Cultural Heritage Management

This report presents a critique of established cultural heritage practices in Western Australia, focusing on the control of the process by corporate proponents and its effects on rock art and stone arrangements. The moderating roles of scholarly societies in questions of ethics are reviewed, and the report concludes with a constructive proposal to end practices that have facilitated large-scale destruction of cultural heritage sites.

Romania has signed the World Heritage Convention in 1990. Its process of implementation was carried out along two decades, but the resulting legal framework does not grant at present the appropriate protection and management of the sites inscribed on the World Heritage List. Moreover, even if steps have been taken towards the implementation of the Convention, the compliance with it is far from being a reality. This study brings forth the fact that in the case of the serial World Heritage Site "Dacian Fortresses of the Orăștie Mountains", there is a twofold non-compliance with the Convention. First, there is a substantive non-compliance, resulting from the almost complete dereliction of the site: in the last 20 years, there was no management system and 5 of its 6 component parts have been abandoned. Secondly, there is a procedural non-compliance, resulting from the fake reporting to the World Heritage Centre, as well as from the omission of some reports. The real situation has recently surfaced, due to the intervention of the civil society, and the World Heritage Centre triggered the reactive monitoring process for this site. At the same time, the possible causes of this non-compliance have been analysed in view of identifying urgent solutions meant to re-establish the balance with respect to the Convention. The main directions of action proposed are the improvement of the legal framework and the adoption of appropriate heritage policies.

Con l’approvazione della Legge n.62 del 4 dicembre 2012 la Regione Calabria «promuove la costituzione, il riconoscimento e lo sviluppo degli ecomusei con l’obiettivo di ricostruire, testimoniare, valorizzare e accompagnare nel loro sviluppo, la memoria storica, la vita locale, la cultura materiale e immateriale e quella del paesaggio, le relazioni fra ambiente naturale ed ambiente antropizzato, le tradizioni, la ricostruzione e la trasformazione degli ambienti di vita e di lavoro delle comunità locali». La legge riconosce la tutela del patrimonio culturale ed etno-antropoligico calabrese come possibilità di sviluppo locale sostenibile.
In continuità con le direttive regionali la proposta di ecomuseo nel Basso Tirreno Reggino mira alla promozione  di tre contesti paesaggistici di grande pregio della provincia di Reggio Calabria  attraverso un sistema integrato di azioni e interventi che, a partire dal riconoscimento del patrimonio locale come risorsa, riattivi l’economia dei luoghi. I paesaggi della Vallata del Gallico, della Costa Viola e del Parco d’Aspromonte, pur coinvolti da anni in processi di salvaguardia e recupero, continuano ad essere soggetti a fenomeni inarrestabili di degrado e spopolamento. L’economia di questi territori appare fortemente compromessa dai processi industriali e di globalizzazione che hanno generato l’abbandono delle attività produttive strategiche. A livello locale, nel territorio reggino, assistiamo a fenomeni che in modo diverso si manifestano oggi in tutto il mondo, frutto dei rapidi mutamenti che destabilizzano la struttura della società, nel passaggio dall’era industriale e post-industriale a quella contemporanea, contribuendo alla riflessione su nuovi modelli sostenibili di sviluppo.
Proprio in reazione ai processi di decontestualizzazione e sradicamento che derivano dalle dinamiche di globalizzazione si assiste ad una crescente attenzione nei confronti del paesaggio e del patrimonio culturale come possibilità di ritrovare identità in un mondo omologato e standardizzato. L’ecomuseo, nel territorio calabrese, ricco di tradizioni e beni naturali, rappresenta la strategia per restituire valore agli aspetti locali, troppo spesso interpretati, erroneamente, come limiti allo sviluppo piuttosto che caratteri di pregio da salvaguardare.

Il Corpus Del Fondo Edifici Di Culto è una prestigiosa enciclopedia costituita da 4 volumi, di assoluto valore scientifico in cui saranno illustrati, attraverso delle schede e per mezzo di foto a colori di alta qualità, tutti gli edifici di culto facenti parte del patrimonio del Fondo Edifici di Culto del Ministero dell' Interno e tutto il patrimonio artistico-culturale in essi contenuti; il patrimonio del F.E.C., è costituito da oltre 730 edifici di culto di grandissimo pregio storico, architettonico, artistico e culturale, dislocati su tutto il territorio nazionale aperti al pubblico e concessi in uso gratuito all'Autorità Ecclesiastica ma gestiti dal Fondo Edifici di Culto, amministrato dalla Direzione Centrale per l' amministrazione del Fondo Edifici di Culto del Ministero dell' Interno. L' importanza dell' opera sarà messa in risalto dalla elegante veste editoriale dei 4 lussuosi volumi imperdibili per gli studiosi del settore ed i collezionisti.

Dall' introduzione di Claudio Strinati al tomo centro-sud

Questo volume ha un' importanza rilevante sia in sé sia nell' ambito del progetto generale del Fondo Edifici di Culto sulle chiese di proprietà sparse in tutta l' Italia.
Ecco una ennesima occasione prestigiosa per ribadire nel modo più semplice quel principio sempre ricordato da ogni amministratore e ogni studioso della materia ma non sempre chiarissimo alla conoscenza di ognuno di noi: l' immensità e la pregnanza del patrimonio artistico della Nazione.
Siamo tutti convinti di come tale patrimonio sia un esempio preclaro di quel concetto del bene comune che tanto giovamento ha arrecato e arreca ai progressi del vivere civile, della giurisprudenza, della gestione economico-finanziaria e della vita quotidiana. Ma quando andiamo a verificare la concreta proprietà di tale patrimonio pubblico restiamo sempre incerti sulle competenze specifiche e sulle responsabilità.
A chi appartengono le chiese? Mi è capitato spesso di rispondere a un tale quesito, sovente posto da persone di cultura e di esperienza, e ho ripetutamente notato lo stupore di chi viene correttamente informato.
È ancora vigente, infatti, nella mente di molti il luogo comune per cui le chiese apparterrebbero sostanzialmente al Vaticano, cioè alla Chiesa, e per i più esperti perlomeno dovrebbero essere proprietà dei Vicariati, che nessuno sa bene cosa siano ma se ne sente molto parlare o delle Diocesi. Non è così, ancorché non manchino certamente le proprietà facenti capo alle diverse Diocesi, ma la confusione in questo campo regna sovrana e ancora oggi molti stentano a credere che la maggior parte delle chiese monumentali di questo Paese o sono proprietà dello Stato o sono comunque sottoposte alla tutela imprescindibile delle amministrazioni pubbliche.
Sembra incredibile ma per molti nostri concittadini le guerre di indipendenza, le vicende della individuazione della capitale dell' Italia unita, la Breccia di Porta Pia, il concetto stesso di Demanio, sono cose sconosciute e incomprensibili.
Cosa sia veramente successo quando l' Italia è stata unificata, quando la dinastia Savoia ha assunto il potere regale sul nostro Paese, come è stata organizzata la tutela del patrimonio artistico nazionale, sono fatti altamente ignorati ancora oggi. Ora in questo volume la verifica della consistenza e della rilevanza del patrimonio artistico di proprietà del F.E.C. assume un significato ancora maggiore. Anche in ambito culturale, infatti, esiste una sorta di questione meridionale che fa sempre pensare a differenze abissali e incolmabili tra Nord e Sud. Ebbene studiando il volume ci si accorge che la consistenza patrimoniale del F.E.C. nel meridione d' Italia è formidabile e esaltante e si conferma allora un punto che è bene mettere in luce quando si parla del patrimonio artistico e architettonico del F.E.C.. E tale punto è l' eccellenza di tale patrimonio nell' ambito di un gigantesco patrimonio nazionale in cui le leggi vigenti e la cultura più radicata non consentono scelte qualitative, estendendosi sempre più, e giustamente, il criterio della tutela sul bene culturale in sé a prescindere dalla rilevanza, persino dalla bellezza (dato inevitabilmente ad alto tasso di soggettività), dall' influsso generato nel corso della storia.
Si nota, allora, come le chiese di proprietà del F.E.C. costituiscano sovente degli apici assoluti, delle elette emergenze nella moltitudine del nostro patrimonio artistico, costituendo tutte insieme e in tutti i luoghi d' Italia una sorta di tesoro incomparabile e prezioso nell' ambito di un insieme che di fatto rappresenta un aspetto fondamentale della ricchezza del nostro Paese.
Il presente volume, in tal senso, è molto istruttivo.
Comprende infatti tutta l' area meridionale escludendo Sicilia e Sardegna che saranno oggetto di un volume apposito, ma comprende anche l' area laziale al di fuori di Roma, che è stata argomento di un volume precedente
Anno di Edizione: 2018
Edizione: L'ERMA di BRETSCHNEIDER
Collane:
Tesori di arte e di fede, 3
ISBN: 978-88-913-1018-7
Rilegatura: Rilegato
Pagine: 450, 60 ill. B/N, 767 ill. Col.
Formato: 23 x 32 cm

In light of global trends in human population growth and urbanization, burgeoning cultural heritage tourism industries, and climate change, cultural heritage places in nearly every corner of the world are significantly threatened, and will remain so into the foreseeable future. Rock art sites are some of the most imperiled, with their exposed contexts posing unique challenges to conservation. Consequently, effective management of publically accessible rock art sites necessitates a sustainable approach that weighs visitation in regard to cultural significance and site stability. This essay integrates rock art stability and sustainability assessment methodologies at the Painted Rock Petroglyph Site in southwestern Arizona. The study specifically applies the Rock Art Stability Index (RASI) to evaluate the natural and anthropogenic weathering forces impacting the site, and the Heritage Asset Sensitivity Gauge (HASG) to assess site sustainability under existing management practices in relation to current and forecasted rates of visitation. A spatial analysis of aggregated RASI data shows that visitor foot traffic has had some of the most profound impacts to the petroglyphs. Unrestricted access to the site area is also highly correlated with the presence and location of vandalism and graffiti, and visitor-related trampling has adversely affected the site’s surface artifact assemblage. Application of the HASG projects that, while existing management practices are fairly sustainable, they become less so under forecasted increases in visitation. Further, the HASG appraises the site’s cultural significance as outweighing its market appeal, indicating management efforts should prioritize conservation over tourism-related development.

L’aumento dei canali di contatto e di comunicazione ha, per un museo, effetti anche di natura strettamente commerciale: l’aumento dell’utenza potenziale e, dunque, della domanda potenziale, può rendere il museo un ‘prodotto’ commercialmente più appetibile dal punto di vista degli investimenti o delle sponsorizzazioni, una ulteriore occasione per i finanziatori di pubblicizzare il proprio marchio o la propria azienda. Attraverso un'analisi 'empirica' dell'utenza remota di alcuni siti web museali italiani e stranieri a confronto, si analizzano criticità e potenzialità dell'uso del web per queste istituzioni museali.

Die (österreichische) archäologische Denkmalpflege befindet sich in einer schweren Krise: das ursprünglich 1923 erstmals erlassene und seither nur unwesentlich novellierte Denkmalschutzgesetz (DMSG) ist hochgradig veraltet und genügt modernen denkmalpflegerischen und wissenschaftlich-archäologischen Erfordernissen nicht mehr. Als reaktives Gesetz beruht das DMSG in erster Linie auf dem traditionellen Schutzlistenprinzip; im Bereich der archäologischen Denkmalpflege ergänzt um eine Meldepflicht für Zufallsfunde und damit verbundene, kurzfristige Arbeitseinstellungspflichten bei der zufälligen Entdeckung sogenannter "Bodendenkmale". Das war 1923, als selbst Baugruben noch mehrheitlich von Arbeitern händisch mit der Spitzhacke und Schaufel ausgehoben wurden, durchaus adäquat, weil allfällig durch Bauarbeiten betroffene archäologische Denkmale dabei unweigerlich auffielen und daher - als Zufallsfunde - geschützt waren. Heute hingegen sind Bau-, Land- und Forstwirtschaft durchgehend maschinisiert und industrialisiert und Zufallsfunde archäologischer Denkmale kommen daher bei bodenverändernden Arbeiten so gut wie gar nicht mehr vor, weil allfällig vorhandene archäologische Denkmale von den Arbeitern einfach nicht bemerkt werden. Es bedarf daher heute eines präventiven archäologischen Denkmalschutzes, bei dem vorausschauend vor bodenverändernden Arbeiten nach archäologischen Überresten gesucht und diese erforderlichenfalls vor Beginn der Erdarbeiten wissenschaftlich erforscht (d.h. ausgegraben) werden. Das DMSG und insbesondere seine Auslegung durch die für seinen Vollzug verantwortliche Behörde, das Bundesdenkmalamt, behindern eine derartige, moderne präventive archäologische Denkmalpflege massiv. Stattdessen versucht die Behörde mittels des inzwischen untauglichen Gesetzes einen totalen Denkmalschutz zu erreichen, der dem explizit ausgedrückten Willen des Gesetzgebers diametral widerspricht und betreibt somit rechtswidrige Denkmalpflege.

The research aims to reflect on the question of documentation of performing arts and provide elements to the constitution of a documental heritage in that field. That involves the discussion of concepts related to the nature of performing arts and the role of specialized documentation, taking into account the ephemeral and fugacious nature of staging and the absence of policies, programmes, methodologies and actions that could stimulate the production and preservation of documental records in the field. The role of documentation as an artistic and cultural asset is discussed, as well as the notion of cultural heritage since its origin till present time, when intangible and documental dimensions of culture start to be comprehended by the official heritage policies. Having as a goal the formulation of specific policies for the constitution of a documental heritage of performing arts, by means of the development of performing arts collections, a documental typology is presented at this point, elaborated upon the study and analysis of the most common research methodologies in performing arts, specifically of those that have as a focus the theatrical staging. This typology maps out, defines and discusses the various types of document that can be produced for and upon staging. Those documental sets are grouped according to the production phases of a performing show: process of creation, staging, repercussion, study and research, systematic records and executive production. In order to prove the validity and effectiveness of that typology, it has tested by collecting examples from some performing arts collections in Brazil and abroad. The typology, besides enabling the elaboration of diagnoses on the existing collections, has proved adequate to guide the formation and development of performing arts collections.

Actas de las XIII Jornadas Museológicas Chilenas realizadas en Valdivia en el año 2016.
Organizadores: ICOM-Chile y Dirección Museológica de la Universidad Austral de Chile.
Coordinador general: Simón Urbina.
Comité editorial: Luis Alegría, Gabriela Alt, Marcelo Godoy, Leonardo Mellado, Ricardo Mendoza, Simón Urbina, Valeria Vera, Fernando Vergara y Karin Weil.
Edición: César Altermatt.
Diseño: Milka Marinov.
Maquetación: Alejandra Rosas.
Traducción de conferencias magistrales: Valentina Pires A. / VPA Communications.

Este libro describe el trabajo realizado en el sitio arqueológico que se ubica detrás de la Casa de Gobierno, en donde funcionó entre los años 1857 y 1894 la Aduana Nueva, más conocida como Aduana Taylor, la cual constituyó el primer edificio público de gran envergadura y de características monumentales que tuvo la ciudad de Buenos Aires.
Una investigación histórica y documental exhaustiva al inicio del texto permite conocer que sucedió en el lugar donde primeramente funcionó el Fuerte de Buenos Aires y parte del cual fue reutilizado en la construcción de esta Aduana del siglo XIX, cuya estructura aún puede observarse hoy día.
Toda  su construcción, funcionamiento y demolición llegando hasta el momento actual en el que se erige allí el Museo de Casa Rosada, está narrado con la finalidad de contextualizar y poder comprender el trabajo arqueológico efectuado en el lugar entre los años 2009 y 2011, así como los hallazgos arqueológicos descubiertos. El piso original que tenía el patio de maniobras, los restos de un sistema de movilidad de mercaderías - desconocido por las fuentes históricas de la época y posteriores - junto con fragmentos y objetos de diferentes materiales, que son descriptos y analizados particularmente (lozas, gres, vidrio, metal, piedras para chispas, restos óseos, entre otros) constituyen solo algunos de los restos arqueológicos recuperados.
Estas páginas muestran asimismo como profesionales de la arqueología trabajan dentro de una obra de construcción moderna, de forma multidisciplinaria, teniendo un carácter de rescate pero con un fuerte componente de investigación. Dentro de la Arqueología Urbana Argentina se espera constituya un trabajo de referencia para todos aquellos que se abocan a esta especialidad, así como también para el público en general interesado en este tipo de información y relato.

This whitepaper provides a legal analysis to align the 1972 World Heritage Convention and the UNESCO Constitution and its commitment to human rights and fundamental freedoms. It sets out recommendations for UNESCO, the World Heritage governing bodies, and States Parties to ensure properties on the World Heritage List and Tentative Lists are not sites of serious, systematic violations of international humanitarian law and human rights law.

A MOST HAVE FOR THE ART HISTORIAN!

Dopo la pubblicazione del primo tomo, che raccoglie il patrimonio architettonico e artistico del Fondo Edifici di Culto di 129 luoghi di culto presenti in Piemonte, Veneto, Liguria, Emilia Romagna, Toscana, Marche, Umbria e Abruzzo, L' ERMA in collaborazione con il Ministero dell' Interno prosegue l' opera con il secondo tomo che conterrà il patrimonio artistico-culturale di Roma e del Lazio. Gli edifici di culto raccolti in questo secondo tomo sono 191 di cui 120 sul territorio laziale e 71 nella capitale. Tra i più importanti edifici a Roma ricordiamo Sant' Andrea al Quirinale, Sant' Andrea della Valle, Santa Croce in Gerusalemme, la Basilica di SS. Giovanni e Paolo al Celio, Santa Maria del Popolo, Santa Maria in Aracoeli al Campidoglio, senza però tralasciare tutti gli altri edifici di culto con i loro relativi patrimoni artistici presenti sul territorio romano e laziale.

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Il Corpus Del Fondo Edifici Di Culto è una prestigiosa enciclopedia costituita da 4 volumi, di assoluto valore scientifico in cui saranno illustrati, attraverso delle schede e per mezzo di foto a colori di alta qualità, tutti gli edifici di culto facenti parte del patrimonio del Fondo Edifici di Culto del Ministero dell' Interno e tutto il patrimonio artistico-culturale in essi contenuti; il patrimonio del F.E.C., è costituito da oltre 730 edifici di culto di grandissimo pregio storico, architettonico, artistico e culturale, dislocati su tutto il territorio nazionale aperti al pubblico e concessi in uso gratuito all'Autorità Ecclesiastica ma gestiti dal Fondo Edifici di Culto, amministrato dalla Direzione Centrale per l' amministrazione del Fondo Edifici di Culto del Ministero dell' Interno. L' importanza dell' opera sarà messa in risalto dalla elegante veste editoriale dei 4 lussuosi volumi imperdibili per gli studiosi del settore ed i collezionisti.

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

There are more types of borders today than ever before in history. Borders of all kinds define every aspect of social life in the twenty-first century. From the biometric data that divides the smallest aspects of our bodies to the aerial drones that patrol the immense expanse of our domestic and international airspace, we are defined by borders. They can no longer simply be understood as the geographical divisions between nation-states. Today, their form and function has become too complex, too hybrid. What we need now is a theory of the border that can make sense of this hybridity across multiple domains of social life.

Rather than viewing borders as the result or outcome of pre-established social entities like states, Thomas Nail reinterprets social history from the perspective of the continual and constitutive movement of the borders that organize and divide society in the first place. Societies and states are the products of bordering, Nail argues, not the other way around. Applying his original movement-oriented theoretical framework "kinopolitics" to several major historical border regimes (fences, walls, cells, and checkpoints), Theory of the Border pioneers a new methodology of "critical limology," that provides fresh tools for the analysis of contemporary border politics.

This is the updated version of 'Heritage Games' following lots of comments.  It is group of activities that can be used in heritage practice to explore what matters and why, and to whom, and to use that understanding to manage or conserve heritage, indecisions-making and in working with different communities.  There is also a section on values in leading heritage organisations.  As you can see from the first page, I am still playing with the title!

The concept of authenticity, as defined in international circles between the 1960s and the 1994 Nara Conference on Heritage, has been one of the main instruments used to define policies aiming at heritage protection during the last few decades. The concept also became more than an instrument: it shaped entire approaches to the question of the built heritage and to the process – social and political – aiming at its conservation and restoration. For this reason, it has been the object of intense discussions, with scholars and activists denouncing some of its founding ambiguities as being tied to static and sometimes culturalist conceptions of history, to colonial visions, and to policies of social segregation. The object of this chapter is to reflect on such debates around the case of the city of Aleppo, and particularly around the way its medieval and Ottoman built heritage was dealt with in the period of the Ottoman reforms of the second half of the 19th century, the period of French colonial occupation, and the various phases of independence up to its present- day tragic destruction.

Review of heritage places in the old Victorian gold town of Walhalla
The heritage review has included the following, as included in this attachment:
 Preparation of an illustrated database including all identified individual places and areas (1984, 1999 reports), most of which are include in the heritage overlay;
 Brief site check if these places remain as identified on the ground, revealing a number that have been removed or altered;
 Brief review of the data used to assess these places in 1984 (the extra places listed in the 1999 report had no documentation) with reference to online primary sources and recent publications on Walhalla where available;
 Revision of the Statement of Significance of each contributory or significant place (Heritage Victoria format);
 Brief review of related heritage documents referred to elsewhere in this report, including the latest heritage review undertaken by Context P/L where it relates to Walhalla;
 Site visit for potential heritage places for future assessment; and
 Recommendations for the heritage management of each identified place or area.

In this study, caravanserais from Denizli to Dogubayazıt which were taken to the tentative heritage list of UNESCO in 2000, will be extensively reviewed and recommendations will be made for the planning of touristic routes as the part of tourism development strategy in Central and Eastern Anatolia.  The caravanserais were inherited by Anatolia Seljukis from Karakhanids and Ghaznavids and they offered comfort to travellers with the core structures of the society. Today, beside accommodation, event management or gastronomy activities, there will be alternative approaches for them to become the part of cultural tourism and touristic fashion roads.  Nine of forty caravanserais on this route will be examined according to UNESCO list and rest of buildings will be eventually searched after this study and a reasonable planning. These caravanserais can be counted as follows: Akhan, Ertokus Han, Saadettin Han, Obruk Han, Agzikarahan, Sultan Han, Oresin Han, Mamahatun Caravenseria and Hacibekir Han (Unesco, 2000).

A MOST HAVE FOR ART HISTORIANS!

Proviamo a tornare indietro nel tempo, al fatale 1866. Quell' anno si completava una fase legislativa cominciata sedici anni prima nel Regno di Sardegna con le leggi Siccardi, veniva infatti emanata la legge post-unitaria che soppresse le Corporazioni religiose. Nel 1867 il governo Rattazzi diede avvio alla liquidazione dell' asse ecclesiastico, la parte cattolica si affrettò a definire eversive entrambe le leggi. Da un giorno all' altro, con un semplice tratto di penna, un ordine clericale e feudale sedimentato stratificato e rimasto immutato nei secoli, collassava e si scioglieva rovinosamente.
Passavano alla proprietà e all' uso dello Stato gli edifici di Congregazioni, di monasteri, di conventi subito trasformati in tribunali e in scuole, in ospedali e in ospizi, in galere e in caserme. Una quantità incommensurabile di oggetti d' arte mobili affluiva in massa sul mercato facendo la fortuna di miriadi di antiquari fra i quali primeggiava il mercante internazionale Stefano Bardini. Ciò che non finiva disperso o distrutto, (ed era la parte di gran lunga più grande) alimentò per decenni sia il collezionismo privato che quello pubblico; l' uno e l' altro, nelle miserrime condizioni economiche dell' Italia di allora, a destinazione quasi esclusivamente straniera.
Colossali devastazioni, perdite immense ha provocato la demanializzazione del patrimonio ecclesiastico. Evento forse necessario nella fase di passaggio del nostro Paese dall' Antico Regime alla Modernità e tuttavia brutale, doloroso, destinato a lasciare nella coscienza civile degli italiani ferite rimaste a lungo aperte.
Nel vasto naufragio si salvarono dall' uso improprio gli edifici di culto insieme a limitate porzioni dei complessi monumentali più legate o più contigue al culto. Si salvarono perché protette dalla devozione popolare, dalla letteratura, dalla fama degli artisti che vi erano rappresentati, dal loro essere, in maniera più o meno significativa, documenti della storia e della identità nazionali.
I luoghi sacri conservati al culto pubblico rimasero alla proprietà e quindi alla gestione dello Stato mentre l' autorità religiosa ne assumeva la regolare officiatura. Al F.E.C. (Fondo Edifici di Culto), sono oggi affidate oltre 750 chiese, meno dell' uno per cento del totale (calcolato in circa centomila unità) degli antichi edifici destinati alla pratica religiosa cattolica; dalla Martorana di Palermo a Santa Maria della Misericordia di Taggia, affascinante pinacoteca di pittura ligure-piemontese-fiamminga; da Santa Maria Novella di Firenze a San Bernardino di Aquila, che il terremoto del 2009 ha fatto sentire a tutti noi dolorosamente vicino; dal San Domenico di Napoli, dove dormono i re angioini e aragonesi e Tommaso scrisse la sua Summa Teologia, al Santuario di Fontanellato a Parma, prodigio di eleganza barocca e rococò.
Chi abita da cittadino o attraversa da turista l' Italia storica è difficile che conosca lo status giuridico delle tante chiese dislocate sul territorio nazionale. Del resto che la croce dipinta da Giotto in Santa Maria Novella a Firenze, che i Caravaggio conservati nella Cappella Cerasi di Santa Maria del Popolo a Roma, appartengano allo Stato o all' ente parrocchia o all' ordinario diocesano o alla congregazione religiosa che custodisce quel luogo, apparirà al visitatore irrilevante. Altro è ciò che interessa. Interessano la buona fruibilità di quei capolavori, la loro corretta conservazione e manutenzione, la aggiornata ed efficace presentazione didattica e scientifica. E' consolante accorgerci che questi sono gli obiettivi guida della attuale dirigenza F.E.C..
La storia ha costruito l' Italia dissestando distruggendo e poi riassemblando come per un immane rivolgimento tellurico, i suoi strati profondi. Lo strato identitario unificante degli antichi edifici di culto distribuiti su tutto il territorio nazionale dal Piemonte alla Sicilia, è oggi affidato, per una sua piccola ma prestigiosissima porzione, al Fondo Edifici di Culto.
Chi come me ha servito per tanti anni nella amministrazione italiana dei beni culturali e che ora dall' osservatorio privilegiato dei Musei Vaticani è in grado di apprezzare, con attenzione e sensibilità speciali, l' iridescente mirabile mantello di chiese che copre l' Italia, non può che esprimere vivo compiacimento per tale iniziativa editoriale introdotta dalle mie righe.
Una rete di perfetta affidabilità affidata agli architetti e agli storici dell' arte delle Soprintendenze garantisce la qualità dei testi. L' ERMA di BRETSCHNEIDER ci assicura del livello del risultato editoriale, improntato ad eleganza e a rigore come da sua mai disattesa tradizione.

Antonio Paolucci
Direttore dei Musei Vaticani
dalla Presentazione del I volume

Cities have become creative spaces of total consumption, which constantly refuel the theoretical and practical bases of our consumer society. It is a further stage of the “fantasy city” (Hannigan): McDonaldization (Ritzer) and Disneyization (Bryman) have been largely metabolized and so-called “non-lieux” (Augé) have often become the most significant spaces and have helped to build new glocal identities. In such a context, theming – and particularly historical theming – has become a powerful and effective tool, since it gives a robust structure to the multiple and dynamic processes of mingling that characterize our liquid society (Bauman, 2000). Theming merges past and present, culture and leisure, originals and copies, as well as tourism and shopping, and gives an effective framework to this mingling, which is, at the same time, material and immaterial, visual and emotional, sensorial and experiential.
The relationship with the past is particularly interesting. The central archaeological area of Rome has become a sort of theme park, owing to the huge flows of tourists that it receives and the process of Disneyization that it has undergone, though – unlike many other Italian heritage towns, such as Venice and Florence – Rome still preserves a significant local identity and an urban life that goes far beyond tourism. The theming is present in its urban context owing partly to tourism and partly to the usual culturalization of consumption (hotels with Roman names, restaurants with Roman menus, resin souvenirs of the Colosseum, T-shirts with gladiators and legionaries etc.). We can single out the theming even in some of its most iconic places. The area of the Colosseum and forums, together with Via dei Fori Imperiali, which crosses and unites them, appears as an invisible and diffused theme park: a specialized district for leisure and cultural consumption where archaeological heritage acts as an attraction. It is not a leisure space themed to archaeology, but an archaeological space used as a theme park. Legionaries and gladiators for pictures and re-enactors act as living attractions.
Other spaces contribute to this process. Cinecittà, the dream machine of a boundless park, has helped to build the image of Rome and to theme the city. Its studios host film sets, which are at the same time a themed environment, an unusual archaeological site and a place where the myth of Rome is continually reshaped. Though distant from the main archaeological area, these studios are tied to it by an invisible thread, since they play an important role in the definition of its image. Outside the city, but inside its territory, there is also a small themed district formed by a Roman-themed outlet, “Castel Romano,” and an amusement park, “Cinecittà World”, themed to the studios that nurtured the golden age of Italian cinema.
Similarly, north of Rome, near Civitavecchia, where giant cruise ships bring huge tourist flows, a group of businessmen is trying to create “Roma Vetus”, a pharaonic theme park with reconstructions of many Roman monuments. In line with the current trends of experiential and sensory tourism, visitors would be allowed to relax in Roman baths, mint coins and grind grain. Groups of re-enactors would give life to the park, but visitors themselves would be enabled to rent costumes of gladiators, centurions and senators. We are clearly in the world of entertainment, far away from the open-air archaeological museums with their reconstructions and living-history activities. Its creators maintain that “Roma Vetus” will be used at the same time as theme park and a set for films and TV series. This park is probably destined to remain the dream of a minor group of daring speculators, but it clearly represents the dynamics at work in our liquid world.

As far as archaeology deals with the past in the present, it is already a public endeavour; especially so in southern Europe, where contemporary identities are drawn from ancient cultures, such as the Greek and Roman. In Greece, the political role of the discipline marked antiquities as goods of the people and archaeology as a highly popular discourse. This led to the creation of a state mechanism to manage antiquities for the benefit, but ironically at the exclusion, of the people, in an authoritative top-down approach. In defiance, various actors participate in the public discourse about the past, cultural heritage and its roles today. This paper will review the state of the field by bringing together research in public archaeology in Greece but also non-academic initiatives, such as NGOs and citizen movements. It is argued that public engagement, primarily through museum exhibitionsthe most formal and controlled interface between archaeology and non-archaeologistsand cultural events in archaeological sites, is the primary aspect of public archaeology. While public archaeological discourse is overabundant and expansive though, critical research and analysis are lagging and conventional narratives remain broadly unchallenged.

The theme of the interaction between tourism and cultural heritage has been widely investigated in recent decades, and is currently central not only for its economic reverberations but also for the consequences that tourism development could have on conservation.
The interaction between tourism and cultural heritage appears as fruitful as it is inevitable. But what are the consequences of this relationship on conservation and how managing benefits and risks coming from it?   
  These questions will be explored below, taking as final case study the city of Naples, host of the last European Tourism Forum and place of constant experimentation in terms of creativity applied to “heritage tourism”.

In 2011, Flinders University Archaeology Department was asked to investigate the site where Mary MacKillop, Australia’s first saint, established her first school and founded her religious order. Staff and students undertook two excavations at the site uncovering hundreds of artefacts, associated with both domestic and childhood activities. The excavations triggered an enormous level of community interest. This poster presents the excavation and its finds, and, most importantly, how the community engaged with this process.

Se trata, en resumen, de un libro útil, bien estructurado, claro, abierto a un amplio público, que combina conocimientos y experiencias en diversos campos y que aporta elementos contrastados y seguros al análisis del español de la publicidad y de cómo se usa para atraer a la población hispanohablante de los Estados Unidos.

This contribution discusses the emergent field of Intergenerational Justice (IJ) with an aim to drawing new light upon issues in conservation. Several key issues in IJ are discussed that allow heritage conservation to be contextualised. Methods and debates from IJ are described and related to conservation practice. The paper is not an exhaustive review, but identifies links to pertinent issues in conservation.

This appendix lists New Zealand plant species stocked and available in Australian nurseries, over time. Raised in a large New Zealand garden full of native trees, plant lover Stuart Read was perhaps hard-wired to notice kiwi plants in Australian gardens. Over time he's pieced together a pattern of waves of fashion in their planting and popularity, reflecting scientific and horticultural expansionism, commercial and familial networks and connections across the Tasman. Stuart will examine a range of NZ plants found in old and younger Australian gardens, try to tease out some of the means by which they got here and why they remain popular.

This article presents a paper-based Tangible User Interface (TUI) that facilitates the production of complex queries on a Cultural Heritage (CH) repository. The system helps to easily make use of the data elements and Boolean logic that describe the collections. This research presents a design methodology divided into two main phases: A User Experience (UX) and User Centred Design (UCD) where potential users’ behaviours are analysed, followed by the development and evaluation of the TUI prototype.
The TUI uses off the shelf electronics and a paper-based set of tokens to engage the user with the system, thus facilitating the exploration with CH collections through querying.

Apart from wars, other contexts of social conflict have recently become a setting in which archaeologists are faced with acute, sometimes armed, violence. On the African continent, a region often overlooked in discussions of “archaeology in conflict”, rapid economic development has led to several such scenes. The paper discusses a particularly poignant example from the Middle Nile valley in Sudan, where large dam projects have been met with various levels of opposition by affected populations. Local communities opposing the construction of further planned dams on the Nile are increasingly stressing ‘cultural survival’ and fear of ‘developmental genocide’ as two of their major motivations for fighting these projects. Assuming a close link between the developer and archaeological salvage missions, affected people have started to use the expulsion of salvage teams from their territory as a strategy of resistance—posing an ethical dilemma for the archaeologists who struggle to find a position in the increasingly violent controversies accompanying these contested development projects.

Natuurontvvikkeling is een verschijnsel waarmee Nederland voorop loopt in Europa. Toch komt er ook kritiek op. Met name vanuit historische hoek komt er commentaar op de respectloze omgang met het landschappelijke verleden. Vaak wordt de keuze voor natuur Ofgeschiedenis in de debatten voorgesteld als een dilemma. Wij willen argumenteren dat wiets niet noodzakelijk is. Afstand nemen en meer aandacht voor de ontwikkeling van de gebruikte concepten en de werking van de Nederlandse cultuur, kan de schijnbaar harde tegenstelling vaal< laten verdwijnen.

Conservation of heritage sites is considered to be a vital component of their management since they are irreplaceable resources for the tourism industry. The present generation of human beings needs to be aware of the benefits and challenges of preservation and management of the cultural resources and the heritages. The process of managing the heritages of local or national significance has gained importance over the years to an extent that it has attained the status of an individual academic discipline. In an attempt to address this issue related to Sustainability, some appropriate measures should be taken. In order to obtain sustainable development, different Strategic management principles can be used. Strategic Management relates to identification of the purpose as well as the plans and actions to achieve the purpose. This paper focuses on the benefits of application of the principles of Strategic Management for the sustainable development of heritage sites of the Bishnupur district in West Bengal, India. From this study it may be concluded that multidisciplinary approach is the need of the hour. By the way of integrating the two varied disciplines of heritage management and strategic management, it will be possible to achieve sustainable development of the heritage sites.

Contemporary heritage management has shifted the attention towards the larger public, which is increasingly more relevant in taking decisions related to what heritage to valorize, how to put it under focus, and how to use it as value-creator. Nowadays we talk about the restitution of heritage to communities by recovering its “memory”, a community can better understand the present and benefit of its resources for further complex development. In this new framework, our study investigated the options of museums and heritage sites to more effectively manage their organizations, to make them for appealing to the wider public in general, to foreign tourists in particular. The present article comprises two parts: the first one explores the existent literature regarding cultural heritage sites as tourist attractions and the established typologies of cultural tourists. Also, it takes a look at the management of cultural heritage having in mind tourists (domestic and foreign), and at the impl...

From 2nd to 5th October 2012 an International Congress on Science and Technology for the conservation of Cultural Heritage was held in Santiago de Compostela, Spain, organized by the Universidade of Santiago de Compostela on behalf of Technoheritage Network. The congress was attended by some 160 participants from 10 countries, which presented a total of 145 contributions, among plenary lectures, oral, and poster communications. The main goal addressed by the congress was contributing to create an interdisciplinary forum for discussion on all aspects of cultural heritage conservation, providing at the same time an up-to-date and comprehensive picture of the state-of-the-art of investigations. The congress was dedicated to eight topics, namely (1) Environmental assessment and monitoring (pollution, climate change, natural events, etc.) of Cultural Heritage; (2) Agents and mechanisms of deterioration of Cultural Heritage (physical, chemical, biological), including deterioration of mode...