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Oncology: HIV/AIDS (Understanding Disease Series)-A provirus replicates with the host’s cells to produce a large number of progenies (alike viruses). These viruses come out of the cells by the process of budding and the HIV/AIDS infection spread further. This is a snippet from the video. To know about the complete process oc HIV/AIDS infection including complications related to it, link to an appropriate page.
www.focusappsstore.com/understanding-diseases/infectious-...
Watch this video on Vimeo. Video created by Focus Apps Store.
The McGee group is going to the ends of the earth to understand how precipitation patterns respond to climate change. Recognizing that past changes provide unique opportunities to test our understanding of the climate system, the group is building high-resolution records of past precipitation changes in sensitive regions around the world using natural precipitation archives such as lake deposits and stalagmites. In the past two years this work has taken the group to shorelines preserving records of large ancient lakes in the deserts of the western U.S. and subtropical South America, to caves in the Yucatan peninsula and deep inside islands in Vietnam's Ha Long Bay, and onto a drill rig sampling deeply buried lake sediments in the high tropical Andes.
Images courtesy: Nguyen Hieu & Do Trung Hieu
This is one of my favourite views in the whole of NZ - the expansiveness I felt from this view point on my first trip to NZ in 2002 is probably the driving force behind my decision to pack up in Melbourne, Australia and move to this part of the world. Home is now in Queenstown which is about 50km as the crow flies from here.
Children in our Early Head Start program plant carrots and water the garden at the Naomi Helligar Family Childcare Home in Kissimmee. The ongoing project fosters a hands-on experience that increases each child's appreciation and understanding of healthy foods and nutrition.
Understanding Exposure and Understanding Close-Up Photography together with the perfect picture...
... signed by Bryan Peterson.......
Yipeeeeeeeeeeeeeeee!!!!!
Based on the information collected during my ethnographic work focusing my attention on the everyday understandings of dengue fever, and paying particular attention to the different ways in which the subjects that have had dengue described the experience of being unwell, I decided to re-work (collaboratively) all the information gathered so far, to create elements that reflect the ideas of how dengue fever is understood in various different contexts.
Promoters of public health have not taken into consideration the points of view of the patients or those who have had the disease. They design campaigns based on an entomological and clinical point of view, following a standard template where you see health staff –dressed in laboratory coats– talking about environmental hygiene and the purposes of sanitation. In addition, humour doesn’t play a role in the design of the campaigns.
In order to collaboratively create an intervention that reproduces the way Luis Fernando and Sara experienced the disease (you can find information about the ways in which they described the experience of being unwell by accessing my PhD blog: www.anthropologyartscience.blogspot.com), we asked Alejandro Uribe, Sarita Álvarez and Juan Camilo Ortega for their help. They are part of Bimana, a collective of artist that creates a variety of large-scale interventions and performances combining a solar balloon, plastic bags, kites, makeup, prosthetics design, and special effects. The idea was to create a fictional character, or a comic anti-hero, that would appear in the public space of the city, creating an active dialogue with different peoples.
Acknowledgments:
I am extremely grateful with the subjects of this ethnography Sara and Luis Fernando. Special thanks to the ‘Bimana Producciones’ team (Alejandro Uribe, Sarita Álvarez and Juan Camilo Ortega), the kite-flyer Andrés Ramírez and the actor Emilio Arango. I would also like to thank the rest of the people that helped during the public experiment: Pablo López, Lucía Tobón, Sara Ibarra, Susana Valencia, Hernán Marín, Mario Valencia, and Gustavo Ramírez.
To see more about this project, please refer to these websites:
alejandrovalenciat.com/alejandrovt/serotipo.html
anthropologyartscience.blogspot.com/
*Photo by Mario H. Valencia: www.mariohvalencia.blogspot.com/
The Delegation of the European Union to the United States in cooperation with the Association of European Rail Industry (UNIFE) hosted a ceremony and reception celebrating the signature of a Memorandum of Understanding between UNIFE and the American Public Transportation Association (APTA) at the EU Delegation Headquarters on November 5, 2013 in Washington, D.C.
(Photo by www.MomentaCreative.com)
Understanding the idea of shallow DOF when using macro lens but I still quite surprise when I was unable to focus both of these heads at f/8 since they look pretty much in the same focal length (to me).
So I decide to take this opportunity to test the technique which I've read but never tried before: focus stacking.
And here it's.
Quite happy with the result :-)
Hi there,
I temporarily opened my commission thread again.
Please read this first. Thanks very much for your understanding:
Three face-up slots are available.
MSD or SD dolls only please.
No manicure, pedicure, bodyblush or mods. I only have time for face-ups right now.
The slots are for people who can send a doll right now. I can't do any reservations at the moment, since I am not sure when I can take commissions again, and I already have a few reservations going on. Sorry for any inconvenience, but again thanks for your understanding.
My latest work can be reviewed at my Flickr account.
[URL="http://www.flickr.com/photos/sweetlytwisted/collections/72157613931585910/"]Click[/URL]
More information about my prices: www.sweetlytwisted.com
Minister of Trade and Industry Rob Davies together with the Islamic Republic of Mauritania Minister of Commerce Industry and Tourism Naha Mint Hamdi Ould Mouknass sign a Memorandum of Understanding (MOU) on Economic Co-operation at Tshedimosetso House in Pretoria. (Photo: GCIS)
Students will have enhanced access to online learning opportunities thanks to a new partnership between the university and Quizam Media Corporation. Dr. Rosetta Khalideen, UFV’s Dean of Professional Studies, and Dr. Frank Ulbrich, Director of the School of Business, joined Russ Rossi, President & CEO of Quizam Media Corporation, to sign a memorandum of understanding (MOU) on behalf of their respective organizations on April 2.
The partnership formalizes a path for developing UFV’s project plan to access and customize ontrackTV content for labs, self-paced learning, and other purposes related to UFV credit and non-credit courses. The goal is for UFV to work with ontrackTV to help meet UFV’s strategic plan goals for online delivery.
Newborn hair growth refers to the process of hair development in infants during the first few months of their lives. Newborns typically have fine and soft hair that covers their entire body, known as lanugo hair. This hair is usually shed during the first few weeks after birth, and then replaced by vellus hair which is finer, shorter, and less pigmented. As the baby grows, the hair follicles continue to develop and produce more mature hair, which may be different in texture and thickness from the initial hair growth. In some cases, newborns may experience hair loss in certain areas due to friction, rubbing against bedding, or from sleeping in one position for too long.
Order Now :- softsensbaby.com/collections/tear-free-shampoo/products/b...
IFPRI Director General Shenggen Fan signs a memorandum of understanding between IFPRI and Central Asia Regional Economic Cooperation (CAREC) as Senior Research Fellow Kevin Chen stands witness.
5 June, 2016, Beijing, China
Photo credit: Katrin Park / International Food Policy Research Institute
This studio aimed to develop and further a students' understanding of architecture by studying the intersection of at, design and materials science. Three primary exercises helped develop student’s techniques of drawing, making and organizing structures. This course was specifically created to play off students' non-architectural education by introducing a domain of investigation whereby students learned to design through the lens of cross-disciplinary experimentation.
Throughout the semester students investigated generative art, design and materials science through the lens of “pattern formation” and attempted to extract principles, learned techniques and developed strategies for design. By studying the formation of materials students explored both the fundamental science as well as new advances in research to understand the building blocks of matter, organizational patterns, processes of material creation and micro-to-macro material behavior. To draw comparison, students also researched both contemporary and historic works of generative art and design to understand the rules, logic and components of the work and how high-level patterns emerge from local interaction. These seemingly opposite fields converged and become precedents for three exercises: 1. Generative drawings, 2. New material formations and 3. Living objects / growing structures.
Learn more at arts.mit.edu
All photos ©L. Barry Hetherington
lbarryhetherington.com/
Please ask before use
This photo album contains photographs of the 2019 Signing of a new Memorandum of Understanding by Assistant Secretary Royce of the Bureau of Educational and Cultural Affairs (ECA) and Ambassador Domingos Fezas Vital of the Republic of Portugal, with remarks by Robert Faucher, Director of the Office of Western European Affairs in the Bureau of European Affairs (EUR).
Why harmonious relationships are not all about agreement and what they really are all about
Differences of opinion don’t need to be problems, if you follow this guideline
In relationships, understanding—not agreement—is the key.
In employing the word understanding here, I’m not referring to...
howdoidate.com/relationships/healthy-relationships/this-i...
© DM Parody 2018 (www.dotcom.gi/photos) These images are protected by copyright. You CANNOT copy or republish any of these photos without written consent of the photographer even if you retain the watermark (if present) and/or credit the photographer. You cannot use on any media including social media either. You CAN post a link to the page where the image appears without reference to the photographer only if not promoting a commercial product or service. Copyright infringements will be followed up, legally if necessary. Thank you for your understanding.
My monument started with the intention of remembering the lives of the neurodivergent people across time -- in the past, the present, and the future. That brought in the symbolic shape (the sine-cosine wavy shape that represents 'seeing' the world differently when the 'light' reflects our eyes) in the first place.
However, the more I worked on the project, the more I felt that the "emphasis" on the shape and the word "neurodivergent or neurodiversity" might separate people into groups. At this point, I struggled to find my stance/ground between all the intertwined relationships and connections between propaganda, politics, arts, communication, education, slogans, instruction, and others -- in terms of "monument" or being monumental.
By definition, neurodiversity is for everyone and 'is' every human and every cognition. By definition, neurodiversity draws on the spectrum of human cognition, including those with clinical diagnosis/labels, such as ADHD, Tourettes, ASD, and dyslexia, and those without clinical labels, celebrating the diversity of human cognition and brains. However, this understanding is not widespread yet in the world. The word 'neurodiversity,' in this contemporary era/time, seems to be used to "help" a group of people -- and when done legally and for paperwork, it is conducive, but in everyday lives, I am not sure. (It is kind of a similar discussion for the label dyslexia -- many people in the neurodiversity communities prefer to use words like 'holistic thinkers' and '3D thinkers' for everyday life (not legal/paperwork) when possible.)
Therefore, after experiencing the sense of unsatisfaction from where I was heading for the first half of the project, I decided to add the idea of 'the foundation of human existence' and 'widening focal points, rather than emphasizing the shape solely.' As a result of contemplation on three main ideas (1. breathing as anchoring, 2. the birth string on one arm, 3. monument in Greece), a vivid image of the performance came out with the essences from all of these three ideas without making things complicated and too much.
I see the performing part as part of, not the whole of, my monumental sculpture.
During the critic, I did not receive feedback from my classmates. I received questions from them. Expressing something about ontology or the foundation of human existence always brings in the sense of abstractness in art -- at least for me. So they asked questions about the meanings of each piece of my performance. The questions were about the 'objects' used in the performance rather than what I did during the performance. At that point, my subconscious or unconscious started to worry that maybe this was an indication that I did not consider who the audience members would be when planning the performance. I saw this performing -- extended -- self of the monument is between performance art and theater art; so, being away from theatrical art which carefully investigates the target audience and its intended impact on the audience, I did not really put my time in who the audience would be and their possible awareness level(?) of neurodiversity and human existence related thoughts.
Materiality and Moment. The in-between of these was what I was experimenting with by extending the life of my sculpture by adding the performing part.
What surprised me was my inner response after the performance. I started to feel awful. I think that my knowledge of that quite a lot of the students at this college does not know what neurodiversity is has been suppressed by my conscious self, but during and/or after the performance, I felt like I was facing this knowledge right in front of me. This brought up all the traumatic memories that I have silenced for my entire life regarding being dyslexic/neurodivergent. At this line of thought chain, I thought, "the word traumatic is so cliche these days." And my stronger/future-oriented self said that, as an artist working between performance art and sculpture, I should be able to channel these feelings in the process of art-making.
For this project, I channeled it during the performance, especially when anchoring in existence (between time-space) by breathing, but I do think that channeling all these "lived experiences" during the art-making processes will 1000000000000999999999222888333377744422% enhance my artworks and the artistic endeavors and processes.
(About two weeks ago, I was questioning "lived experience vs. art," and it is interesting this question and this writing come together just perfectly like this.)
Contextualizing this part in terms of my learning in the course, I think the sculpture-making process, for me, is weaving the threads of 'thinking through making -- embodied cognition' and 're-living experiences, blooming lived experience.' Seeing and touching the symbolic magenta shape (sine-cosine shape) visually has immensely helped me safely, effectively, and creatively arrive at recognizing lived experiences in the world and within myself.
Also, during the critic, Professor Lee shared her feedback that she would have added more visual cues/clues about the symbolic shape (sine-cosine shape) on my clothes or mask. When I first heard that during the critic, it enhanced my thought processes of the audience's eyes and the performance space. What if I came closer to them? What if I instructed them to sit more closely with one another so that the overall angles are not too spread out? What if?
I personally did not want to add more shapes (the symbolic shape), so I kept thinking about the dim lighting, the far distance between myself and the audience, and the audience seat.
Professor did share similar thoughts about one or two weeks ago, such as drawing the shape on the mask. However, I decided not to include that because I did not want to visually force the viewers to see the shape during the transient performance, which is about every human existence, rather than one "archetypal" neurodiverse individual. Also, I would display the sculpture after the performance, which the audience can come closer and see and observe.
For the performance aspect of my monument sculpture, I wanted to convey (in my own way, which people sometimes verbally described as abstract, depending on their viewpoints) the feeling of the very foundational image of existence as well as the feeling of 'being.' In this sense, the ontological justification of self-advocacy is the same for every single person, regardless of having a clinical label or diagnosis or being neurodivergent. Through this window of contemplation, I wanted to show the similar-ness between all existing humans while giving an indirect clue about the performer (neurodivergent individual) having their own way of experiencing its existence through space and time by "growing" the shape biologically and "breathing" the shape every day.
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Memorandum of Understanding Signing between IAEA Director General Yukiya Amano and World Association of Nuclear Operators (WANO) Chairman Mr. Laurent Stricker at the IAEA 56th General Conference. IAEA Vienna, Austria, 17 September 2012
Copyright: IAEA Imagebank
Photo Credit: Dean Calma / IAEA
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2023. ROMA - Altare della Patria, Edith Gabrielli (ViVe), "...dei valori che l’Altare della Patria ha rappresentato" (...) "ma anche perché crediamo fermamente nella qualità di Angelo Zanelli..."; in: Al via i lavori di restauro dell'Altare della Patria. Roma: VIVE - Vittoriano e Palazzo Venezia (28/03/2023) [Italiano / English] et al. wp.me/pbMWvy-3Xn
Foto: RARA 2023 / ROME – Complementary Souls – Vittoriano and Campidoglio in Rome during ‘Festa dell’Europa’ event; in: Mauro Pagliai / Skypixel.com., (20/05/2020).
www.flickr.com/photos/imperial_fora_of_rome/52780735554
Foto: ROMA – Altare della Patria: la campagna di restauro – Dal 28 marzo 2023 iniziano i lavori, prima tappa di un progetto di valorizzazione della zona centrale del Vittoriano; in: Roma: VIVE – Vittoriano e Palazzo Venezia (28/03/2023) [Italiano / English].
www.flickr.com/photos/imperial_fora_of_rome/52779948962
1). ROMA - "Al via i lavori di restauro dell'Altare della Patria. Garantite le cerimonie del 25 aprile, 2 giugno e del 4 novembre': in: ANSA viaggiArt / Lazio (28/03/2023).
“Fin dal nostro insediamento abbiamo dedicato una cura particolare all’Altare della Patria e alla sua maestosa decorazione scultorea. Lo abbiamo fatto nella piena condivisione dei valori che l’Altare della Patria ha rappresentato e ancor oggi rappresenta, ma anche perché crediamo fermamente nella qualità di Angelo Zanelli: si tratta di un artista di fama veramente internazionale, come dimostra la sua impresa per Cuba nel 1928, eppure per vari motivi alle volte dimenticato. Il restauro che inauguriamo rappresenta il primo passo di un’operazione di recupero critico più ampia, profonda e articolata”, lo ha dichiarato Edith Gabrielli, direttrice dell’istituto ‘VIVE – Vittoriano e Palazzo Venezia’.
--- Dott.ssa Edith Gabrielli, in:
Altare della Patria, Gabrielli (ViVe): primo passo di operazione di recupero critico più ampia. Agenzia di Stampa / Cult (28/03/2023).
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52779948972
Prendono il via oggi 28 marzo a Roma i lavori per il restauro dell'Altare della Patria, nel cuore del Vittoriano, al centro di Roma. I lavori si articoleranno in tre fasi, la cui sequenza consentirà non solo di mantenere il servizio della Guardia d'Onore alla Tomba del Milite Ignoto, ma anche il regolare svolgimento delle cerimonie del 25 aprile 2023 e del 2 giugno 2023.
Foto: ROMA – Eugenio Baldacci,”ALTARE DELLA PATRIA – Roma Primi anni del 1900, monumento in costruzione,” FLICKR | (03|01|2015); in: RARA (2017).
www.flickr.com/photos/imperial_fora_of_rome/52780957153
L'intervento si concluderà il 24 ottobre 2023 per rispettare anche la cerimonia del 4 novembre 2023. La campagna di restauro dell'Altare della Patria è stata avviata dall'Istituto VIVE, Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli. Il Vittoriano fu pensato all'indomani della morte di Vittorio Emanuele II, il 9 gennaio 1878: l'obiettivo era celebrare il primo re d'Italia e, attraverso la sua persona, l'intero Risorgimento. Il progetto dell'architetto marchigiano Giuseppe Sacconi, vincitore di un apposito concorso bandito nel 1882, fu messo in atto dal 1885. Il monumento, inaugurato ancora incompleto nel 1911, fu concluso negli anni trenta del Novecento. L'Altare della Patria è la zona curvilinea al centro del Vittoriano, che Sacconi volle trasformare in un grande altare laico dedicato alla Nazione e ai suoi valori. La sua decorazione, lunga 70 metri e alta 5, si deve allo scultore lombardo Angelo Zanelli, che risultò vincitore di un concorso bandito nel 1908.
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52780954063
Ora però l'Altare della Patria e la sua decorazione si presentano scarsamente leggibili, in uno stato di conservazione precario e in alcune zone critico: il restauro, diretto da Edith Gabrielli ed eseguito da Susanna Sarmati, ha come primi obiettivi quello di garantire la conservazione materiale dell'Altare della Patria, e di restituire la piena leggibilità all'opera di Zanelli, fin nei dettagli, consentendone una piena comprensione critica. Oltre che sul restauro, la valorizzazione dell'Altare della Patria procederà anche con una campagna di studio, di catalogazione e restauro di una parte dei gessi oggi in deposito all'ex Mattatoio di Roma, anche grazie alla collaborazione della Soprintendenza speciale Archeologia Belle Arti e Paesaggio di Roma. (ANSA).
Fonte / source:
--- ANSA viaggiArt / Lazio (28/03/2023).
www.ansa.it/canale_viaggiart/it/regione/lazio/2023/03/28/...
Fonte / source, foto:
--- RARA 2023 / ROME - Complementary Souls - Vittoriano and Campidoglio in Rome during 'Festa dell'Europa' event; in: Mauro Pagliai / Skypixel.com., (20/05/2020).
www.skypixel.com/photos/complementary-souls
Fonte / source:
--- Agenzia di Stampa / Cult (28/03/2023).
www.agenziacult.it/musei/altare-della-patria-gabrielli-pr...
Fonte / source, foto:
-- Eugenio Baldacci,"ALTARE DELLA PATRIA - Roma Primi anni del 1900, monumento in costruzione," FLICKR | (03|01|2015); in: RARA (2017) / ROMA - Primo Acciaresi, Giuseppe Sacconi e l’opera sua massima; cronaca dei lavori del monumento nazionale a Vittorio Emmanuele II, illustrata da 330 incisioni. ROMA (1911), pp. 1-315 [PDF] (09/05/2017).
rometheimperialfora19952010.wordpress.com/2017/05/09/roma...
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ROMA - IL RESTAURO DELL’ALTARE DELLA PATRIA - L’istituto VIVE - Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; DAZEBO NEWS / Roma: VIVE - Vittoriano e Palazzo Venezia (28/03/2023) / YouTube [1:39].
www.youtube.com/watch?v=RSBGrSWiVF8
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2). ROMA - Altare della Patria: la campagna di restauro - Dal 28 marzo 2023 iniziano i lavori, prima tappa di un progetto di valorizzazione della zona centrale del Vittoriano; in: Roma: VIVE - Vittoriano e Palazzo Venezia (28/03/2023) [Italiano / English].
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52780899910
Prende avvio il restauro dell’Altare della Patria, ovvero della zona centrale del Vittoriano, concepita dall’architetto Giuseppe Sacconi proprio come un grande altare laico alla Nazione e ai suoi valori, e decorata dallo scultore bresciano Angelo Zanelli.
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52779948982
L’Altare si presenta oggi in condizioni di scarsa leggibilità e talvolta addirittura critiche. Il restauro, diretto da Edith Gabrielli ed eseguito da Susanna Sarmati, ha tra gli obiettivi principali garantire la conservazione materiale dell’opera e restituire una piena fruizione alle sculture di Zanelli.
L’articolazione dei lavori in tre fasi garantisce il servizio della Guardia d’Onore alla Tomba del Milite Ignoto e lo svolgimento delle cerimonie del 25 aprile e del 2 giugno.
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52779948957
Il cantiere sarà un “cantiere aperto”, in grado fra l’altro di attestare l’eccellenza italiana nel settore del restauro artistico. Cittadini e turisti avranno la possibilità di osservare gli operatori dal vivo e di salire sui ponteggi in occasione di visite guidate. Un diario online documenterà settimanalmente il procedere dei lavori.
Il perché del restauro
L’Altare della Patria e la sua decorazione, a ventitré anni dall’ultimo intervento, si presentano oggi in condizioni di scarsa leggibilità e talvolta addirittura critiche. Le condizioni climatiche del Vittoriano, caratterizzate da umidità e temperature elevate per via dell'esposizione al sole, hanno favorito il formarsi sulla superficie lapidea di una patina scura, dovuta all'accumulo di micro-alghe, funghi e licheni.
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52780954083
Questi microrganismi, oltre a ottundere la corretta percezione dell’opera, causano un degrado meccanico e chimico sulla superficie. I funghi, ad esempio, penetrano nelle fessure, sollecitando meccanicamente la struttura e aumentando la decoesione del materiale. Le alghe, invece, producono un'azione meccanica corrosiva che contribuisce alla crescita di ulteriori dei licheni.
Il progetto del restauro
Diretto da Edith Gabrielli ed eseguito da Susanna Sarmati, il restauro ha come primo obiettivo garantire la conservazione materiale dell’Altare della Patria, arrestando i fenomeni di degrado in atto e prevenendo i danni futuri attraverso un opportuno trattamento delle superfici. Il secondo obiettivo consiste nel restituire la piena leggibilità all’opera di Zanelli, fin nei suoi dettagli, consentendone una piena comprensione critica. Il terzo e ultimo obiettivo è guadagnare una serie di conoscenze specifiche per ricostruire nel dettaglio tecniche, metodi e fasi costruttive dell’opera.
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52780735514
I lavori muoveranno dalla disinfestazione della superficie da colonie di microorganismi con oli essenziali estratti da origano e timo. La rimozione dei depositi incoerenti, che non alterano la composizione chimica del materiale lapideo, sarà effettuata con aspiratori integrati, spazzole morbide e pennelli. Per le polveri sottili e quelle carboniose, si faranno lavaggi a bassa pressione con acqua deionizzata. Le superfici degradate della pietra saranno consolidate con l'applicazione di nano-silicati, al fine di ristabilire la compattezza del materiale lapideo, e riaderite le parti distaccate.
Verrà effettuata un'attenta revisione delle stuccature, rimuovendo quelle non più aderenti e colmando le lacune e le discontinuità presenti sulla superficie, così da uniformare la superficie e renderla più resistente agli agenti di degrado (inquinanti atmosferici, chimici e biologici, nonché infiltrazioni di acqua). Al termine del ciclo di interventi previsti, verranno applicati dei polisilossani per proteggere le superfici eccessivamente porose esposte agli agenti atmosferici, all'umidità da condensa o ai microrganismi animali e vegetali. Questo trattamento modificherà la tensione superficiale del sottofondo in modo tale che la pioggia non penetri nella superficie verticale, ma scorra su di essa.
Foto: RARA (2019) / ROMA – Angelo Zanelli e gli studi per il fregio sull’Altare della Patria, in: Popolis.it (20/05/2019) & giornaledibrescia.it., (26/03/2019).
www.flickr.com/photos/imperial_fora_of_rome/52780954123
Un cantiere aperto
I lavori si articoleranno in tre fasi. La prima fase, dal 27 marzo all’8 luglio 2023, interesserà le porzioni laterali dell’Altare; la seconda fase, dal 9 luglio al 3 settembre 2023, la porzione centrale di destra, compresa La Dea Roma; la terza fase, dal 4 settembre al 24 ottobre 2023, la porzione centrale di sinistra. Fermo restando il servizio della Guardia d’Onore alla Tomba del Milite Ignoto, tale sequenza consentirà fra l’altro il regolare svolgimento delle cerimonie del 25 aprile 2023 e del 2 giugno 2023. L’intervento si concluderà il 24 ottobre 2023, nel rispetto della cerimonia del 4 novembre 2023.
I lavori sono concepiti come un “cantiere aperto”, in grado fra l’altro di attestare l’eccellenza italiana nel settore del restauro artistico. Cittadini e turisti avranno la possibilità di osservare gli operatori dal vivo, di salire sui ponteggi in occasione di visite guidate – in programma il 23 aprile, 11 giugno, 27 agosto e 17 settembre – e di verificare il procedere dell’intervento attraverso un Diario del restauro, ovvero un report video pubblicato ogni settimana sul sito.
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52780484466
«Fin dal nostro insediamento abbiamo dedicato una cura particolare all’Altare della Patria e alla maestosa decorazione di Angelo Zanelli» dichiara Edith Gabrielli, direttrice del VIVE. «Lo abbiamo fatto nella piena condivisione dei valori che l’Altare della Patria ha rappresentato e ancor oggi rappresenta, ma anche perché crediamo fermamente nella qualità di Angelo Zanelli: si tratta di un artista di fama veramente internazionale, come dimostra la sua impresa per Cuba nel 1928, eppure per vari motivi alle volte dimenticato. Il restauro che inauguriamo rappresenta il primo passo di un’operazione di recupero critico più ampia ed articolata».
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52780484481
3). ROMA - SEGUI OGNI SETTIMANA Il Diario del restauro / Inizio dei lavori: allestimento dei ponteggi - Parte oggi martedì 28 marzo l’allestimento dei ponteggi del cantiere. Presenti il direttore dei lavori Edith Gabrielli (direttrice del VIVE - Vittoriano e Palazzo Venezia) e la restauratrice Susanna Sarmati; in: Roma: VIVE - Vittoriano e Palazzo Venezia (28/03/2023).
Inizio dei lavori [in video & foto]: allestimento dei ponteggi Parte oggi martedì 28 marzo l’allestimento dei ponteggi del cantiere. Presenti il direttore dei lavori Edith Gabrielli (direttrice del VIVE - Vittoriano e Palazzo Venezia) e la restauratrice Susanna Sarmati.
Fonte / source, foto & video [Italiano / English] =
--- Italiano / vive.cultura.gov.it/it/restauro
--- English / vive.cultura.gov.it/en/restoration-work
--- Foto: RARA (2019) / ROMA – Angelo Zanelli e gli studi per il fregio sull’Altare della Patria, in: Popolis.it (20/05/2019) & giornaledibrescia.it., (26/03/2019).
rometheimperialfora19952010.wordpress.com/2019/05/21/roma...
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52780735624
4). ROME - Dr. Edith Gabrielli & Susanna Sarmati, "Altar of the Fatherland: the restoration work - Work will begin on 28 March 2023, the first stage of a project to enhance the value of the central area of the Vittoriano"; in: Rome: VIVE - Vittoriano e Palazzo Venezia (28/03/2023) [Italiano / English] et al.
Work is beginning on the restoration of the Altar of the Fatherland [in video & foto], the central area of the Vittoriano, conceived by the architect Giuseppe Sacconi as a large secular altar to the Nation and its values, and decorated by the Brescian sculptor Angelo Zanelli.
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52780899990
The Altar is now poorly visible and its state in some respects is critical. The restoration work, directed by Edith Gabrielli and executed by Susanna Sarmati, has among its main objectives to ensure the material preservation of the work and restore full enjoyment of Zanelli's sculptures.
The organisation of the work in three phases will ensure the service of the Guard of Honour at the Tomb of the Unknown Soldier and the performance of the ceremonies on 25 April and 2 June.
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52780954138
This will be an open construction site, capable among other things of attesting to Italian excellence in the field of artistic restoration. Citizens and tourists will be able to observe the operators live and climb on the scaffolding in guided tours. An online Diary of restoration will document the progress of the work weekly.
--- What is the Altar of the Fatherland?
The Altar of the Fatherland is the central curved area of the Vittoriano. The architect Giuseppe Sacconi, commissioned to revise the initial project, decided to transform this part of the monument to Vittorio Emanuele II into a great lay altar dedicated to the nation and its values.
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52780954188
Its decorations – 70 meters long and 5 meters high – are by the Lombard sculptor Angelo Zanelli (1879-1942). The winner of the competition announced in 1908, Zanelli completed the work in 1925.
At the centre of the sculptural frieze is the statue of The Goddess Roma in an aedicule with a gilded mosaic ground. At the sides the two bas-reliefs are conceived as majestic processions. On the west side The Love of Country that fights and wins, on the east side The Work that builds and fecundates. Zanelli, originally from the province of Brescia, was trained in the current of classicism, and then developed his style in the spirit of Liberty and Symbolism. This stylistic code enabled him to combine a profound memory of antiquity with the most advanced international trends: The Goddess Roma reveals the marked influence of the Austrian Gustav Klimt and the Viennese Secession.
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52780900010
--- The reason for its restoration:
Twenty-three years after the last work was done on it, the Altar of the Fatherland and its ornaments are not clearly legible and in some parts even in a critical state. The atmospheric conditions of the Vittoriano, with humidity and high temperatures due to exposure to sunlight, have led to the formation of a dark patina on the stone surface caused by the accumulation of micro-algae, fungi and lichens.
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52780735584
These microorganisms, in addition to blurring the correct perception of the work, are causing mechanical and chemical deterioration of the surface. Fungi, for example, penetrate the cracks, mechanically stressing the structure and increasing the fragility of the material. Algae produce a corrosive mechanical action that leads to the growth of further lichens.
--- The restoration project:
Directed by Edith Gabrielli and performed by Susanna Sarmati, the first purpose of restoration is to secure the material preservation of the Altar of the Fatherland, by putting an end to the phenomena of deterioration in progress and preventing future damage with appropriate treatment of the surfaces. The second purpose is to render Zanelli's sculptures fully legible in their details, so making for a full critical understanding of them. The third and final objective is to gain a series of specific insights to enable us to reconstruct the techniques, methods and phases of construction in detail.
--- An open construction site:
The work will be divided into three phases. The first phase, from 27 March to 8 July 2023, will affect the lateral parts of the Altar. The second phase, from 9 July to 3 September 2023, the central part on the right, including The Goddess Roma. The third phase, from 4 September to 24 October 2023, the central part on the left. Without obstructing the duties of the Guard of Honour at the Tomb of the Unknown Soldier, this sequence will, among other things, allow for the regular performance of the ceremonies of 25 April 2023 and 2 June 2023. The work will end on 24 October 2023, respecting the ceremony of 4 November 2023.
Foto: ROMA – IL RESTAURO DELL’ALTARE DELLA PATRIA – L’istituto VIVE – Vittoriano e Palazzo Venezia, diretto da Edith Gabrielli, dà il via alla campagna di restauro dell’Altare della Patria, nel cuore del Vittoriano, al centro di Roma; in: ROMA – VIVE – Vittoriano e Palazzo Venezia (28/03/2023).
www.flickr.com/photos/imperial_fora_of_rome/52780735599
Fonte / source, foto & video [Italiano / English] =
--- Italiano / vive.cultura.gov.it/it/restauro
--- English / vive.cultura.gov.it/en/restoration-work
Great expression! Both of us has difficulty walking but we have fun! At Margate Modern Art Centre, at an old Pier. in Kent.
As per Bill Millers' friendly request:
A series of AI-generated pictures of Norma J B. in different art styles.
To be continued.
Pictures made with Midjourney.
I'm always happy to accept invites to groups as long as I can see the content. If I see "this group is not available to you", my photos won't be made available to that group. Thanks for your understanding.
The Delegation of the European Union to the United States in cooperation with the Association of European Rail Industry (UNIFE) hosted a ceremony and reception celebrating the signature of a Memorandum of Understanding between UNIFE and the American Public Transportation Association (APTA) at the EU Delegation Headquarters on November 5, 2013 in Washington, D.C.
(Photo by www.MomentaCreative.com)