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La reseña expone los argumentos principales del libro de Peter Carruthers, Human and animal minds: The consciousness questions laid to rest. Oxford University Press, 2019. A su vez, desarrolla algunas críticas a la noción de conciencia fenoménica propuesta por el autor.

This article focuses on the analysis of the pigmentary palette of Pio Collivadino (1869–1945), an Argentinian artist of outstanding influence in the national art of the early twentieth century. By using Raman spectroscopy on micro-samples taken from a selected corpus of the Pio Collivadino Museum consisting of representative works of different moments of his production, we were able to unambiguously detect several pigments in the artist’s palette: lead white, vermillion, Prussian blue, chrome yellows and oranges, synthetic ultramarine, zinc white, cadmium yellows and oranges, cobalt violet, viridian, cerulean blue, cadmium red and earth pigments (raw sienna and burnt sienna). The identification of the pigments used by Collivadino enabled us to set up a dialogue between his palette and those of the contemporary European artistic movements his work relates to: the Macchiaioli, the Scapigliati, the Divisionists (Italian artistic vanguards) and the Impressionists. The presence of Prussian blue, cerulean blue, viridian not mixed with emerald green and earth pigments relates Collivadino’s choice of pigments to that of the contemporary Italian artistic vanguards, distancing his palette from that of the Impressionists. The palettes of European artists active during the nineteenth century and the first half of the twentieth century have been widely studied making it possible to date the incorporation of the new bright and colorful pigments that were synthesized during this period. Taking into account Collivadino’s privileged position in the Art academic field, his choice of art materials may have influenced many artists whose works make up the Argentine national heritage. Therefore, the characterization of Collivadino’s pigmentary palette carried out here is an important step to date the incorporation of these bright new pigments in the Argentinian artists’ palettes. Besides Collivadino's work importance by itself, and due to his position of privilege, his palette also provides information about the availability of art supplies in Argentina during this period.

Resumen: ¿Cómo se relaciona el arte rupestre con las prácticas sociales existentes a su alrededor?, ¿cómo es la dinámica de estas relaciones a lo largo del tiempo? En este trabajo intentamos responder a estos interrogantes a través de la presentación de una metodología que vincula tres evidencias materiales presentes en algunos de los abrigos del sitio arqueológico de Oyola (Catamarca, Argentina): las pinturas rupestres, los restos de fogones hallados en la excavación del piso y las marcas de hollín detectadas sobre las paredes.

Fil: Gheco, Lucas Ignacio. Consejo Nacional de Investigaciones Cientificas y Tecnicas. Centro de Investigaciones y Transferencia de Catamarca. Universidad Nacional de Catamarca. Centro de Investigaciones y Transferencia de Catamarca; Argentina. Universidad Nacional de San Martin. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina

Could not be possible that rock paintings with similar hues and morphologies were the result of different paint preparations inside a cave but distanced in time? Is there any archaeometric approach that allow us to evidence these subtle differences? Aiming to address these inquires, in this work are presented the potentials of new physicochemical lines of evidence for characterization and differentiation of paint mixtures. This will improve the understanding of the technical heterogeneity and temporal complexity of painting sets executed in a particular archaeological site. In order to explore these points, the results obtained in the micro-stratigraphic studies of samples taken from the painted walls of Oyola, an archaeological site located in the northwest of Argentina, are presented. These samples have been analyzed by micro-Raman spectroscopy (mRS) and scanning electron microscopy with energy dispersive X-ray (SEM–EDS). The differences found by cross-section chemical studies could be explained as a consequence of two situations: 1-differences in the painting’s chemical components, either in the pigments involved or additives used; and, 2-differences in the physical properties of the mixtures such as stratum thickness and/or particle size. Also, in this article are explained each of the hypothesis, presenting the limits of these interpretations and pointing out future research challenges. As we discussed, it could be possible that the chemical and physical differences found between paint mixtures were the material expression of varied types of pictorial techniques.

Over the time, instrument transportability has become more and more important, especially in Cultural Heritage, as often artworks cannot be moved from their site, either because of the size or due to problems with permission issues, or simply because moving them to a laboratory is physically impossible, as e.g. in the case of mural paintings. For this reason, the INFN-CHNet, the network for Cultural Heritage studies of the Italian National Institute of Nuclear Physics (INFN), has developed an XRF scanner for in situ analyses. The instrument is the result of a wide collaboration, where different units of the network have been developing the diverse parts, then merged in a single system. The XRF scanner has been designed to be a four-season and green instrument. The control/acquisition/analysis software has been fully developed by our group, using only open-source software. Other strong points of the system are easiness of use, high portability, good performances and ultra-low radiation dispersion, which allows us to use even when the public can be present. It can run both with mains or on batteries, in the latter case with a maximum runtime longer than 10 h. It has a very low cost, when compared to commercial systems with equivalent performances, and easily replaceable components, which makes it accessible for a much wider portion of the interested community. The system has been thought and designed as an open system, suitable for further development/improvements, that can result interesting for non-conventional XRF analysis. The CHNet XRF scanner has proved to be really very well suited for applications in the Cultural Heritage field, as testified by the many recent applications. This paper describes the present version of our instrument and reports on the tests performed to characterise its main features. Fil: Taccetti, F.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Castelli, L.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Czelusniak, C.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Gelli, N.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Mazzinghi, A.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Palla, L.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Ruberto, C.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Censori, C.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Lo Giudice, A.. Università di Torino; Italia. Istituto Nazionale di Fisica Nucleare; Italia Fil: Re, A.. Università di Torino; Italia. Istituto Nazionale di Fisica Nucleare; Italia Fil: Zafiropulos, D.. Istituto Nazionale di Fisica Nucleare; Italia Fil: Arneodo, F.. New York University Abu Dhab; Emiratos Arabes Unidos Fil: Conicella, V.. New York University Abu Dhab; Emiratos Arabes Unidos Fil: Di Giovanni, A.. New York University Abu Dhab; Emiratos Arabes Unidos Fil: Torres, R.. New York University Abu Dhab; Emiratos Arabes Unidos Fil: Castella, F.. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Mastrangelo, Noemi Elisa. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina Fil: Gallegos, D.. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Tascon, Marcos. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina. Universidad Nacional de San Martín. Instituto de Investigación e Ingeniería Ambiental. - Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Parque Centenario. Instituto de Investigación e Ingeniería Ambiental; Argentina Fil: Marte, F.. Universidad Nacional de San Martín. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Giuntini, L.. Università degli Studi di Firenze; Italia

Carminic acid (CA) and other related compounds have been widely used as dyes in cultural heritage, cosmetics and the food industry. Therefore, the study of their properties upon photoexcitation is particularly important. In this work, the photophysical and photochemical properties of CA, carminic lake and other related pigments in aqueous solutions are revisited. Novel quantitative information regarding the fate of the photoexcited states is provided including the efficiency of reactive oxygen species (ROS) photosensitized production (i.e., singlet oxygen and hydrogen peroxide) as well as the efficiency of nonradiative deactivation pathways. Laser-induced optoacoustic spectroscopy (LIOAS) data revealed that for all the investigated compounds, almost all the absorbed energy is released as prompt heat to the media. This is in agreement with the fact that other deactivation pathways, including fluorescence (ΦF ∼ 10−3–10−5), photochemical degradation (ΦR ∼ 10−4) and/or photosensitized ROS formation (ΦH2O2 < 10−5 and ΦΔ ∼ 0), are negligible or null. In addition, a comprehensive investigation of the photodegradation of CA and lake is herein reported. The influence of different experimental parameters such as irradiation wavelength and oxygen partial pressure was evaluated. UV-vis absorption and fluorescence emission spectroscopy in combination with chemometric data analysis were used to elucidate the relevant aspects of the photodegradation mechanism involved and the spectroscopic features of the photoproducts generated. In aqueous media, CA follows an O2-dependent photochemical degradation when subject to elapsed photoexcitation in the UVB, UVA and visible regions. The photoproduct profile depends on the excitation wavelength giving rise to quite distinctive spectroscopic profiles. With respect to lake, our data suggest that upon photoexcitation, this pigment releases a CA-like chromophore that follows a similar fate to CA.

Artworks are an inseparable part of the cultural heritage of societies and provide us with a unique look at cultural developments through time and space. For the best possible conservation, it is paramount to know the constituent materials, condition, and construction techniques of the objects (e.g. painting on wood, fresco, sculpture). Such information is required not only for the surfaces of the objects, but also for the interiors; in the imaging discipline, this is known as depth imaging. Here, we introduce a new method for non-invasive depth imaging as an alternative to traditional non-invasive methods when the latter cannot be used to obtain the required information. We use ultrasonic transverse-wave transmission measurements and turn them into virtual reflection measurements. We achieve this by applying seismic interferometry with active sources. Obtaining reflection measurements by seismic interferometry allows us to apply an advanced imaging technique – prestack depth migration, as used in seismic exploration – to produce a high-resolution depth image of an object. We apply our method to ultrasonic data recorded on a mockup of a painting on a wooden support. We validate our method by comparing our results with an image from X-ray computed tomography.

The research conducted on the mural paintings of the dome and aisles of the San Miguel Church, Buenos Aires, Argentina, is herein described in this work. Based on the results attained from the stratigraphic analysis, the technique implemented by the architect and artist Augusto Ferrari was secco. The composition of the mortar in the majority of the samples collected was gypsum (CaSO4 · 2 H2O) and calcite (CaCO3), whereas the preparation layer was mainly characterized by the presence of gypsum and cerussite (PbCO3). In addition, the red pigments were characterized in all cases as hematite (Fe2O3) whereas orange and ochre colors were achieved by mixing chrome yellow (PbCrO4), chrome orange (PbCrO4·PbO), and gypsum and barite (BaSO4). Moreover, all the range of blue samples found in this mural paintings were characterized as lazurite (Na8 [Al6Si6O24] Sn). Finally, the gildings were composed of a superficial layer of gold of approximately 5-μm thickness, followed by a layer of hematite and chrome yellow. The latter was also employed as a yellow pigment in all of the analyzed works of art. In conclusion, it was demonstrated that the use of complementary and microdestructive spectroscopic methodologies is a very useful tool to determine not only the materiality but also the execution technique of the painting in order to assess, in an interdisciplinary approach, the future restoration and preservation strategies.

Fil: Marte, Fernando Daniel. Universidad Nacional de San Martin. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina

This chapter introduces the first research on Argentine mural materials. Ejercicio Plastico painted by Equipo Poligrafico (Polygraphic Team) and the Lunettes from Galerias Pacificos painted by TAM: Taller de Arte Mural (Mural Art Workshop). These two emblematic works for Argentine art of the thirties and forties were studied in an interdisciplinary way. The characterization was carried out from the point of view of the materials used and the execution techniques employed, and they were significant as the first investigations of this type on Argentine mural painting. Remarkably, both artworks suffered similar trajectories: they were sectioned, dismantled and abandoned for two decades, and afterwards they were recovered, researched, restored and located in a new context. During the process of revaluation, we had the opportunity to study these artworks and the data afforded us the possibility to understand the different states of conservation they were in and at the same time helped us to increase technological knowledge in this area, which is underexplored in Argentina.

Modern art has challenged many aspects of the analytical approaches that are typically used for traditional paint characterization and ageing studies. The paint industry has changed significantly throughout the twentieth century, frequently altering its manufacturing techniques in order to achieve paints with improved appearance, application and performance for a range of diverse household, industrial and artistic uses. This has led to the appearance and use of a multitude of new binding media, pigments and additives, most of which require new analytical methods for their identification. Concrete art is the name given to a significant art movement that took place in Argentina (and other nearby countries) during the 1940s and 1950s, at the exact same time as a flourishing paint industry was utilizing many of these new products and diversifying formulas. This paper reports on some initial findings from a long-term study to develop and apply analytical methodologies on paint samples from a number of Concrete artworks, that will help to better understand art history and advance the conservation field by shedding light on these artist's painting techniques, and the ageing behavior of their materials. Specifically, samples of white paints manufactured by local paint companies in Argentina from that time period were purchased and studied with a multi-analytical approach, which will serve as a reference collection for the field. The analytical techniques used were X-ray diffraction (XRD), scanning electron microscopy with energy dispersive X-ray analysis (SEM-EDX) and gas chromatography coupled with mass spectrometry (GC/MS) with previous derivatization. Artworks samples were studied with a similar multi-analytical approach, and utilized micro-Raman spectroscopy instead of XRD, for its non-destructive application. A wide range of possible compounds was identified due to the complementarity use of analytical techniques, representing a significant first step in Argentinian modern art research.

Fil: Marte, Fernando Daniel. Universidad Nacional de San Martin. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina

In 1946 TAM (Taller de Arte Mural) a group of famous Argentine artists namely Castagnino, Spilimbergo, Urruchua and Colmeiro, realized the decoration of four lunettes placed above the entrances of the Galerias Pacifico in Buenos Aires. Twenty-four samples coming from these lunettes have been analyzed by means the infrared transmission micro-spectroscopy to determine the composition of the preparation layer (mainly composed by gypsum) and the nature of binder (a drying oil), while the investigation of Raman micro-spectroscopy has allowed to identify the inorganic pigments and the synthetic organic dyes present. (C) 2013 The Authors. Published by Elsevier B.V. Selection and peer-review under responsibility of the IA-CS (Italian Association of Conservation Scientists) and University of Antwerp

The painting Proas Iluminadas (Illuminated Bows) by Benito Quinquela Martin is studied by Raman spectroscopy in order to analyse the technique and the pigments employed by the artist: ultramarine blue, carbon black, cadmium-sulphure based compounds for the hue of yellow, orange and red; also zinc white, barium yellow, massicot yellow and viridian were observed. The importance of using different excitation laser lines in the analysis of mixtures of pigments is highlighted. The Raman mapping analysis of cross section samples shows the way the artist composed the ground layer: a lead white stratum over a calcite one. It also allows distinguishing between a mixture of components and strata superposition, both presenting the same appearance under an optical microscope. This paper provides information about the materials and techniques used in a period of Argentine art not studied before from this point of view.

In the fall of 2001, anthrax-contaminated letters were sent to public figures in the United States. Chemical and radiation treatments were employed to decontaminate exposed buildings, objects, and materials. These treatments are effective, but potentially damaging to exposed objects and materials. The recommended surface chemical treatments include solutions, gels, and foams of oxidizing agents such as peroxides or chlorine bleaching agents. Such oxidizing agents are effective against a wide range of hazardous chemical and biological agents. Knowing how these reagents affect various substrates would help to anticipate and to minimize any potential damage. We are examining the effects on typical museum materials of reagents likely to be used, including hydrogen peroxide, sodium hypochlorite, and potassium peroxymonosulfate. Results so far show significant changes in a number of materials. Surface corrosion was observed on metals such as copper, silver, iron, and brass. Color changes occurred with at least one reagent in about one-fourth of the dyed fabric swatches tested, and about half of the inks. Samples of aged yellowed paper are bleached. Effects varied with both the substrate and the tested reagent. The observed changes were generally less drastic than might have been expected. Enough materials were affected, though, to preclude the use of these reagents on museum objects unless no less drastic alternative is available. It appears that many objects of lesser intrinsic value can be treated without severe loss of properties or usefulness. For example, most documents should remain legible if the appropriate reagent is used. This work will provide a basis for determining which treatment is most appropriate for a specific situation and what consequences are to be expected from other treatments.

The image of Our Lady of Copacabana, a gilded polychrome sculpture carved in maguey wood in 1583, is one of the most important devotions in the Americas. In former research, we have identified the use of gypsum, Armenian bole, cerussite and atacamite in its polychromy. In this study, a red sample taken from the Virgin's tunic and a blue sample extracted from the cloak have been analysed with the aim to identify both pigments and offer insights into the painting technique. Analysis by micro-Raman spectroscopy complemented with scanning electron microscopy-energy dispersive spectroscopy and high-performance liquid chromatography allowed the identification of carmine lake in the red sample. Analysis by micro-Raman spectroscopy of the surface of the blue sample and its cross section showed the presence of smalt-The blue-glass pigment-over a cerussite layer, bathed by a very thin ultramarine layer-from a probable native origin-following a pictorial tradition that would last even until the eighteenth century. This is the first time that lapis lazuli has been scientifically identified in a Spanish American colonial painted layer. This article is part of the themed issue 'Raman spectroscopy in art and archaeology'. Fil: Tomasini, Eugenia Paula. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Unidad de Microanálisis y Métodos Físicos en Química Orgánica. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Unidad de Microanálisis y Métodos Físicos en Química Orgánica; Argentina Fil: Marte, Fernando. Instituto de Investigaciones sobre el Patrimonio Cultural; Argentina Fil: Careaga Quiroga, Valeria Pilar. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Unidad de Microanálisis y Métodos Físicos en Química Orgánica. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Unidad de Microanálisis y Métodos Físicos en Química Orgánica; Argentina Fil: Landa, Carlos Rúa. Ministerio de Culturas y Turismo; Bolivia Fil: Siracusano, Gabriela Silvana. Universidad Nacional de Tres de Febrero; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina Fil: Maier, Marta Silvia. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Unidad de Microanálisis y Métodos Físicos en Química Orgánica. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Unidad de Microanálisis y Métodos Físicos en Química Orgánica; Argentina. Universidad Nacional de Tres de Febrero; Argentina