Papers by Alessandra Cilio
The relationship between archaeologists and architects dealing in cultural heritage is not always... more The relationship between archaeologists and architects dealing in cultural heritage is not always idyllic. It can be complex, tense and sometimes, even hostile with each discipline being characterized by seemingly incompatible principles and criteria. The issue is part of a wide and heated debate focusing on the preservation and enhancement of archaeological heritage, using this term both for ancient buildings and areas subjected to the excavation activities of archaeologists. The recent increase in conferences, study days and publications demonstrates the attention that professionals are paying to this problem 1 . There seems to be a desire to find the meeting point where profound reflection can occur with respect to the meaning of the work of archaeologists and architects regarding the protection, enhancement and communication of historical places. The Intensive Programme 'Archaeology's places and contemporary uses' appears strictly related to this topic. Students belonging to faculties of Architecture and Archaeology coming from Italy, Spain and The United Kingdom have been involved in the creation of temporary shelters for archaeological sites in the Triveneto region. During the first days they were arranged into mixed groups, awakening them to the many differences imposed by university education, culture, outlook and modus operandi which they were expected to overcome in order to fulfil project requirements to a certain degree of quality. Specific areas of X Regio Augustea were selected to highlight the different needs and priorities required by each different site. The groups had to analyse aspects such as the history of the area, its relationship with the environment, protection from natural and human elements and, last but not least, its improvement. The result was a tense dialogue with no-holds barred: tension, friction, ideas merging and clashing in a practical demonstration of the importance of collaboration among differing professionals. As the archaeologists' tutor for this edition as well as the previous one I pondered at length the potential impact that an experiment like this could have on the growth of young archaeologists and designers who wanted to practice in the field of archaeological heritage. It constituted an occasion for a strict analysis of ethical and social responsibilities, strengths and weaknesses that characterize both of the disciplines. It wasn't easy. Let's face it: we think in dissimilar ways and view problems from dissimilar perspectives. Not even languages are the same. An example which is more significant than it may at first appear is the use of the term 'ruins' commonly used by architects as opposed to 'archaeological evidence' preferred by archaeologists. Clearly synonyms, but even in this case the students seemed to want to distinguish the same notion into different streams of thought. For students of Architecture the term 'ruins', rather than evoke Houel, Goethe or Maupassant's romantic vision, it emphasized their decay. Ruins reach the present through a series of passages that have eroded its original form thus representing fragments of an intangible past but creating a new entity at the same time: a sort of Chimera. Although mysterious and fascinating, ruins for them remained unrelated to contemporary reality, frozen in their timeless dimension. Creating a link between the old and the new was often the young architects' conceptual premise. They gave fundamental value to the redevelopment of the ruins, resurrected only through the creative impulse of their work.
'Archaeology’s places and contemporary uses'. An archaeologist’s perspective
From 'brand-lands' to 'invisible places'. Remarks about public perception of archaeology's places in Sicily, in M. VANORE (edited by) Archaeology’s places and contemporary uses. Erasmus Intensive Programme 2011/2012, design workshop, 2012
Talks by Alessandra Cilio
Comunicare per immagini: l'esperienza del documentario archeologico
Che l’archeologia sia un bene della collettività è noto a tutti. Eppure a lungo, in Italia, i ris... more Che l’archeologia sia un bene della collettività è noto a tutti. Eppure a lungo, in Italia, i risultati della ricerca archeologica sono stati appannaggio pressoché esclusivo della comunità scientifica, escludendo così quella fetta di popolazione che, per formazione e livello di istruzione, difficilmente poteva essere resa partecipe di vicende storiche e scoperte, a causa della complessità delle argomentazioni, peraltro caratterizzate da un linguaggio intriso di tecnicismi.
Una rinnovata sensibilità ha portato gli studiosi del mondo antico a riconoscere, recentemente, l’importanza di un diretto coinvolgimento da parte della collettività, accrescendone l’interesse verso chi opera attivamente sul campo e sensibilizzando l’opinione pubblica alla difesa del Patrimonio Culturale dall’abbandono e dalla incuria.
Di fronte a questa esigenza, la scelta del prodotto audiovisivo come strumento di trasmissione dei contenuti archeologici si rivela particolarmente efficace: il documentario coniuga una pluralità di codici che, se correttamente adoperati, possono coinvolgere, emozionare e contemporaneamente istruire lo spettatore.
Dedicarsi attivamente al cinema archeologico rappresenta per l’archeologo una sfida, oltre che una sorta di “ripensamento” della propria professione: significa abbandonare il linguaggio scientifico per adottarne uno più semplice e immediato, operare una selezione degli argomenti da trattare, avendo sempre in mente il tipo di utenza a cui è indirizzato il film. Allo stesso tempo vuol dire collaborare in piena flessibilità con professionisti del settore cinematografico, di cui è indispensabile conoscere i linguaggi e i mezzi.
Questa proposta nasce dall’esperienza maturata da chi scrive nella realizzazione di film archeologici, in collaborazione con la Fine Art Produzioni e gli studenti della Scuola di Specializzazione in Archeologia Classica di Catania. Attraverso l’analisi dei video prodotti dal 2006 ad oggi, verranno indagati gli obiettivi e le finalità, ma anche le difficoltà e le conseguenti soluzioni adottate in corso d’opera che hanno contribuito in maniera significativa alla creazione di uno specifico modus operandi, frutto di un intenso lavoro sinergico tra soggetti afferenti a varie discipline.
Trapeza. A computer approach to the study of domestic pottery in Greek Sicily
The production of domestic pottery in Greek Sicily has been a neglected field of research for a l... more The production of domestic pottery in Greek Sicily has been a neglected field of research for a long time.
Absence of decoration, simplicity and permanence of shapes over the centuries are some of the causes that have often deterred a systematic study of these artifacts. As a consequence, specific publications on the subject, catalogs with detailed descriptions and drawings are rare, although these finds are very well-represented in any archaeological context.
Recently a growing interest about various aspects of material culture highlighted the necessity both to fill this lack of knowledge and define precisely a method of research in order to classify domestic ceramics in a reliable and “open” way. Achieving these goals is possible only adopting a different approach and different instruments.
Trapeza is a relational database created in Microsoft Access 2007 in order to help in collecting, management and interpretation of data inferable from domestic pottery produced in Sicily from Archaic to Hellenistic period. Digital archives allow to insert new data and investigate a large amount of information in a functional way, through navigation paths and research forms.
Trapeza attempts to be a meeting point between the computer science and archaeological research, displaying the contribution that new technologies can give to “traditional school”.
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Papers by Alessandra Cilio
Talks by Alessandra Cilio
Una rinnovata sensibilità ha portato gli studiosi del mondo antico a riconoscere, recentemente, l’importanza di un diretto coinvolgimento da parte della collettività, accrescendone l’interesse verso chi opera attivamente sul campo e sensibilizzando l’opinione pubblica alla difesa del Patrimonio Culturale dall’abbandono e dalla incuria.
Di fronte a questa esigenza, la scelta del prodotto audiovisivo come strumento di trasmissione dei contenuti archeologici si rivela particolarmente efficace: il documentario coniuga una pluralità di codici che, se correttamente adoperati, possono coinvolgere, emozionare e contemporaneamente istruire lo spettatore.
Dedicarsi attivamente al cinema archeologico rappresenta per l’archeologo una sfida, oltre che una sorta di “ripensamento” della propria professione: significa abbandonare il linguaggio scientifico per adottarne uno più semplice e immediato, operare una selezione degli argomenti da trattare, avendo sempre in mente il tipo di utenza a cui è indirizzato il film. Allo stesso tempo vuol dire collaborare in piena flessibilità con professionisti del settore cinematografico, di cui è indispensabile conoscere i linguaggi e i mezzi.
Questa proposta nasce dall’esperienza maturata da chi scrive nella realizzazione di film archeologici, in collaborazione con la Fine Art Produzioni e gli studenti della Scuola di Specializzazione in Archeologia Classica di Catania. Attraverso l’analisi dei video prodotti dal 2006 ad oggi, verranno indagati gli obiettivi e le finalità, ma anche le difficoltà e le conseguenti soluzioni adottate in corso d’opera che hanno contribuito in maniera significativa alla creazione di uno specifico modus operandi, frutto di un intenso lavoro sinergico tra soggetti afferenti a varie discipline.
Absence of decoration, simplicity and permanence of shapes over the centuries are some of the causes that have often deterred a systematic study of these artifacts. As a consequence, specific publications on the subject, catalogs with detailed descriptions and drawings are rare, although these finds are very well-represented in any archaeological context.
Recently a growing interest about various aspects of material culture highlighted the necessity both to fill this lack of knowledge and define precisely a method of research in order to classify domestic ceramics in a reliable and “open” way. Achieving these goals is possible only adopting a different approach and different instruments.
Trapeza is a relational database created in Microsoft Access 2007 in order to help in collecting, management and interpretation of data inferable from domestic pottery produced in Sicily from Archaic to Hellenistic period. Digital archives allow to insert new data and investigate a large amount of information in a functional way, through navigation paths and research forms.
Trapeza attempts to be a meeting point between the computer science and archaeological research, displaying the contribution that new technologies can give to “traditional school”.