentation montrera que la presse périodique dédiée au jardin, notamment celle de William Robinson, peut être lue comme le locus principal où un certain nombre de pratiques jardinières, de formes esthétiques et de représentations se rencontrent pour constituer un patrimoine national. Ainsi, le jardinage, les jardins et les paysages ont pu apparaître comme un patrimoine précieux à préserver ou à conserver.Nous expliquerons d’abord comment la diffusion du savoir et sa co-construction dans les journaux et magazines de jardinage ont contribué à la création d’un sentiment d’appartenance à une communauté chez les lecteurs. Nous nous pencherons ensuite sur la notion de mémoire horticole et hortésienne collective, qui se matérialise, selon nous, dans les pages de ces publications, et nous expliquerons dans quelle mesure celle-ci a pu être perçue comme répondant à une certaine modernité. Finalement, nous analyserons comment le recueil et la compilation de ce « garden lore » dans les médias de masse a participé à l’élan national de préservation des jardins et des paysages en tant qu’héritage matériel et biologique et patrimoine culturel.

International audience

The Venus of Milo is seen as a unique masterpiece of Greek art. However, to the great displeasure of the Greek authorities who are demanding its return, it has belonged to the French public collections since 1821. More generally, it is widely considered a European and Western heritage. And it goes without saying, its beauty is universal. But can it be Japanese? Through the examination of the reception of the Venus de Milo in Japan, the aim is to reflect on the conditions of a utopian appropriation of art works, given that, unlike texts that can be quoted, cut and mounted, paintings and statues are strongly dependant on their materiality. Against the current discourse on the dematerialization of art works, which goes hand in hand with an increasing fetishization of the originals, this article explores the path of an incorporation through practice and repetition., La Vénus de Milo est considérée comme un chef d’œuvre de l’art grec. Toutefois, au grand dam des autorités helléniques qui en demandent la restitution, elle appartient depuis 1821 aux collections publiques françaises. Plus généralement, on admettra volontiers qu’elle est européenne et occidentale. Et cela va sans dire, sa beauté est universelle. Mais peut-elle être japonaise ? À travers l’examen de la réception de la Vénus de Milo au Japon, il s’agira de réfléchir aux conditions d’une appropriation utopique des œuvres d’art plastiques, étant entendu que, contrairement aux textes qui peuvent être cités, tronqués, réédités, tableaux et statues sont puissamment assujettis à leur matérialité. À rebours des discours actuels sur la dématérialisation des œuvres, qui va de pair avec une fétichisation croissante des originaux, cet article explore le chemin d’une incorporation par l’usage et le refaire., ミロのヴィーナスは、ギリシャ美術の最高傑作と言われている。しかし、返還を求めるギリシャ政府の大いなる不興を買ったにもかかわらず、1821年以来、フランスの公的コレクションに所蔵されている。より一般的には、それがヨーロッパ的、西洋的であることは容易に認められよう。そして、言うまでもないが、その美しさは普遍的だ。ところで、ミロのヴィーナスは日本的なものといえるだろうか。引用やカットが可能なテキストとは異なり、絵画や彫像はその物質性に強く支配されていることから、日本におけるミロのヴィーナスの受容を通じて、芸術作品の自由な流用の条件について考察する。芸術作品の脱物質化をめぐる言説は、オリジナルのフェティッシュ化とともに進んでいるが、本稿では、実践と再制作による取り込みの道筋を探る。

Pour une publication sur Épisciences., Following the example of Germany and after 1870s, plaster casts of ancient art are subject to a “cultural transfer” in France and in Italy. This kind of process reflects the birth of archaeology as a science; it is aligned to a specific change in higher education and it allows a nation building / re-building (by referring to Italian and French examples). In addition, the consolidating nation process is based on a cultural mechanism caused by globalization, i.e. “inventing tradition”. The “myth of white Greece” or that of “Romanity” can be taken into account in order to justify the destruction of plaster casts of ancient art., À l’instar de l’Allemagne et à partir des années 1870, le moulage d’art antique fait l’objet d’un véritable « transfert culturel » en France et en Italie. Ce processus qui témoigne de l’émergence de l’archéologie en tant que science, s’insère dans le cadre plus vaste d’une modification de l’enseignement supérieur et d’une construction (dans le cas de l’Italie) ou d’un redressement de la nation (en France). Cependant, le processus de consolidation de l’État-nation se fonde sur un autre mécanisme culturel engendré par la mondialisation‑globalisation, à savoir l’« invention de la tradition ». Tels sont les cas notamment du « mythe de la Grèce blanche » ou de celui de la « Romanité » qui peuvent offrir des arguments suffisants pour justifier la destruction des collections de moulages d’art antique., Sul modello della Germania e a partire dagli anni ’70 del XIX sec. il calco di arte antica è oggetto di un vero e proprio «transfert culturale» in Francia e in Italia. In particolare, tale transfert segna la nascita dell’archeologia come scienza e s’inserisce nel quadro più ampio di una modifica dell’insegnamento superiore e di una (ri)costruzione della nazione (rispettivamente in Italia e in Francia). Inoltre, il processo di consolidamento dello Stato-nazione si basa su un secondo meccanismo culturale causato dalla mondializzazione‑globalizzazione, ovvero l’«invenzione della tradizione». Un esempio è dato soprattutto dal «mito della Grecia bianca» e da quello della «Romanità» che possono offrire degli argomenti sufficienti a giustificare la distruzione delle collezioni di calchi di arte antica.

Has the inauguration of the first Ainu National Museum in Japan in 2020, which follows the recognition of their indigenous status in 2019, redefined the actors at play in discussing Ainu history? The study of this new museum will serve as a case study to analyse the elaboration of discourses defining Self and Other, as well as the relationship between those who produce knowledge about the Ainu and the Ainu themselves., L’inauguration en 2020 au Japon du premier Musée national aïnou, qui fait suite à la reconnaissance officielle de leur autochtonie en 2019, a-t-il rebattu les cartes de ceux qui ont voix au chapitre ? L’étude de ce nouveau musée sera l’occasion de revenir sur la construction des discours portés sur l’Autre et sur Soi et les rapports entretenus entre les producteurs de savoir et les personnes sur qui portaient et qui portent aujourd’hui ce savoir.

International audience

International audience; Apollon est indéniablement l’une des figures mythologiques les plus connues à ce jour. S’il incarne désormais surtout un idéal de beauté, le dieu olympien se révèle très polysémique. La pluralité des récits auxquels il prend part et sa personnalité complexe inspirent, depuis l’Antiquité, tant les artistes et les philosophes que les puissants. Ses mille visages ont permis au dieu de survivre à l’épreuve des siècles et continuent de nourrir l’imaginaire collectif.Publié à l’occasion de l’exposition organisée en 2023 au musée Juliobona pour célébrer les 200 ans de la découverte de l’Apollon de Lillebonne, cet ouvrage offre un portrait riche et nuancé de la divinité sous l’angle de la réception de l’Antiquité. Joignant histoire des images et histoire des idées, le regard de spécialistes de chaque période et d’artistes en activité dévoile les usages multiples de la figure apollinienne, dans l’épaisseur du temps.

Webinaire Médici/Repères

Drawing on the contributions to this special issue, this article offers a synthetic description of the principles of ownership, sharing, and reward that guide and stimulate the creative practices of contemporary dance. Irish traditional music is also considered. The article aims to contextualize creative practices within a series of concerns around the protection and perpetuation of valuable cultural and artistic practices. This contextualization establishes the relevance and interest of the contemporary dance for other domains and attends to the contemporary conditions of cultural production, including those of intellectual property law, commercialization, and community/commons formation. I show how this work offers an illuminating model of social process in which value created in common is linked – through reputation, attribution, recognition, and innovation – to people, without private property becoming the dominant mode of ownership.

In this article, I examine early religious literature in the Albanian language in the seventeenth and eighteenth centuries, which, in combination with ecclesiastical rivalries and a differential opposition to Ottoman rule, must have promoted an inherent cultural process of differentiation, especially between Greek-speaking and Albanian-speaking Orthodox Christians. In particular, I argue that the contradicting motivations of political contradistinction, Enlightenment propagation, Orthodox evangelism, ecclesiastical confrontation, and missionary counteraction lead inadvertently to a boundary work of the social reorganization of linguistic and cultural difference.

International audience; Egyptian blue and green are among the oldest synthetic pigments produced by humanity. The two pigments are complex multi-phase copper-based systems synthesised with different protocols from the same raw materials. Since the 2000s, synchrotron X-ray techniques have provided significant new insights on their chemistry and microstructure. However, the potential impact of high flux irradiation of these pigments has not yet been studied despite the fact that it can lead to visual discoloration and less readily observable alterations such as defects formation or redox changes. In this work, we investigate the effects of synchrotron X-ray irradiation on Egyptian blue and green samples. Radiation-induced effects are monitored after irradiation at increasing doses using electron paramagnetic resonance (EPR) spectroscopy at temperatures of 290 K and 30 K. The cupric ion (Cu2+) is in D4h axial geometry in Egyptian blue and in disordered geometry in Egyptian green, which makes the two pigments very easily identifiable by EPR. Egyptian green samples are found to be much more sensitive to X-rays than Egyptian blue. In particular, a browning of the green samples is observed from the lowest doses tested while no color change is detected for the blue ones. Three types of radiation-induced defects are detected after irradiation: E′, non-bonding oxygen hole and aluminum hole centers. Correlations between defect intensity and dose are calculated. Archaeological and modern pigments (whether blue or green) do not show the same reactivity to X-rays, which opens the prospect of using radiation-induced defects as a marker of their history.

Journal of analytical atomic spectrometry 37(1), 114 - 129 (2022). doi:10.1039/D1JA00271F, Redox processes activated by environmental factors have been identified as the main cause of the chromatic alterations of a number of artists' pigments, including the yellow pigment orpiment (As$_2$S$_3$). Although a general comprehension of the mechanisms has been provided through characterization of degradation compounds of As$_2$S$_3$, experimental evidences to prove how other paint components and how different environmental agents influence the formation pathways of specific secondary compounds are still lacking. Thus, it becomes fundamental to develop a methodological strategy which enable achieving a discrimination among the causes affecting the chemical stability of more heterogenous As$_2$S$_3$-based paints and defining the mechanism through which the alteration establishes and evolves, with the ultimate goal of optimizing the preventive conservation measures of unique masterpieces. In this paper, we propose a comprehensive multi-material and multi-method approach based on the combination of synchrotron radiation X-ray micro-analytical techniques (i.e., X-ray diffraction, X-ray fluorescence and X-ray absorption near edge structure spectroscopy at S K-/Ag L$_3$-/As K-edges) and vibrational micro-spectroscopy methods to unveil the causes and mechanism of darkening of ���fake-gilded��� decorations in tempera paintings, originally consisting of an unusual mixture of A$_2$S$_3$ and metallic silver (Ag$^0$). Such degradation process is a not yet understood phenomenon threatening a series of Old Master paintings, including those by the Italian painters Cimabue and Pietro Lorenzetti. The high specificity, sensitivity and lateral resolution of the employed analytical methods allowed providing first-time evidence for the presence of black acanthite ($��$-Ag$_2$S), mimetite [Pb$_5$(AsO$_4$)$_3$Cl] and syngenite [K$_2$Ca(SO$_4$)$_2$��H$_2$O] as degradation products of the ���fake-gilded��� decorations in the Maest�� by Cimabue (Church of Santa Maria dei Servi, Bologna, Italy). Furthermore, the study of the painting combined with that of tempera paint mock-ups permitted to explore and define the environmental agents and internal factors causing the darkening, by proving that: (i) Ag$^0$ and moisture are key-factors for triggering the transformation of As$_2$S$_3$ to $��$-Ag$_2$S and As-oxides; (ii) S$^2$--ions arising from the degradation of A$_2$S$_3$ are the main responsible for the formation of $��$-Ag$_2$S; (iii) light exposure strengthens the tendency of the paint components towards alteration. Based on our findings, we finally propose a degradation mechanism of As$_2$S$_3$/Ag$^0$-based tempera paints., Published by ChemSoc, Cambridge

International audience; Ion beam analysis plays an important role in cultural heritage (CH) studies as it offers a combination of simultaneous and complementary analytical techniques (PIXE/PIGE/RBS) and spatially resolved mapping functions. Despite being considered non-destructive, the potential risk of beam-induced modifications during analysis is increasingly discussed. This work focuses on the impact of proton beams on parchment, present in our CH in form of unique historical manuscripts. Parchment is one of the organic, protein-based CH materials believed to be the most susceptible to radiation-induced changes. Various modification patterns, observed on parchment cross-sections by optical and electron microscopy are reported: discoloration (yellowing), formation of cavities and denaturation of collagen fibers. Considerable modifications were detected up to 100 µm deep into the sample for beam fluences of 4 µC/cm 2 and higher. The presence of ultramarine paint on the parchment surface appears to increase the harmful effects of proton radiation. Based on our results, a maximum radiation dose of 0.5 µC/cm 2 can be considered as ‘safe boundary’ for 2.3 MeV PIXE analysis of parchment under the applied conditions.; L'analyse par faisceau d'ions joue un rôle important dans les études du patrimoine culturel (CH) car elle offre une combinaison de techniques analytiques simultanées et complémentaires (PIXE/PIGE/RBS) et de fonctions de cartographie résolues spatialement. Bien qu'il soit considéré comme non destructif, le risque potentiel de modifications induites par le faisceau lors de l'analyse est de plus en plus discuté. Ce travail porte sur l'impact des faisceaux de protons sur le parchemin, présent dans notre CH sous forme de manuscrits historiques uniques. Le parchemin est l'un des matériaux CH organiques à base de protéines que l'on pense être les plus sensibles aux changements induits par les rayonnements. Divers effets de modification, observés sur des coupes transversales de parchemin par microscopie optique et électronique sont rapportés : décoloration (jaunissement), formation de cavités et dénaturation des fibres de collagène. Des modifications considérables ont été détectées jusqu'à 100 µm de profondeur dans l'échantillon pour des doses de 4 µC/cm 2 et plus. La présence d'une couche picturale à base d'outremer sur la surface du parchemin semble augmenter les effets nocifs du rayonnement protonique. Sur la base de nos résultats, une dose de rayonnement maximale de 0,5 µC/cm 2 peut être considérée comme une « limite de sécurité » pour l'analyse PIXE de 2,3 MeV du parchemin dans les conditions appliquées.

À l’heure où les musées effectuent leur conversion numérique, entraînant la délocalisation depuis le monde physique vers la sphère virtuelle, tant de leurs salles d’exposition que de leurs collections, le Centro de Cultura Digital de Mexico présente, lui, une situation inverse. Ouvert au public depuis 2012, ce centre culturel situé en plein cœur de la capitale mexicaine se lance un double défi : accueillir dans un espace hybride, à la fois physique et virtuel, une initiative pionnière dans la région, pour penser la culture numérique depuis une perspective institutionnelle. Dix ans après son inauguration, nous nous proposons d’étudier les fondements et les résultats de cette tentative de relocalisation. While museums are experiencing their digital conversion, leading to the delocalization from the physical world to the ciberspace of their exhibition halls and their collections, the Centro de Cultura Digital in Mexico presents the opposite situation. Open to the public since 2012, this cultural center located in the heart of the Mexican capital sets itself a double challenge: to host in a hybrid space, both physical and virtual, a pioneering initiative in the region, to think about digital culture from an institutional perspective. Ten years after its inauguration, we propose to study the causes and results of this attempt at relocation.

International audience

International audience

International audience; Aeronautics for military or civil applications effectively pushed scientists, engineers and industrial leaders to invent and produce increasingly efficient materials. Aluminium alloys are among the most important strategic materials used in aircraft manufacturing. Consequently, so are the protective coatings (primers and paints). After decades of burial, World War II (WWII) wrecks provide a tremendous amount of archaeological information on this period of intense technological research. In this article, the original protective coatings of ten samples collected on WWII wrecks and one collection aircraft were studied. Information was retrieved thanks to a multi-techniques approach: SEM-EDS, Raman spectroscopy and XRD to identify the nature of the mineral compounds (fillers and pigments) and FTIR, Py-GC-MS and NMR to identify the organic binders of the paints and primers. This information will help conserve this valuable 20 th century Industrial Heritage.

International audience

International audience; What is aşure? This porridge is sold all year round at muhallebici (dessert vendors) but is usually only prepared individually at home and distributed to neighbours from 10 Muharrem, the first month of the year in the Muslim lunar calendar, the date of which varies every year. The number of ingredients is important, at least seven, even twelve, but it is not fixed. But if there’s a lot of them, it's welcome. The main ingredients are whole wheat, rice, dried beans, chickpeas, dried fruit (figs, apricots, raisins, walnuts, almonds). While the ingredients vary by region, the "urban" version is relatively standardised. Commemorating the tragedy of Kerbela (Ashura) as well as the flood and Noah's Ark, this dish is made and eaten by both Sunni Muslims and Alevis (a heterodox religious minority, close to Shi'ism). There is also a similar version among Armenians (called Anouch abour, literally "sweet soup") offered in winter between 25 December and 6 January. In addition, the Ottoman Palace and Sufi centres used to distribute it in the past, and this practice is again being promoted by some centers. The mediatised distributions of aşure by politicians in recent years also underline its symbolic character. Abundance, generosity, giving: these are all characteristics that are immediately put forward when the subject is discussed. But inevitably, the reasons for making it are also given and, just as the number of foodstuffs varies from one interviewee to another, these reasons are not totally fixed either. In other words, everyone agrees on the importance of this dish and on the fact that it constitutes a fertile symbolic support, but the meaning attributed to it changes. Thus, at the hinge between the social, the imaginary and the religious, it concentrates a large number of signifiers that we will try to unravel here with the help of socio-anthropological and semiotic approaches. We will try to show how this emblematic dish with multiple signifiers is used for various purposes, which make it a sign.; Qu’est-ce que l’aşure ? Cette bouillie est vendue toute l’année chez les muhallebici (vendeurs d’entremets) mais n’est généralement préparée individuellement chez soi et distribuée aux voisins qu’à partir du 10 Muharrem, premier mois de l’année du calendrier lunaire musulman, dont la date varie tous les ans. Le nombre de ses ingrédients est important, sept au minimum, voire douze pour certains, sans qu’il soit fixe. Mais s’il y en a beaucoup, c’est bien vu. Les principaux ingrédients sont le blé entier, le riz, des légumineuses (haricots secs, pois chiches), des fruits secs (figues, abricots, raisins, noix, amandes). Si les ingrédients varient selon la région, la version « urbaine » est relativement standardisée. Commémorant tant le drame de Kerbela (Achoura) que le déluge et l’Arche de Noé, ce plat est confectionné et consommé à la fois par les musulmans sunnites et les alevis (minorité religieuse hétérodoxe, proche du chi’isme). Il existe également une version semblable chez les Arméniens (dénommée anouch abour, littéralement « soupe douce ») offerte en hiver entre le 25 décembre et le 6 janvier. Par ailleurs, le Palais ottoman et les centres soufis en distribuaient autrefois et cette pratique est de nouveau mise en avant par certaines confréries. Les distributions médiatisées de l’aşure par les politiques ces dernières années en soulignent également le caractère symbolique. L’abondance, la générosité, le don : ce sont toutes ces caractéristiques qui sont immédiatement mises en avant lorsque le sujet est abordé. Mais immanquablement également, les raisons de sa confection sont données et, tout comme le nombre d’aliment varie d’un interlocuteur à l’autre, ces raisons ne sont pas non plus totalement fixes. Autrement dit, chacun s’accorde sur l’importance de ce plat et sur le fait qu’il constitue un support symbolique fécond, mais le sens qui lui est attribué change. Ainsi, à la charnière entre le social, l’imaginaire et le religieux, concentre-t-il un grand nombre de signifiants que nous allons essayer ici de démêler en nous aidant des approches socio-anthropologiques et sémiotiques. Nous tenterons de montrer comment ce plat emblématique aux signifiants multiples est utilisé à des fins diverses qui en font bien un signe.

International audience

Cette note de recherche en cours examine les tensions entre les instances politiques et les institutions littéraires à l’origine du processus de patrimonialisation de la littérature camerounaise des années 1950 à 1980. Par patrimonialisation du fait littéraire au Cameroun, on entend les modes de formation des classiques étudiés sous deux points de vue : d’une part la consécration des œuvres et leur pérennisation dans le paysage littéraire, et d’autre part les imaginaires autour des auteurs qu...

La postérité de l’écrivain franco-suisse Robert Pinget (1919-1997) se partage entre différents lieux de mémoire des institutions (bibliothèques, musées, services d’archives, etc.) et des espaces géographiques (Paris et province, pays étrangers). Pinget est un auteur qui a fait carrière en France. Il est né à Genève et, après avoir fait des études de droit pour devenir avocat, est parti à Paris après la Seconde Guerre mondiale pour étudier à l’École nationale supérieure des beaux-arts. N’ayant...

International audience

The aim of this special issue is the investigation and contextualization of specific arts practices for what they can show us about the transmission and ownership of knowledge. Our authors make explicit the modes of sharing that are part of the creative process in contemporary dance and in Irish traditional music and examine the principles of transmission and social mores that allow ideas to move between practitioners. This introduction sets out some context for the issue and our approach, which is to work alongside practitioners to understand and reveal the social principles and expectations of ownership that are part of the process of producing these art forms.

Sucre es una ciudad boliviana poco conocida en comparación con La Paz o Santa Cruz. Sin embargo, es todavía la capital constitucional de Bolivia con la sede del poder judicial, y tuvo los poderes ejecutivo y legislativo hasta 1899, que pasó a La Paz. Desde su fundación en 1538, fue nombrada Charcas, La Plata, Chuquisaca y finalmente Sucre, desde 1839 (en honor al prócer Antonio José Sucre “Gran Mariscal de Ayacucho”). La importancia política e histórica de Sucre explica la relevancia de sus a...

Les dynamiques territoriales des époques socialistes et post-socialistes ont affecté les productions halieutiques. Une forte transition du secteur de la pêche vers celui de l’aquaculture s’est opérée et se poursuit aujourd’hui. Cette transformation est à la fois subie, issue de dérèglements environnementaux, mais aussi recherchée dans un cadre socio-économique. Nous prenons en exemple trois régions où le secteur pêche-aquaculture a encore une forte place localement : le Land du Mecklenburg-Vorpommern, le Golfe de Riga et le raïon de Neftçala. Les processus d’adaptations engagés, similaires, laissent apparaître une volonté semblable de parvenir à des solutions adaptatives. The territorial dynamics of the socialist and post-socialist eras have affected fisheries production. A strong transition from fishing to aquaculture has taken place and continues today. This transformation is both undergone, as a result of environmental disturbances, but also sought in a socio-economic framework. We take as an example three regions where the fishing-aquaculture sector still has a strong place locally: the Land of Mecklenburg-Vorpommern, the Gulf of Riga and the raion of Neftçala. The similar processes of adaptation show a similar willingness to achieve adaptive solutions. Territorial dynamics, fisheries, aquaculture, socio-economy, innovative solutions

National audience; Présentation du site Web "Mythes et images au Cabinet des médailles" et de ses fonctionnalités (http://cabmedlimc.humanum.fr), réalisé avec le cms Omeka. Ce site propose un historique de la collection et des expositions virtuelles thématiques (Héraklès/ Hercule ; les êtres hybrides ; l'exposition photo "un photographe au musée") consacrées aux objets figurés antiques relevant de l'Antiquité classique (cultures grecque, étrusque et romaine) conservés dans les collections d'antiques du Musée de la Bibliothèque nationale de France/BnF (traditionnellement appelées le "Cabinet des médailles"). Le poster présente notamment la diversité des objets (bronzes, céramiques, gemmes gravées, bijoux, etc.), des accès et des modes de présentations visuelles (images 2D, 3D, panorama, vidéo). Il précise aussi les choix techniques et les extensions utilisées.

Cette synthèse a été réalisée pour l’École de la médiation afin de nourrir les pratiques et réflexions des professionnel·les de la médiation culturelle et scientifique.Elle a été rédigée par Clémence Perronnet, sociologue, chercheuse à l’Agence Phare. Ses travaux de recherche portent sur la culture scientifique et les rapports aux sciences ; elle est l’autrice de La bosse des maths n’existe pas (Autrement, 2021). Liste des publications sur HAL : CVIntroductionPartie 1 – Choisir ses motsPartie 2 – Une affaire de personnesPartie 3 – Des outils pour penser et agirPartie 4 – Passer à la pratiquePartie 5 – Pour que l’inclusion ne soit pas illusionConclusion – Faire le premier pas

Les objets des îles du Pacifique acquis dans des contextes coloniaux et conservés dans des collections publiques sont de plus en plus au cœur de demandes de restitution de la part des populations de leurs territoires d’origine. Ces demandes émanent tant d’États que de communautés autochtones et concernent des artefacts, des restes humains ainsi que de la documentation et des archives relatives à ces objets. Développer une plus grande transparence autour des collections est devenu un enjeu imp...

International audience; L'ouvrage fait suite au colloque international tenu en 2021 à Avignon, lors de la célébration des 25 ans de l’inscription du centre historique de la ville sur la Liste du patrimoine mondial de l’UNESCO. Il interroge les relations au patrimoine que les habitants des villes inscrites sur cette liste entretiennent dans leurs pratiques ordinaires, à partir d’études de cas (Chili, France, Avignon). Les contributions discutent des enjeux liés au fait d’habiter le patrimoine urbain, qu’il s’agisse des statuts pluriels des habitants ou des choix de fréquentation de lieux caractéristiques (places, commerces, rues, quartiers). Ces pratiques journalières ancrent les résidents dans des habitudes, des comportements, des sociabilités et des attachements offrant un terrain d’enquête polymorphe aux chercheurs en sciences humaines et sociales et aux professionnels du patrimoine.

Au sein du Muséum national d’histoire naturelle de Paris, les assistants naturalistes formaient une classe particulière au XIXe siècle. Ces employés produisaient une grande partie des collections de l’institution, contribuaient activement aux travaux des professeurs, et participaient même parfois à leur renommée. Néanmoins, ces assistants étaient plongés dans l’ombre des scientifiques, à tel point que nombre d’entre eux ont complètement disparu de la mémoire du Muséum. Dans certains cas, notamment pour les moulages d’après le vivant, leur travail est même attribué à de grandes personnalités, souvent à des professeurs. Les assistants naturalistes semblent historiographiquement peu étudiés; pourtant l’examen de ces employés à travers leurs productions matérielles permettrait de mieux comprendre l’histoire du Muséum et le développement de ses chaires. The Scientific Patrimony of the Invisibles: a Reconsideration of the Little Hands in the Service of Comparative Anatomy at the Muséum de Paris Within the Muséum national d’histoire naturelle of Paris, the assistant naturalists of the 19th century formed a particular class. These employees produced a large part of the institution’s collections, actively contributed to the work of the professors, and sometimes even participated in their renown. Nevertheless, these assistants were engulfed in the shadows of the scientists, to such an extent that many of them have completely disappeared from the memory of the Museum. In some cases, especially for life casts, their work is even attributed to the great personalities, often to professors. Assistant naturalists appear to be under–studied; yet the examination of these employees through their material productions would allow a better understanding of the Museum’s history and the development of its departments.

A fragmentary large chlorite vessel of the Halil Rud valley civilization (Kerman, Iran, mid third millennium bc), found in unknown circumstances and recently recovered by the police forces of Iran, is discussed in the wider scenario of coeval animal iconographies of middle and southwest Asia. Beginning from the imagery carved in the two superimposed friezes of the reassembled fragments, we review the different theoretical approaches in interpretation of similar animal iconography. The figuration of the vessel is interpreted as a scene of the scavenging of bovine carcasses by three different animal actors: lions and birds of prey/vultures, but also hyenas—a subject previously unknown in the art of the reference regions. Following a review of the interrelations of these species in scavenging and with humans, particularly in the coeval context of domestic animal exploitation and developing urban settlement, we investigate the potential semantic implications of the iconography in terms of the symbolism and ideology in the social context.

International audience; This article focuses on the changes affecting the territory of the marsh of the Grande Brière Mottière’s marsh territory, the second largest wetland in France, located North of the Loire estuary. Within this undivided marsh, the Brière community adapts as best it can to different mutations affecting the marsh social-ecological system. With the help of an ethnohistorical field survey and a geographical work, this text documents the adaptation strategies and changes in relations and uses to the marsh maintained by the local community.; Cet article s’intéresse aux changements affectant le territoire de la Grande Brière Mottière, deuxième zone humide de France par sa taille, située au nord de l’estuaire de la Loire. Au sein de ce marais indivis, la communauté briéronne s’adapte tant bien que mal à différentes mutations affectant le socio-écosystème palustre. Aidé par une enquête de terrain ethno-historique et géographique, ce texte documente les stratégies d’adaptations et les mutations des usages et rapports au marais entretenus par la communauté locale.

International audience

International audience

International audience; The Great Umayyad Mosque of Damascus built between about 706 and 714/15 CE is the oldest surviving mosque that still preserves large parts of its original architecture and decoration. The origins of the mosaic tesserae have been the subject of debate for more than a thousand years. The earliest sources written two centuries after the construction of the edifice claim a Byzantine origin of both, the material as well as the craftsmen. Here we use the compositional analyses of nearly 1,000 glass tesserae to show that 65% of the samples (80% of the coloured tesserae) from the mosque have a consistent chemistry and, by inference, originate from a common geographical source. Comparison with chemical data of early Islamic glass groups conclusively identifies Egypt as the origin of these tesserae and demonstrates that they are coeval with the foundation of the mosque. Additionally, the compositional features of the gold leaf tesserae testify to the systematic recycling and reuse of older material. Our findings suggest that the manufacture and supply of glass tesserae for the Great Mosque was a direct commission from the highest echelons of government.

Il s'agit de la traduction du poster scientifique "Planétariums numériques : environnements virtuels, fiction et médiation humaine" disponible sur HAL https://hal.archives-ouvertes.fr/hal-03827504; International audience