Come To Culture Lab: Science On Art And Artifacts, A Conference Session This Saturday In Dublin At ESOF

The 2012 ESOF conference in Dublin takes place on the other side of the wonderful Samuel Beckett bridge. Credit: Sarah Everts

I’m looking forward to moderating a session on art and artifact science at the Euroscience Open Forum  (ESOF) conference this Saturday morning from 10:45 am – 12:15 pm in the Liffey B room.

If you’re in Dublin at ESOF, do stop by! Here’s what you’ll be in for… (the shortened version of my pitch to ESOF):

When you mention art or cultural heritage science, most people think about authentication of a priceless masterpiece or identification of a pigment on a Rembrandt or a da Vinci.

But cultural heritage scientists are doing this and much much more: They’re helping to conserve and restore everything from spacesuits to plastic sculptures.

They’re developing tools to study artworks and artifacts without actually touching them, so that you can tell if Picasso produced a particular masterpiece with hoity toity expensive artist paint or industrial wall paint.

They’re getting into the minds of ancient cultures by recreating their recipes for everything from hair dye to incense.

And they’re dealing with what some call the digital art crisis: how do you preserve or conserve art that employs obsolete hardware or software, or art that is stored online in fleeting formats or impermanent platforms.

Here’s who’s speaking at the Culture Lab session:

Matija Strlič is a senior lecturer at the University College London’s Centre for Sustainable Heritage. He’s involved in all sorts of fascinating projects, from the AHRC/EPSRC-funded Heritage Smells!, which is about detecting the chemical makeup of gases emanating off artifacts to figure out degradation taking place inside, to the EU Joint Programming Initiative called ‘Cultural Heritage and Global Change.’ He’s developing technology to visualize damage in art and artifacts before it is visible to the naked eye.

Costanza Miliani is a staff researcher at Italy’s CNR Institute for Molecular Science and Technologies. She’s also responsible  for MOLAB Transnational Access, an EU-funded, roving crew of conservation scientists that travel around Europe providing scientific support to museums and galleries around the continent. In the last couple of years, MOLAB has worked on everything from frescoes in Florence’s Santa Croce Basilica, to Van Gogh’s sunflowers in Amsterdam and rare Aztec documents in Liverpool. In her own research, Miliani develops new non-invasive analytical technologies to study dyes, pigments, binders and their breakdown products.

Philippe Walter has been a long-time scientist at the Centre for Research and Restoration of the Museums of France, a research facility located underneath the Louvre in Paris. He’s now taken an academic post at the University of Pierre and Marie Curie. Walter has been involved in a potpourri of interesting projects: From researching the Mona Lisa’s complexion using non-invasive, portable technology, to recreating ancient recipes for ancient Egyptian and Grecian cosmetics.

Leo Konstantelos is a researcher at the University of Glasgow, who is using his training in computer science to tackle the emerging cultural heritage conundrum about how to develop archives for and how to conserve digital and computer-based art. This year he’s got a book coming out on the preservation of software art as part of the POCOS project, but he’s also published widely on many issues in digital art/new media characterization and conservation.

…and then if you’re not sated by Culture Lab, there will be another ESOF cultural heritage session on Saturday afternoon from 13:15 to 14:45 in the ECOCEM room, featuring folks from the Tate, University of Delaware and Harvard, to name a few.

Follow me @saraheverts and everybody else #esof2012 to keep up with what’s sure to be a fun-filled week of great science, including everything from molecular gastronomy to string theory.

Author: Sarah Everts

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