La grotta immersiva: multimedialità del paleostorico tra disegno, fotografia, cinema e 3D

Valentina Bartalesi; Tommaso Casini; Annamaria Ducci

doi:10.6092/issn.2531-9876/14293

Authors

Valentina Bartalesi IULM University of Milan

Valentina Bartalesi (1994) is a PhD student in Visual and Media Studies, Visual Arts curricula at IULM University in Milan, Italy with a thesis entitled Haptic Feeling: genealogie tra storia dell’arte, critica e new- media (Tutor: Prof. Dr. Tommaso Casini; Co-Tutor: Prof. Dr. Andrea Pinotti). She obtained a master's degree in Art History and Archeology from Università Cattolica in Milan, with a final dissertation on Greece's influence on Giulio Paolini and Jannis Kounellis's work during the 1980s. Her main research interests cover Italian postwar art, postmodern aesthetic and the role of haptic perception inside the creative process.
Tommaso Casini IULM University of Milan

Tommaso Casini (Rome 1967) is Associate Professor of Museology and history of art criticism. He studied at the University "La Sapienza" in Rome (1988-1992) and obtained in 1999 a Phd at the Scuola Normale Superiore di Pisa.
From 2003 to the present, He teaches Museology and history of art criticism at University IULM in Milan and history of art-historical. The main interests of research are the iconography of portrait and physiognomy (16th-19th centuries), the relationship between texts and images (16th – 17th centuries) and the translation re-mediation of works of art (printed, photographic, filmed and 3D: 16th – 21th centuries); the critical reception of Paleolithic art in the twentieth century.
From 2016 to the present, He is vice president of italian committee C.I.H.A (Comité International Histoire de l'Art).
From 2018 to the present is member of the scientific board of the review (class A) Storia della Critica d'Arte - Annuario della SISCA (Società italiana di storia della critica d'arte).
From 2018 to the present is member of the scientific committee of “Quaderni Archivio Venturi" Department of History of Art and Performance (University of Rome).
Current member of PRIN Project University Rome – IULM Milan (2017-2021).
"Navigating through Byzantine Italy. An Online Catalogue to Study and Enhance a
Submerged Artistic".
Current member of the scientific committee of “Totem” editorial board (Palermo University Press).
Annamaria Ducci Centre allemand d'histoire de l'art (DFK) of Paris

Annamaria Ducci is currently post-doc fellow at the Centre allemand d'histoire de l'art (DFK) in Paris. She received her Ph.D. in art history from the University of Pisa. In 2014 she obtained the Qualification for teaching as an Associate Professor. Her main fields of interest are medieval art history as well as art theory and criticism. In 2002 she was Getty Fellow at the Institut National d’Histoire de l’art (INHA) in Paris; in 2009 fellow at the Kunsthistorisches Institut in Florence; in 2012-2013 lauréate for the Program 'Research in Paris', as a researcher at the INHA again. In 2015-2016 she has been Research Assistant at the Scuola Normale Superiore (Pisa) for the ERC project EUROCORR-The European correspondence to Jacob Burckhardt. She is the author of several essays on the art historian Henri Focillon (the monograph Henri Focillon en son temps. La liberté des formes is expected for spring 2021, Presses Universitaires de Strasbourg). She dedicated other essays to the art historians Jurgis Baltrušaitis, George Kubler, Bernard Berenson, Carlo Ludovico Ragghianti and Élie Faure, and on the writer Paul Valéry too. She also studied the issue of the role and appreciation of artist’s hand in French art criticism. She is on the editorial board of the journals (Class A) Predella and Restauro Archeologico ; she also collaborates with the journals Revue de l’art, Annales. Histoire - Sciences Sociales, Arte medievale, Il Capitale Culturale, Critica d'arte. She is currently member of the Scientific Committee at the Fondazione Ragghianti, Lucca. She is member of the Research Network on the History of the Idea of Europe (RNHIE) and of the Groupe de recherche sur l'histoire transnationale du patrimoine (Institut d’Histoire Moderne et Contemporaine, ENS-Paris). Her current research projects focus on the notion of form in France from the end of the 19th century to the first half of the 20th; on the art historians' correspondence; on the art historians' drawings; on the role of intellectual organisms at the League of Nations for the definition of the notion of 'patrimoine'; on the museums and exhibitions in France in the 1930s; on the ideological implications in the definition of European art.

DOI:

https://doi.org/10.6092/issn.2531-9876/14293

Keywords:

Rock painting, Chauvet, replicas, immersivity, Prehistoric art remediation

Abstract

The prehistoric cave can be considered a paradigmatic "image-environment" for its intimate relationship between images (rock paintings, graffiti, carved blocks) and the wall's geological morphology. An embracing and dark space, in which «the image entirely corresponds to the totality of the perceptual field, without any frame», the cave appears an ideal environment to be explored through 360° immersive technology. An exemplary case of this experiential mode comes from the latest Google Arts & Culture's Meet Our Ancestors. This multifaceted project, entirely dedicated to the Chauvet-Pont d'Arc site, allows both the superimposition between real and virtual (AR) and the multisensory immersion in an algorithmic environment (VR), employing a medial apparatus with various levels of "immersivity". Given this scenario, this paper will analyze the multifarious concept of "immersivity" in AR and VR, considering the cave model from a theoretical-aesthetical perspective. Indeed, this topic will concern the extensive AR and VR application to the prominent cave replicas (Altamira, Lascaux, Chauvet) during the pandemic. This study will also retrace the long-lasting perceptual history's outstanding stages perpetually fluctuating between environmental reading and iconic exaltation. From the first scientific illustrations of the 19th century through the exhibition strategies of the first half of the 20th century and the images of mass culture, the remediation of prehistoric art finds a crucial turning point in the moving images advent, culminating with the employing of 3D technologies in Werner Herzog's opus The Cave of forgotten dreams (2011).

The immersive cave: the multimediality of prehistory between drawing, photography, cinema and 3D

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