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Within the communicative possibilities of graphics, we focus on the challenge proposed by choreographic notation. This practice combines the technical, the artistic and the semiotic in an attempt to retain the volatility of gesture. To address this choreographic relationship, we study public art pieces that rely on graphic language to reach the users of urban space. These allow us to identify which elements, common in the context of the city, are recovered from a choreographic vision to activate citizens' reflection and attention and to propose new uses for the spaces they pass through. In recent decades, dance and movement have gained a place in public space through institutional mediation. In response to this reality, we seek to understand how graphics is proposed as a mediating language between cultural spaces and the dwellers of the city.; Dentro de las posibilidades comunicativas de la gráfica, nos centramos en el desafío que propone la notación coreográfica. Esta práctica combina lo técnico, lo artístico y lo semiótico en un intento de conservar la volatilidad del gesto. Para abordar esta relación coreo-gráfica, estudiamos piezas de arte público que se apoyan en el lenguaje gráfico para llegar a los usuarios del espacio urbano. Éstas nos permiten identificar qué elementos, comunes en el contexto de la ciudad, son recuperados desde una visión coreográfica para activar la reflexión y la atención de los ciudadanos y proponerles nuevos usos para los espacios que transitan. En las últimas décadas, la danza y el movimiento han ganado un lugar en el espacio público a través de la mediación institucional. En respuesta a esta realidad, buscamos entender cómo la gráfica se ofrece como lenguaje mediador entre los espacios culturales y los habitantes de la ciudad.

The claim –attributed to Leonardo da Vinci– that “painting is mute poetry and poetry is blind painting”, authoritatively sums up the topic of this paper. Unlike literary languages, figurative visual arts draw on body language as a medium comprising expressions, postures, gestures, and signs representing gestures. Based on a conceptualization of gesticulation as a universally intelligible form of communication, we examine dictionaries of gesticulatory movements such as that developed by Bruno Munari or the choreographic projects of Virgilio Sieni, which are both rooted in the transposition of movement into images. In choreography, the act of transposing into images, conventionally signs or drawings, is termed notation and is the instrument via which artistic projects are communicated to dancers and handed down to posterity. It involves marking out an idea, knowledge, or simply a state of mind, fixing it on paper by means of a gesture. The nature of gesturing as a medium and a tool for immediate transposition underpins its valuable role in the field of education.

Arts-based approaches and languages are valuable resources for the field of education, with the potential to enhance both educational work (Zuccoli, 2020) and educational research (Biffi, Zuccoli, 2019). In educational research specifically, Arts-Based Research Methods (ABR) (Baron, Eisner, 2012; Cole, Knowles, 2008) – understood here as a range of approaches that recognize the artistic process itself as a mode of inquiry – may usefully be adopted alongside or in combination with other research methodologies. However, implementing such approaches requires specific competence in both art-based languages and research methods. In this paper, we present a project entitled the Arts-based Research-Global Classroom, a training course designed to provide PhD students and early career researchers with the knowledge and skills they need to deploy ABR methods in educational settings. The course is jointly delivered by the University of Milan-Bicocca and Drexel University, Florida. The concept is that of a learning laboratory, where students are given the opportunity to critically and reflexively discuss and evaluate perspectives, philosophical positions, and research questions that can lead to the design of collaborative research projects using art-based research methods. The course takes place over eight monthly sessions, each lasting around three hours. Part of the sessions takes the form of workshops based on artistic practices such as collage, assemblage, dance, drawing, and small group work.

En esta contribución se describe un proyecto de investigación-acción, cuyo resultado fue la produc-ción industrial de un kit (500 piezas) de interpretación del patrimonio cultural basado en la contaminación de diferentes disciplinas. El objeto de la investigación fueron los métodos de mediación e interpretación del patrimonio para activar un proceso de co-construcción con todas las partes involucradas. Los nuevos conocimientos obtenidos se convirtieron en el contenido del kit, para lograrlo fue necesario activar la cola-boración entre las disciplinas, los investigadores y los profesionales. A partir del cambio de paradigma de fruición del patrimonio que normalmente ve al objeto cultural como protagonista y a la comunidad como receptora, se mostrará que el diálogo interdisciplinar ha creado un círculo virtuoso entre la comunidad, el patrimonio y los nuevos receptores de esta acción. En particular, mostrará cómo ha habido un intercambio provechoso entre la educación corporal (expresión corporal), sonora, visual y la educación al patrimonio cultural y de los valores arquitectónicos y urbanísticos del Renacimiento.; This contribution describes an action research project, the result of which was the industrial production of a cultural heritage interpretation 500 kit based on the contamination of languages and disciplines. The object of the research was the methods of mediation and interpretation of heritage to activate a process of co-construction with all traceable stakeholders. The new traced knowledge became the contents of the kit, reaching which it was necessary to establish collaboration between disciplines, researchers and practitioners. Starting from the change in the paradigm of heritage fruition that generally sees the cultural object as a protagonist and the community as a recipient, it will be shown how interdisciplinary dialogue has created a virtuous circle between community, heritage and new recipients of fruitive action. In particular, it will show how th

Questo contributo si riferisce a due progetti realizzati nei quali il patrimonio paesaggistico, artistico e legato al design è stato oggetto di una sperimentazione volta a coinvolgere in modo attivo il pubblico, scolastico e generico. Sia in "Paesaggio culturali. Nuove forme di valorizzazione del patrimonio dalla ricerca all'azione condivisa", sia in "La Valigia intergenerazionale. Un viaggio nel design nei luoghi del progetto", questo il titolo delle due ricerche, l'aspetto materiale e concreto a contatto con le opere o immersi nei paesaggi è stato un passaggio imprescindibile che però è stato collegato costantemente alle potenzialità tecnologiche

Si tratta della presentazione del libro e della sua articolazione in tre parti: la prima dedicata ai patrimoni coinvolti dalla ricerca (Villa Carlotta, Isola Comacina, Orto Botanico di Bergamo); la seconda rivolta alla ricerca realizzata; la terza in cui autori di differenti professionalità (architetti, registi, pedagogisti, scienziati,...) hanno riflettuto sulla tematica "paesaggi culturali"

Il libro si occupa di illustrare una ricerca realizzata presso Villa Carlotta, Isola Comacina, Orto Botanico di Bergamo grazie a un finanziamento della Regione Lombardia. Il testo è suddiviso in tre parti: la presentazione dei patrimoni, la descrizione della ricerca e dei suoi risultati, il dialogo a più voci di personalità della cultura sulla tematica "paesaggi culturali".

Laboratori didattici in un museo di storia moderna. Le fonti archivistiche e iconografiche come base per la didattica.