10.6092/issn.1973-9494/9234
Una panoramica delle varie e numerose tematiche che si riferiscono al Patrimonio Culturale e Ambientale raccolte in uno stesso articolo rappresenta, a livello interna­zionale, una particolarità più unica che rara. Quale risultato dell’attività di ricerca e di insegnamento svolta nel corso di alcuni decenni presso le Università di Roma, Tuscia (Viterbo) e Bologna, integrata dal fondamentale rapporto e coinvolgimento delle Unità Culturali e Produttive presenti nel territorio, sono state trattate sinteticamente, per quanto possibile, le differenti problematiche che coinvolgono le varie aree scientifiche di carattere storico, tecnico, economico, manageriale nell’ambito della interdisciplinar­ità e nel rispetto del valore olistico del bene culturale.
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1973-9494
9234
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Andrea Natali
Conservation Science in Cultural Heritage
management
Interdisciplinary Studies in Cultural and Environmental Heritage: History, Protection, Valorization, Management
Text.Serial.Journal
https://conservation-science.unibo.it/
18
Articles
2018-12-31
2019-03-18
2018-12-31
2019-11-05
177-199
CSCH
Andrea Natali
2018/12/31
10.6092/issn.1973-9494/9234
177
Russian Academy of Natural Sciences
1973-9494
management
en
199
Interdisciplinary Studies in Cultural and Environmental Heritage: History, Protection, Valorization, Management
https://conservation-science.unibo.it/article/download/9234/9068
18
I   NTERDISCIPLINARY STUDIES IN CULTURAL AND
    ENVIRONMENTAL HERITAGE: HISTORY, PROTECTION,
    VALORIZATION, MANAGEMENT

    Salvatore Lorusso*10
    Russian Academy of Natural Sciences, Russia

    With the collaboration of Angela Mari Braida and Andrea Natali




    Keywords: interdisciplinary, cultural heritage, protection, valorization, management.


    1. Introduction

   The aim of this paper is to evidence the numerous related topics that overlap and
interact with each other in the study and research of the cultural and environmental
sector. The list below represents a synopsis of the interdisciplinary themes relating
to this particular sector, which involves technical-conservative, historical-humanistic,
economic-managerial, social-legal aspects.
   At the same time the same topics constitute a solid basis that provides information
and room for discussion among scholars and experts; a platform where ideas can be
exchanged and interdisciplinary competences relating to current and future develop-




                                                                                                  CONSERVATION SCIENCE IN CULTURAL HERITAGE
ments can be integrated and thus become part of a specific scientific preparation for
those planning a future in the cultural sector. The list, with a corresponding synthetic
description of each distinct topic, also briefly looks at issues that determine conse-
quent interest in the sphere of the new cultural, technological and financial scenarios
present in today’s globalized world.
   Table 1 lists the main topics dealt with in the cultural and environmental sector.


    2. The holistic value of art work

    The holistic value of art work represents the fundamental innate character found
in the different forms of art expression. It sees the integration of the human sciences
and experimental sciences, essential for the study and research of art work, involving
a methodological path which includes the following steps: knowledge, interpretation,
conservation, valorization.
    This methodological path necessarily needs the evaluation of:
    •   historians: providing a ‘subjective’ evaluation based on human competence
        and expertise;


*    Corresponding author: salvatore.lorusso@unibo.it

                                                                                            177
                                                                                     •    technicians: providing an ‘objective’ evaluation based on the use of available
                                                                                          technologies.
                                                                                     From these two different types of evaluation derives the concept and meaning of
                                                                                  the “holistic value” of art work and consequently the integration of the various scientific
                                                                                  areas and corresponding experts (Figure 1) [1-6].


                                                                                  Table 1. Main topics in the study and research of cultural and environmental heritage.



                                                                                         1.    The holistic value of art work
                                                                                         2.    Interdisciplinarity in the sector of cultural heritage for education and re-
                                                                                               search
                                                                                         3.    Internationalization in culture and research
                                                                                         4.    Protection and valorization of cultural heritage and human safeguard
                                                                                         5.    Ecosustainability, ethics and aesthetics
                                                                                         6.    Training and research in cultural heritage
                                                                                         7.    Various artistic expressions and activities: music, theatre, dance, fashion,
S. Lorusso - Interdisciplinary studies in cultural and environmental heritage




                                                                                               design
                                                                                         8.    Visual communication: graphic and digital arts, cartoon, animation, cinema,
                                                                                               photography
                                                                                         9.    Virtual and augmented reality
                                                                                         10.   Cultural heritage as economic heritage: value and price of art
                                                                                         11.   The management of culture and tourism
                                                                                         12.   Cultural and Creative Industries (CCIs)
                                                                                         13.   Cultural heritage as globalized heritage
                                                                                         14.   Final considerations


                                                                                     3. Interdisciplinarity in the sector of cultural heritage for education and
                                                                                        research

                                                                                     Interdisciplinarity in the sector leads to a positive result not only deriving from the
                                                                                  study, learning and successive training of qualified young people, but also from re-
                                                                                  search in the field of heritage protection and valorization based on subjective and
                                                                                  objective evaluations [7-21].
                                                                                     It is important to note that the study of the various and integrated scientific experi-
                                                                                  ences and competences are fundamental for the «good of cultural goods». In this man-
                                                                                  ner, the answers to the many-faceted and complex problems related to the protection
                                                                                  and valorization of cultural heritage are exhaustive and correct.




                                                                            178
                           Figure 1. The holistic value of art work



    At the same time, interdisciplinarity is necessary not only in teaching and learning,
it is also needed in the training and education of the professional figure in this sector
enabling them to be competitive both at a national and international level.


   4. Internationalization in culture and research




                                                                                                    CONSERVATION SCIENCE IN CULTURAL HERITAGE
    There are two aspects to point out connected to the concept of internationalization
[22-24].
    The first refers to the evaluation of scientific products at international level. Since
evaluation is based on different criteria, the situation determines different judgements.
It is therefore necessary that these products are evaluated by experts with a qualified
interdisciplinary background to obtain a final univocal judgement (Figure 2).
    The second refers to the meaning and significance intrinsically present in the art
work conceived and realized by the author that naturally emanate different messages
and values to the viewer, as well as different emotions and sensations. Works of art
are therefore able to transmit joy, sadness, contemplation, enjoyment, pathos and nu-
merous other sensations. These characteristics have no territorial confines, they go
beyond them.
    The internationalization of culture and research is therefore implicit in art works and
is an inseparable element.




                                                                                              179
                                                                                                   Figure 2. Different judgement based on different evaluation
S. Lorusso - Interdisciplinary studies in cultural and environmental heritage




                                                                                    5. Protection and valorization of cultural heritage and human safeguard

                                                                                     Figure 3 shows the various operative steps included in the methodological path for
                                                                                  the protection and valorization of cultural heritage.
                                                                                     In the case of human safeguard, it is essential to highlight the need to consider
                                                                                  the entire system: artifact of historical-artistic interest – environment of conservation
                                                                                  – biota. In other words, one must consider the system as one, as there is a close
                                                                                  relationship between artifacts and their environment, whether they are outdoors or in
                                                                                  confined areas, with the aim not only of protecting the artifacts themselves, but also of
                                                                                  safeguarding human health.




                                                                                                           Figure 3. Steps in the methodological path


                                                                            180
   A consequent aspect is represented by the relationship between art and eco-sus-
tainability, ethics and aesthetics, without considering the many legal and ethical as-
pects involved, where issues of human safeguard and respect of the environment are
concerned.
   The topic thus implicates the importance of education in the system: artifact – en-
vironment – biota, and the necessity to view this system, which is a result of the close
interrelation between artifact and environment, from all angles.
   There are two aspects to consider when speaking of environment:
   •    the first refers to the protection of the environment as a preventive intervention
        aimed not only at the conservation of artifacts, but also at human safeguard;
   •    the second is inherent in what is called “natural capital” comprising air, water,
        earth, the natural resources of a territory and its nature, including the bees and
        insects.
   The question arises: “Is there a monetary value capable of expressing this so-called
natural capital?”. There is, of course, even if it is extremely difficult to determine it pre-
cisely. This assessment is based on a broad analysis of the cost-benefit ratio and the
concept of sustainability as the sum of the three types of capital: physical (inhabitants
and raw materials), human (value of training) and natural, linked closely to the green
economy and to the concept of the circular economy: repair, reuse and recycle. These
then, are the ethical, social and economic aspects of the environment [25-34].


   6. Ecosustainability, ethics and aesthetics

    In the course of their life, people work on the basis of the above-mentioned ethical,
social and economic aspects and nurture aspirations and dreams. Science can explain
them, modify them, manipulate them, but it is always human beings who decide in the
end. This is what the World Wide Fund for Nature (WWF) asserts, pointing out moreo-




                                                                                                       CONSERVATION SCIENCE IN CULTURAL HERITAGE
ver, that “Nature does not support the human footprint”.
    This is especially true if one refers to the Code of Cultural and Landscape Heritage
issued in Italy in 2004 by the Ministry of Cultural Heritage and Activities, which com-
prises “all buildings and areas expressing historical, cultural, natural, morphological,
aesthetic values of the territory”.
    Hence the importance of overcoming the “dichotomy between the economic sphere
and the socio-cultural one” through ethics by respecting others and the environment in
its entirety, which naturally leads to ecosustainability. In the past these aspects were
not seriously taken into consideration, as in the case of the present economic crisis
where ethics and values have frequently been put to one side or even ignored.
    Thus, if one passes from this perceptual process to the expert’s evaluation of the
conservation state and authenticity of an artifact, a subjective evaluation must neces-
sarily be accompanied by an objective evaluation. The former comes from a com-
prehensive knowledge of style, iconography, aesthetics and a participatory, emotional
understanding that emanates from the work, while the latter is based on the use of
diagnostic and analytical equipment that supports or confutes the former. Here, one of
the key words is authenticity, whether it be an artifact of historical-artistic, archaeologi-
cal, archival-library or music interest. It is this aspect that gives a real dimension to
cultural education and personal ethics [35-37].
    Two interconnected issues arise from these terms:


                                                                                                 181
                                                                                     •   the need to complete and integrate different skills for the “protection of cultural
                                                                                         heritage”;
                                                                                     •   setting limits for technical interventions in compliance with a higher instance, in
                                                                                         reference to the “ethics of conservation and restoration”.


                                                                                     7. Training and research in cultural heritage

                                                                                      Training and research in the field of the protection and valorization of cultural and
                                                                                  environmental heritage must be carried out in relation to the numerous issues concern-
                                                                                  ing the various operational phases involved in the methodological approach that is
                                                                                  applied to the artifacts under examination [38-52]. Figures 4a) b) c) and d) briefly illus-
                                                                                  trate how much has been achieved in the work that has been done over the years, in
                                                                                  the Department of Cultural Heritage of the University of Bologna (Ravenna Campus).
                                                                                      Didactic accomplishments include the opening of two book series and a Master’s
                                                                                  program which provided a basis for interdisciplinary training and was also able to relate
                                                                                  to the territory and its corresponding needs.
                                                                                      In the research field, the founding of the Diagnostic Laboratory for Cultural Heritage
S. Lorusso - Interdisciplinary studies in cultural and environmental heritage




                                                                                  in 1998 was another successful action and has been defined an “Institute of Excel-
                                                                                  lence” in Italy. The application of diagnostic-analytical technologies present in the labo-
                                                                                  ratory has experimentally contributed to the resolution of the aforementioned issues
                                                                                  concerning the protection of artifacts and the safeguard of the environment and biota.
                                                                                      The last twenty years has seen the internationally recognized historical-technical
                                                                                  Journal “Conservation Science in Cultural Heritage” represent a concrete testimony of
                                                                                  the above issues and a valid bibliographic reference by publishing works by research-
                                                                                  ers with interdisciplinary skills and from interdisciplinary backgrounds.




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183
      CONSERVATION SCIENCE IN CULTURAL HERITAGE
S. Lorusso - Interdisciplinary studies in cultural and environmental heritage




                                                                                                  Figure 4. Training and research in the cultural heritage sector



                                                                                     8. Various artistic expressions and activities: music, theatre, dance, fashion,
                                                                                        design

                                                                                     Music, theatre, dance
                                                                                     Performing arts, often intangible cultural heritage (ICH), is an art expression that
                                                                                  reflects human creativity, just as in the visual arts, i.e. paintings, sculptures, photogra-
                                                                                  phy, engravings.
                                                                                     Today, many performing arts have a ‘market value’ and are considered economi-
                                                                                  cally viable, as they attract large numbers of people; their planning and promotion play
                                                                                  an important role in the management of artistic and cultural events.
                                                                                     An innovative aspect regards the use of performing arts in museums. This can in-
                                                                                  clude the presentation, enjoyment and perception of art works that stray from the usual
                                                                                  offer: e.g., music or dance used as a support, as well as perfumes or relaxation points
                                                                                  to enhance sensations and recreate a more engaging experience for visitors.
                                                                                     During a visit to a museum, dance, music, fragrances and so on, can be used to pro-
                                                                                  vide a sensory experience - an area studied by neuroscientists. Thus art, and conse-
                                                                                  quently museums, can together play a central part in people’s lives where exhibitions
                                                                                  help to stimulate cognitive systems in order to capture their attention [53].

                                                                                    Fashion
                                                                                    Many are the interdisciplinary connections between fashion, art and cultural herit-
                                                                                  age. They can be seen from several points of view:
                                                                                    •    from tradition to innovative creative inspiration (museums and exhibitions il-
                                                                                         lustrating the history of fashion and costume through the ages, traditional skills
                                                                                         such as weaving, needlework, decorative arts, etc.);


                                                                            184
   •    from the social and economic development of the past to today’s global fashion
        industry (use of new materials and technologies, designer names, marketing
        and branding, fashion houses) [54].
   Fashion is not just the result of a strategy of style and merchandising, it is also shar-
ing. Indeed, current trends and intents involve viewers-customers directly, becoming
themselves protagonists, as in trunk shows. Trunk shows are special events, some-
times with the participation of the designer, where clients can view the latest fashions,
order their chosen designs, have them made and then delivered. This form of selling is
particularly popular in the bridal industry and luxury sector, with online and virtual trunk
shows already attracting the fashion-conscious public [55].
   Currently, enlightened entrepreneurs are also viewing the market ethically, address-
ing not only production numbers, but also man, culture and history.

   Design
   Frequently used associated terms include fashion design, industrial design, graphic
design (often grouped together under the term ‘applied arts’ or decorative arts or minor
arts), car design, building design, urban project design, interior design, etc.
   Design is:
   •    considered to be a fundamental factor for the success of any product, in addi-
        tion to its functionality;
   •    connected to the concept and meaning of creativity, as a result of utility and
        innovation;
   •    CAS technology – Computer Aided Styling – intervenes not only in the execu-
        tive design process, but also in design creativity;
   •    within the context of cultural heritage, a ‘systemic process’ which can transform
        strategic choices concerning protection, valorization and management, into
        concrete actions relating to heritage knowledge, organization and experience
        and its contemporary contextualization [56].




                                                                                                     CONSERVATION SCIENCE IN CULTURAL HERITAGE
   Some examples of design applied to different fields:
   Product design – physical objects surrounding the biota and all architectural and
urban spaces.
   Interior and urban design – connected to architectural and urban planning.
   Communication design – connected to technical systems through images (TV, in-
ternet, virtual, etc.)
   Interaction design – connected to planning of interaction between users and me-
chanical or computer systems.


   9. Visual communication: graphic and digital arts, cartoon, animation, cin-
      ema, photography

   9.1 Graphic and digital arts

   Digital art or computer art (included under the term ‘new media art’), refers to art
forms made using digital technologies or presented on digital technologies - it merges
art with technology. It is a modern means of expressing creativity. Two or three-dimen-
sional graphics are created through drawing complex images from geometric shapes
and other forms. They are then used to create realistic 3D dimensional shapes, objects


                                                                                               185
                                                                                  and scenes that can be used in different media such as film, television, prints, and
                                                                                  visual effects. Today, graphic and digital art is used in most art forms: cartoon, anima-
                                                                                  tion, cinema, photography, especially in commercial design as mentioned earlier [57].
                                                                                     Computers are also used to help create music, especially electronic music, as they
                                                                                  provide an easy, but significant way to arrange and create sounds. In this field, com-
                                                                                  puter and digital technologies are an aid to composers who employ their creativity to
                                                                                  produce and then perform their music. However, computer-generated music, i.e. music
                                                                                  entirely generated (and even performed) by a computer also exists and is produced
                                                                                  using algorithms (algorithmic composition) [58].
                                                                                     Nevertheless, digital art still has to gain acceptance and respect in the field when
                                                                                  compared to historically established forms of art such as sculpture, painting and draw-
                                                                                  ing. This is generally due to the fact that people believe it is computers that produce
                                                                                  works of art. However, the creative element comes from the digital artists themselves
                                                                                  and how they use the wide range of technologies to express themselves artistically.
                                                                                  The debate is a topical one. Nevertheless, the impact of digital art on museums and art
                                                                                  galleries is growing steadily and positively.
                                                                                     Over the centuries works of art have been reproduced by both the authors of the
                                                                                  works themselves and at the request of commissioning clients. In attributing a work of
S. Lorusso - Interdisciplinary studies in cultural and environmental heritage




                                                                                  art to a particular artist there are different degrees of certainty linked to the attribution.
                                                                                  There are, correspondingly, different terms used by experts to distinguish between
                                                                                  these degrees of certainty (Figure 5).




                                                                                  Figure 5. Terminology used by experts in the sector to distinguish between different degrees of
                                                                                  certainty in attributing a work of art.

                                                                                     In this field of art, computer technologies have been used to produce excellent re-
                                                                                  sults. Reproducing works of art that are identical to already existing ones has become
                                                                                  an easy feat through the use of digital technologies. An emblematic example is the
                                                                                  digital reproduction of Paolo Veronese’s “The Wedding at Cana“ (1563), an oil on can-


                                                                            186
vas housed in the Louvre Museum in France. Another is the digital reproduction and
scaled-down reconstruction of the “Porziuncola of Assisi“, the small 13th century stone
chapel where St. Frances converted and founded the order of the Friars Minor which
was inaugurated in 2008, in San Francisco, California (USA) [59].
    However, for the reproduced work of art which is, nevertheless, a result of creativity,
a number of problematic aspects arise. They are described below.
    For reproduced works that are the result of an already existing authentic work, ethi-
cal aspects of uniqueness, authenticity, irreproducibility and economic-financial values
are missing. In this case, the integration of a subjective evaluation - that is, of the his-
torical, artistic, stylistic, aesthetic, iconographic - and objective evaluation - based on
the use of diagnostic-analytical technologies - are essential for the purpose of correctly
distinguishing the reproduced work from the already existing authentic one. Such re-
search is currently an open and non-definable issue.
    For the digitally reproduced work of art, for which there is no precedent, and which
is however authentic, the consequent evaluation is to be considered in a quite different
way and will, correspondingly, have its own value.


   9.2 Cartoon, animation, cinema, photography

    Definitions and applications in culture
    Cartoon
    A cartoon today is a term that brings to mind an illustration or a film that uses anima-
tion and is very often humorous. While the specific definition has changed over time,
modern usage refers to:
    a typically non-realistic or semi-realistic artistic style of drawing or painting;
    an image or series of images intended for satire, caricature, or humour;
    a motion picture that relies on a sequence of illustrations for its animation.




                                                                                                       CONSERVATION SCIENCE IN CULTURAL HERITAGE
    in the field of traditional art, a cartoon (from the Italian cartone and the Dutch karton,
terms describing strong, heavy paper or pasteboard) is a full-scale preparatory draw-
ing made on thick paper as a study or model for a painting (stained glass, tapestry,
etc.). In the case of frescoes, cartoons were used to accurately reproduce the parts
of the composition which were to be painted on damp plaster, an operation which
lasted many days [60].
    Animation
    Animation is the process of producing the illusion of motion and change by display-
ing a rapid succession of images that differ from each other only minimally. It is used in
films, advertisements, television, video clips and games, and a variety of other forms
[61].
    In the field of culture, animation focuses specifically on stories that preserve culture
through computer animation. For example, it can be used to express, and so preserve
stories and legends, in order to transmit their wisdom, knowledge, socio-cultural val-
ues and identity to future generations. Two aspects can be distinguished in the use of
this form of art expression: the technical/digital and the socio-cultural.
    Cinema
    Cinematography is the science or art of motion-picture photography by recording
light or other electromagnetic radiation, either electronically by means of an image
sensor, or chemically by means of a light-sensitive material such as film-stock.


                                                                                                 187
                                                                                     The word used to refer to the art, process, or job of filming movies, but later its
                                                                                  meaning was restricted to “motion picture photography.” [62]
                                                                                     Animation and cinema can be applied by institutions to promote and manage culture
                                                                                  for the aim of diffusing, informing and educating. In particular, for example, uses, cus-
                                                                                  toms and traditions can, thus constitute a wealth of knowledge for future generations.
                                                                                     Photography
                                                                                     Photography is the science, art, application and practice of creating durable images
                                                                                  by recording light or other electromagnetic radiation, either electronically by means of
                                                                                  an image sensor, or chemically by means of a light-sensitive material such as photo-
                                                                                  graphic film [63].
                                                                                     Photography is employed in many fields and disciplines, such as the arts and sci-
                                                                                  ences, industries and business, particularly marketing, as well as in the more tradi-
                                                                                  tional, such as films and videos, as a leisure-time hobby and today, for mass com-
                                                                                  munication.


                                                                                    9.3 Popularity and attractiveness
S. Lorusso - Interdisciplinary studies in cultural and environmental heritage




                                                                                     Why are these art forms so popular and attractive?
                                                                                     In the case of cartoon, animation and cinema it is because they appeal to and hold
                                                                                  the imagination of people of all ages, from young children to the elderly. One global
                                                                                  example that people are familiar with is Disney’s famous mouse, whether it comes in
                                                                                  the form of a comic strip or cartoon film, it has become a part of popular culture and
                                                                                  is a brand name in itself. Cartoon, animation and cinema present a magic world that
                                                                                  stands between fantasy and reality, where anything can happen, it is an escape from
                                                                                  the real world; it can engage people emotionally, it can convey a message, it can teach
                                                                                  and you can learn from it.
                                                                                     As well as being an art form, photography has known an unprecedented role since
                                                                                  the spread of social media which, over time, has also become cheaper and there-
                                                                                  fore accessible to a great number of people. Today, digital devices make it easy to
                                                                                  take photos which are instant and can be sent to anywhere in the world. The reasons
                                                                                  are many and varied: they contribute to the latest news, both good and bad, they
                                                                                  form a personal archive of our memories and experiences, they record achievements,
                                                                                  etc.

                                                                                    10. Virtual and augmented reality

                                                                                      Virtual reality (VR) is an artificial, computer-generated simulation or recreation of
                                                                                  a real-life environment or situation. It is usually delivered to the user through a head-
                                                                                  mounted or hand-held controller. When you view VR, you are viewing a completely
                                                                                  different reality than the one in front of you (Figure 6a).
                                                                                      Augmented reality (AR) is an enhanced version of reality created using technology
                                                                                  that adds digital information. It takes our current reality and adds something to it – it
                                                                                  does not move us elsewhere (Figure 6b).
                                                                                      In short, in VR the user is immersed in a specific place by simulating or re-creating
                                                                                  or creating artifacts or environments that existed or exist or will exist. In AR the user
                                                                                  can be anywhere and add something that in reality does not exist.
                                                                                      Their corresponding application in cultural heritage [64-66]:


                                                                            188
   •    helps keep alive the past and / or revives and brings it to life;
   •    helps museums and other cultural units adapt to the digital age and to renew
        themselves, so they can offer public up-to-date services in line with modern
        technologies;
   •    improves their visibility online at a global level;
   •    can reconstruct what has been destroyed, from small artefacts to whole sites;
   •    is of great educational value and is a valid teaching instrument because users
        themselves can experience the richness of global cultural heritage through im-
        mersive virtual and augmented reality (Figure 6c).




                                                                                                            CONSERVATION SCIENCE IN CULTURAL HERITAGE


Figure 6. Virtual and augmented reality; a) VR; b) AR; c) immersive environment in virtual reality;
d) simulation software user interface (source: CSCH N.17-2017)

   Within the context of VR and AR, the term edutainment is often used in association
with the above topic and refers to a blend of education and entertainment. It is used to
describe various forms of entertainment that also educate, i.e. the process of entertain-
ing people at the same time as you are teaching them something (Figure 6d).


   11. Cultural heritage as economic heritage: the value and price of art

   Since an artwork is made of material or a composition of materials, it has a value



                                                                                                      189
                                                                                  and can be considered in economic terms: economic heritage. An art work can there-
                                                                                  fore be defined in the following ways:
                                                                                     SCARCE, because it is unique and cannot be reproduced;
                                                                                     USEFUL, because it satisfies the enjoyment and need for culture of the individual
                                                                                  and / or community;
                                                                                     DURABLE, because it remains through time;
                                                                                     MERITORIOUS, because it justifies public and private support;
                                                                                     A REFUGE, because it represents an alternative investment, particularly in the cur-
                                                                                  rent international decline.
                                                                                     The use of the term decline and not crisis is a subtle one, since a crisis is when the
                                                                                  lowest point is reached and then there is an ascent; decline on the other hand, refers
                                                                                  to a gradual downward trend which never reaches the lowest point.
                                                                                     In referring to the above points, the question is: “How can the economic, financial,
                                                                                  commodity and market aspects of a work of art be ignored without considering its
                                                                                  price?” Today in fact, a work of art always has a price: whether the artefacts be antique,
                                                                                  modern or contemporary, they have a specific quotation. However, it is important to
                                                                                  discern the meaning of the following: “The price is what is paid, the value is what is
                                                                                  obtained” [67-70].
S. Lorusso - Interdisciplinary studies in cultural and environmental heritage




                                                                                     12. The management of culture and tourism

                                                                                     Culture
                                                                                     The previously mentioned research themes relating to the protection and valoriza-
                                                                                  tion of indoor and outdoor cultural heritage and human safeguard involve:
                                                                                     •     the importance and significance of CULTURE which is at the basis of its val-
                                                                                           orization, i.e. connected to MANAGEMENT: economics, law, communication,
                                                                                           heritage enhancement;
                                                                                     •     the DIFFUSION and communication of research results for experts, scientists,
                                                                                           political representatives and also for the general public;
                                                                                     •     the TRAINING of human resources to shape heritage professionals able to
                                                                                           deal with the various problematic issues relating to CULTURE;
                                                                                     •     the knowledge of the TERRITORIAL FORCES, i.e. CULTURAL (museums, li-
                                                                                           braries, archives, art galleries, etc.) and BUSINESS (banks, industries, compa-
                                                                                           nies, enterprises, etc.) UNITS.
                                                                                     If the above aspects are implemented, INTERVENTION by the territorial forces in
                                                                                  the production, promotion and valorization of cultural heritage, generates VALUE not
                                                                                  only for CULTURE, but also for the TERRITORY ITSELF.

                                                                                     Tourism
                                                                                     The conceptual term “management” is synonymous of territorial forces and, in par-
                                                                                  ticular, together with the intervention of the territorial forces, local, regional, national
                                                                                  and international bodies – i.e.: restoration, hospitality industries, transportation, res-
                                                                                  taurant services, etc. As a result, the following direct and indirect returns are obtained:
                                                                                     •     creating awareness of the importance of cultural heritage and its preservation;
                                                                                     •     job creation in various sectors related not only to the valorization of the excel-
                                                                                           lences present in the territory, but also in research and management (research-



                                                                            190
       ers, administrators, marketing and communication professionals, gardeners,
       guardians, etc.), hotel and tourism industries;
  •    expanding tourism centered on heritage, both cultural and natural, thus boost-
       ing potential for local, regional, national and international economic develop-
       ment;
  •    tourist development represents a potential source of many types of financial
       gain: entrance fees to sites and museums, guided tours and visits, sales of
       handcrafted products, documents and photos, an increase in local craft indus-
       try, the use of innovative technologies, e.g. scientific, research, digital, etc. [71].


  13. Cultural and Creative Industries (CCIs)

    Cultural heritage represents an important productive sector in CCIs. Historical-artis-
tic heritage in Italy, which includes museums, libraries, archives, sites, monuments, as
well as artistic representations, cultural conventions and fairs, plays an important role
in the nation’s tourist industry. It represents a significant economic support to economic
growth.
    The reasons which determine positive economic trends comprise:
    •    the attractiveness generated by the richness of the historical heritage;
    •    an expanding market that is increasingly concerned with cultural activities.
         This is evidenced in the “Report on the Cultural and Creative Industry in Italy”
         presented by ERNST&YOUNG. It includes: radio (going digital), newspapers
         and magazines, advertising, music, books, cinema, visual arts, performing arts
         (sector of great excellence), architecture (in search of sustainability), video-
         games (great potential for the future), television and home entertainment;
    •    the need to better know, communicate and enhance Italian cultural heritage
         more effectively and efficiently;




                                                                                                       CONSERVATION SCIENCE IN CULTURAL HERITAGE
    •    the use of social media as a tool for communication between museum institu-
         tions and users.
    In spite of these positive trends however, there are difficulties:
    •    non-compatibility between websites and mobile devices;
    •    low response rate to reviews, publications, etc. by museums and visitors alike.


  14. Cultural heritage as globalized heritage

   Technological progress has determined many changes in society, which has led
to a shift in the economy, from one based on the production of material goods to an
economy based on innovation and knowledge. From this has come a growing interest
in cultural heritage worldwide which can be defined as a kind of globalization of this
heritage.
   In particular, the themes of culture and environment, as the expression of a set of
values and traditions of a specific situation and a specific nation, have been influenced
by communication systems that have permitted the circulation of capital, products,
ideas, people, losing their national connotation and acquiring that of “world heritage of
humanity”.
   Therefore, cultural heritage has become global because:


                                                                                                 191
                                                                                     •    global demand has grown leading in turn to an increase in the number of end-
                                                                                          users;
                                                                                     •    agencies for international protection have increased in number, many being
                                                                                          linked to the United Nations for Educational, Scientific and Cultural Organiza-
                                                                                          tion (UNESCO);
                                                                                     •    the art market has grown as well as the number of art works in circulation;
                                                                                     •    national institutions have adjusted to the present-day situation and have them-
                                                                                          selves become ‘global’.
                                                                                     This globalization of the artistic patrimony has led to significant repercussions on
                                                                                  conservation, circulation and end-user policies regarding works of art, as they repre-
                                                                                  sent a leading sector in the economy of different countries. Italy in this respect is the
                                                                                  country with the highest number of heritage properties inscribed in UNESCO’s list of
                                                                                  protected sites, with a total of 54 (49 cultural properties and 5 natural) (Figure 7) , in
                                                                                  addition to another 8 elements of intangible cultural heritage (ICH): this represents a
                                                                                  cultural record at planetary level, according to the different statistics attributable to ap-
                                                                                  proximately 70% - 80% of cultural assets throughout the world.
                                                                                     As is known, the EU and UNESCO have promoted culture-oriented development
                                                                                  models using design with the objective of enhancing the historical, civil, symbolic, so-
S. Lorusso - Interdisciplinary studies in cultural and environmental heritage




                                                                                  cial and functional value of cultural heritage. The aim is to build a more solid relation-
                                                                                  ship between the territory and the community through the various areas: culture and
                                                                                  knowledge, tradition and innovation, public and private. In this regard, the valorization
                                                                                  of cultural assets through design is a strategic objective for the international image and
                                                                                  competitivity of Made in Italy.
                                                                                     Within this context, the afore-mentioned historical-technical Journal “Conservation
                                                                                  Science in Cultural Heritage” has, since 2001, played an important role in the field of
                                                                                  communication, training and research.


                                                                                     15. Final considerations

                                                                                      To sum up, some brief considerations deriving from a number of truths based on the
                                                                                  meaning of “creativity”, a conceptual term that can be transferred to the sector relating
                                                                                  to the protection and valorization of cultural heritage.
                                                                                      The definition given by Henri Poincaré: “Creativity is putting together existing ele-
                                                                                  ments with new connections that are useful”, introduces the transcendence of existing
                                                                                  rules (new) by instituting another shared rule (as it has proven useful).




                                                                            192
                                                                                                   CONSERVATION SCIENCE IN CULTURAL HERITAGE




                    Figure 7. Italian heritage under UNESCO’s protection



   At the same time, the “White Paper on Creativity” (Ministerial Decree 2007), issued
by the Italian Ministry of Cultural Heritage, Activities and Tourism (MiBACT) states that:
“Creativity and culture are inseparable, a mechanism for success that can place the
Nation in a strategic position in the international process of globalization”.
   Therefore, creativity is the basis for a profession in a sector which is undergoing
profound change. The field of heritage protection and management of artistic and cul-
tural events requires increasingly more specialized multi-faceted figures able to design

                                                                                             193
                                                                                  strategies for promoting and preserving art and heritage and to operate on diverse
                                                                                  media platforms effectively using languages and potential.

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                                                                                     Biographical notes

                                                                                     Salvatore Lorusso is a former full Professor of the University of Bologna. He is a
                                                                                  Foreign Member of the Russian Academy of Natural Sciences; Emeritus Professor of
                                                                                  the Cultural Heritage Institute of Zhejiang University, China; Visiting Professor of the
                                                                                  Academy of Social Science of Zhejiang University, China; Visiting Professor of the
                                                                                  Faculty of Arts, Lomonosov Moscow State University, Russia; former Vice-president
                                                                                  and now, a Councilor of the Società Italiana per il Progresso delle Scienze (SIPS - es-


                                                                            198
tablished in 1839). He is Direttore Generale of the Accademia della cultura enogastro-
nomica. His biography appears in the 2016 Marquis Edition of Who’s Who in the World.
He is the founder and director of two book series on specific issues pertaining to the
sector of cultural and environmental heritage. He is the author of over 420 publications
in national and international journals and of 22 volumes and monographs covering
commodity science, cultural heritage and the environment. In 1997, he founded the
Diagnostic Laboratory for Cultural Heritage at the Ravenna Campus of the University
of Bologna and remained head of the Laboratory for eighteen years. His scientific work
deals mainly with the study of the “system: artifact-environment-biota” and the diag-
nostic, analytical, technical and economic evaluation within the context of the protec-
tion and valorization of cultural and environmental heritage.

   Summary
   An overview of the various and numerous themes relating to cultural and environ-
mental heritage gathered together in one article represents, at an international level,
a rare peculiarity. As a result of the research and teaching activities carried out over
the decades at the Universities of Rome, Tuscia (Viterbo) and Bologna, integrated with
the fundamental relationship and involvement of the Cultural and Productive Units
scattered throughout the territory, I was led to synthetically describing, insofar as was
possible, the different problems that involve the various scientific areas of a historical,
technical, economic, managerial nature, within the context of interdisciplinarity and in
respect of the holistic value of cultural heritage.

    Riassunto
    Una panoramica delle varie e numerose tematiche che si riferiscono al Patrimonio
Culturale e Ambientale raccolte in uno stesso articolo rappresenta, a livello interna-
zionale, una particolarità più unica che rara. Quale risultato dell’attività di ricerca e di
insegnamento svolta nel corso di alcuni decenni presso le Università di Roma, Tuscia




                                                                                                     CONSERVATION SCIENCE IN CULTURAL HERITAGE
(Viterbo) e Bologna, integrata dal fondamentale rapporto e coinvolgimento delle Unità
Culturali e Produttive presenti nel territorio, sono state trattate sinteticamente, per
quanto possibile, le differenti problematiche che coinvolgono le varie aree scientifiche
di carattere storico, tecnico, economico, manageriale nell’ambito della interdisciplinar-
ità e nel rispetto del valore olistico del bene culturale.




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