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2023 is the celebration of the 25th anniversary of the foundation of the University of Milano-Bicocca. In this special year, the new ‘Diffused Museum’ of the University will commence activities. The ‘Diffused Museum’ is a recent institution born to enhance the experience of the collections and foster connections between research, training and third mission, with specific attention to relations with the territory. The Museum collects objects digitally with their meaningful elements kept in different departments. These are communicated both inside to the students and personnel of the University and outside to the different publics; implementing strategies for their enhancement. Among the different initiatives for the 25th celebrations, there are three exhibitions: two of them produced by the Central Library and the third by the Diffused Museum. In a perspective of collaboration between the museum, the library and the archives; the ‘Diffused Museum’ participates in the Library’ s exhibitions (Medici in guerra. Testimonianze della Grande Guerra dagli archivi storici della Bicocca and Mente e storia. La psicologia nelle collezioni storiche della Bicocca) with the design of workshops for interpretation and mediation of the cultural heritage. There has been little experimentation with this new type of provision to date within the university. This means reflecting in depth on content, enhancing the relationship with the contemporary and activating effective strategies and methodologies to be able to stimulate the participation of students and the public. This contribution brings an initial report on the actions carried out and on the results obtained.

Il MuDiB, museo diffuso dell'Università di Milano-Bicocca, è un sogno che sta prendendo vita. È stato immaginato come un dispositivo che mappa i 25 anni di storia dell'università, basandosi sui beni culturali sparsi nei suoi quattordici dipartimenti e nelle due scuole. A differenza della maggior parte dei musei contemporanei, il MuDiB non sarà un luogo fisico in cui il patrimonio viene ospitato ed esposto. Sarà piuttosto l’applicazione di pratiche e azioni per valorizzare e comunicare il patrimonio diffuso., The University of Milano-Bicocca’s distributed museum, MuDiB, is a dream now coming to life. It was imagined as a trajectory mapping the university’s 25-year history based on the heritage assets scattered across its fourteen departments and two schools. Unlike most contemporary museums, MuDiB will not be a physical place where heritage is housed and exhibited. Rather, it will be an exercise in bringing to light and communicating the heritage inside the various departments.

The University of Milan-Bicocca is a recent institution, created in the last quarter of the twentieth century, placed in a new open campus in a completely renewed area in the Northern part of Milan, formerly occupied by huge industrial facilities. From its creation, the University has paid great attention to activate connections in this transformed territory with its old and new residents. Meanwhile, the University has started a process of connection between the different departments to improve the knowledge about tangible and intangible cultural heritage, and to share experiences, practices and research on it. In 2019, the University identified, through a diffused museum, an adequate tool to activate these connections among and outside the departments. The museum aims to improve collaborative practices among the different parts of the University (the departments but also the library and the archives) and to involve the community of ‘users’ of the territory such as; residents, students, personnel of the university, occasional visitors, in participative museum processes. The museum is currently in the primary stages of activation (digitalization of the collections, designing of the ‘diffused’ displays etc.) and it is hosting some temporary activities to experiment with different ways to connect University/collections/territory. In this presentation we will introduce some relevant actions in this direction and analyze the results.

This article describes steps being taken at Milano-Bicocca University to set up a distributed university museum accessible to teachers, students, and the wider community. Traditional university museums are places and collections that over the centuries have enriched the educational offering of their institutions and served as a resource for research and scientific inquiry. In recent decades, the emphasis has been on sharing and increasing participation in these cultural heritage sites by opening them up to the community, thereby extending the university’s educational outreach. In the project at Milano- Bicocca, a young and interdisciplinary university that has just celebrated the 20th anniversary of its founding, the first step in the process has been to inventorize the objects currently held by each department, with a view to assessing the existing range of potential exhibits and deciding how best to exploit them. Initially these cultural objects will be on display in a digital environment, designed to make them known to larger audiences and stimulate new research ideas. In preparation for this step, the university and its fledgling distributed museum took part in the online event Milano MuseoCity, held from March 2 to March 7, 2021, with a focus on the theme of secret museums. For its debut at this event, the University of Milano-Bicocca presented three main cultural objects, thus keeping the university “top of mind” – despite the ongoing public health emergency – as a place of education and research, but also as a space of encounter and dynamic cultural growth.

This article describes steps being taken at Milano-Bicocca University to set up a distributed university museum accessible to teachers, students, and the wider community. Traditional university museums are places and collections that over the centuries have enriched the educational offering of their institutions and served as a resource for research and scientific inquiry. In recent decades, the emphasis has been on sharing and increasing participation in these cultural heritage sites by opening them up to the community, thereby extending the university’s educational outreach. In the project at Milano- Bicocca, a young and interdisciplinary university that has just celebrated the 20th anniversary of its founding, the first step in the process has been to inventorize the objects currently held by each department, with a view to assessing the existing range of potential exhibits and deciding how best to exploit them. Initially these cultural objects will be on display in a digital environment, designed to make them known to larger audiences and stimulate new research ideas. In preparation for this step, the university and its fledgling distributed museum took part in the online event Milano MuseoCity, held from March 2 to March 7, 2021, with a focus on the theme of secret museums. For its debut at this event, the University of Milano-Bicocca presented three main cultural objects, thus keeping the university “top of mind” – despite the ongoing public health emergency – as a place of education and research, but also as a space of encounter and dynamic cultural growth.

The aim of this paper is to introduce a method for analysing a specific kind of contemporary tourism positioned between two different traditional customs: visiting museums and going to pilgrimage sites. The case studies provided are focused on Italian shrine museums where it is difficult to ascertain whether visitors are cultural tourists or pilgrims or a combination of both. Regardless, the tourist flows and networks created by Italian shrine museums can provide promising elements for local development. Four case studies that are representative of different regions in Northern Italy and have specific features in common have been chosen: shrines dedicated to the Holy Virgin; museums that exhibit different types of objects; and smaller museums and shrines. The case studies are the Shrine of the Madonna delle Grazie in Garessio (Piedmont), the Madonna del Bosco Shrine in Imbersago (Lombardy), the Madonna della Misericordia Shrine in Genoa (Liguria) and, the Santuario delle Grazie in Rimini (Emilia Romagna). Each of the case studies is significant not only for how it illustrates both the different ways in which shrines and museums can be connected, but also how they impact on the cultural enhancement of the territory. The method we illustrate also makes it possible to evaluate different kinds of connections between other tourism institutions and experiences, with the aim of introducing well-defined actions capable of enhancing tourist experiences elsewhere.

Le riflessioni del contributo provano a esaminare l'opera Quarto Stato, grazie a un questionario, in relazione ai futuri docenti e al ricordo di come questo quadro è stato proposto nei loro percorsi scolastici. Lo scritto presenta alcuni dei dibattiti attuali maturati sulla partecipazione al patrimonio culturale.

Il volume, di solido impianto scientifico ma taglio divulgativo, presenta i risultati inediti del progetto interdisciplinare Mobartech (finanziato da Regione Lombardia nell’ambito di un ampio intervento nel quadro dei Fondi Europei di Sviluppo Regionale, FESR, previsto nel Programma Operativo Nazionale) per il caso di studio Quarto Stato di Giuseppe Pellizza da Volpedo. Al progetto prendono parte quattro dipartimenti dell’Università di Milano-Bicocca in partnership con altre importanti istituzioni italiane di ricerca scientifica: l’Università di Milano, l’Università Cattolica, l’Istituto IBFM del Consiglio Nazionale delle Ricerche, CNR, l’Istituto Eucentre, che svolge attività di ricerca, sviluppo e innovazione nel settore del patrimonio culturale, dell’ingegneria sismica e, più in generale, dell’ingegneria della sicurezza, la XGLab del gruppo Bruker, che sviluppa strumentazione scientifica in particolare nell’analisi elementare e la società Space, impresa che opera nel settore delle tecnologie dell’informazione applicate alla valorizzazione e gestione del patrimonio culturale. L’opera viene studiata da vari punti di vista: i) storico e sociale, approfondendo il suo significato nel contesto di produzione e di uso pubblico; ii) materico e composizionale, studiando le tecniche e i materiali con i quali è stata realizzata; iii) di interazione con l’ambiente e il pubblico, elaborando prospettive di conservazione e valorizzazione. Il volume si articola in tre parti: nella prima si affronta il significato proprio dell’opera nei suoi contesti prima di produzione quindi nei successivi museali ed espositivi; nella seconda parte si illustrano le diverse modalità di studio dello spazio di conservazione, degli elementi materiali dell’opera e la fruizione da parte del pubblico contemporaneo; infine, nella terza parte si avanzano alcune proposte per la migliore conservazione e fruizione dell’opera. Gli autori dei contributi sono ricercatori afferenti al progetto e altri e

La Riviera e la Costa Azzurra hanno sempre costituito fin dalla metà del XIX secolo una regione turistica di primaria importanza a livello europeo. Nei suoi più di centocinquanta anni di storia turistica, tale regione ha naturalmente attraversato diverse fasi, in ognuna delle quali ha sempre saputo far fronte alla variazione di domanda, adeguando la propria offerta e la propria immagine in funzione delle mutate esigenze turistiche del momento. In particolare, fino agli Anni Trenta del Novecento i turisti d’Oltremanica hanno rappresentato il gruppo più consistente in assoluto, tanto che furono realizzati numerosi edifici a uso della comunità inglese (chiese, banche, tea room, negozi, campi da tennis...). Questi vennero a costituire un environmental bubble inglese le cui tracce sono ancora evidenti. Dopo la Seconda Guerra Mondiale, fra le profonde trasformazioni che subirono la Riviera e la Costa Azzurra è senz’altro fondamentale il drastico ridimensionamento dell’interesse turistico da parte degli inglesi, sostituito soprattutto da quello domestico. A seguito di ciò, gli edifici a uso della colonia turistica inglese furono dapprima abbandonati e successivamente riutilizzati per altri fini. Nel presente studio si prenderanno in considerazione le chiese anglicane che gli inglesi costruirono durante i loro lunghi soggiorni nella regione, delineando dapprima un censimento delle strutture a oggi esistenti e analizzando a uno a uno ogni luogo di culto al fine di osservare in quale modo il loro riuso possa essere testimonianza delle fasi turistiche successive (dapprima balneare, poi culturale)

Religious ecotourism can contribute to the safeguarding of the natural environment and of the cultural landscape in its tangible and intangible dimensions. The first aim of this research is to explore these possibilities in the particularly fragile pilgrimage routes in high altitude. The modern visual methodologies are eventually used to explore the characteristics in the representation of these routes. The cultural and historical processes in experiencing these itineraries in an ecotouristic dimension and the importance of their representations in building a touristic image in that sense are highlighted.

In this paper the authors examine two of Italy’s lesser religious tourism destinations: Sotto il Monte and Concesio, small towns in northern Italy which have the distinction of being the birthplaces of Pope John XXIII and Pope Paul VI. In 2002 and 2008 respectively, two of the country’s national television networks broadcast during prime time short television serials dedicated to the two popes. Despite being very successful with the viewing public, the serials proved to have little impact in terms of tourism, as demonstrated by comprehensive tourist surveys and in-depth conversations with the parties concerned. The aim of the present research is to ascertain, using a visual geographical research approach, whether the reasons for this can be identified, taking account of the pull factors of place, personality and performance referred to by Macionis in 2004.

This article suggests a series of reflexions regarding ecclesiastical museums and their different relationship with the surrounding territory, using considerations on museums of more geographical characteristics. Indeed, as the research regarding technical problems of museums and those of an artistic nature have been reaffirmed during the preparation for the XXIV General Conference on the International Council of Museums, which will be held in Milan in 2016. The responsibility of museums towards their outward interest should be the same as the regard held to their own collections. The ecclesiastical realty of Italian museums is characterised by really numerous institutions, of different dimensions, importance, type and property; consequently, it constitutes a complex and emblematical chance of study. First of all different examples of connection between the ecclesiastical museums will be tackled, above all examining thoroughly the case of the distribution network; followed by the connections which such differing museums can keep up relations with the surrounding territory; and lastly the relationship which exists between museums on the one side and visitors and the local community on the other

The aim of this research is not to measure the sustainability of different religious touristic practices itself, but rather, using modern visual research methodologies, to analyze a number of images depicting various religious tourist destinations to ascertain whether or not they present elements relating to sustainability. The result is that in both environmental, social and economic sustainability, the process of renewing religious tourism with a sustainable focus has also improved from the point of view of the way it is represented visually

In recent decades museology and geography have both, each in their own area, dealt with networks. Museology has in fact focused extensively on the efficacy of shared management for adding value to the activities of museum institutions, while geography has reinterpreted the concept of territory as an effect of the networks which stretch out across the world in the postmodern society. In this work, after a discussion on the concepts of museum network as developed by the two disciplines (paragraph 1), consideration was given to the case of particular types of museums, ecclesiastical types, part of the scenario in Italy, and more specifically the ecclesiastical museums of Milan (paragraph 2). Observations by the authors have led to the conclusion that, by taking advantage of the opportunity of the forthcoming anniversary of the Edictum Mediolanense (313 AD), the network of Milan’s ecclesiastical museums could be created appropriately on the basis of the concept of tolerance which, like a fil rouge, weaves a link between the different museum institutions (paragraph 3).

L'ecoturismo religioso coniuga l'esigenza spirituale dei soggetti postmoderni con la necessità di riscoprire il proprio ruolo e la propria responsabilità nei confronti dell'ambiente naturale.

The rapid developments of robotics technologies in the last twenty years of the XX century have greatly encouraged research on the use of robots for surgery, diagnosis, rehabilitation, prosthetics, and assistance to disabled and elderly people. This chapter provides an overview of robotic technologies and systems for health care, focussing on various ethical problems that these technologies give rise to. These problems notably concern the protection of human physical and mental integrity, autonomy, responsibility, and fair access to medical resources.