The Museum of Art, Wine and Vine (MAVV – WINE ART MUSEUM), set up also thanks to the collaboration of Protom Group, intends to present the world of wine as artistic, cultural, scientific and historical heritage of the territory and promote the wine industry as a resource for economic development. The use of new technologies can here assume an enormous value in safeguarding, disseminating and producing culture, while developing innovative business models.
The idea comes from the work of a team of wine lovers and experts in territorial development who, by combining their skills and experience, have created a project that broadly interprets much of the new language forms of “museum” modern that represents an interesting reality to visit.
Over the years, in the definition of cultural good, the immaterial component has been added, which does not fix its importance to purely aesthetic and artistic value, but which widens it to its intrinsic immaterial profile, that of increasing knowledge and improving the personality of individuals.
Therefore, the perspective widens to the point where it no longer has to worry only about the physical integrity of the asset, but also about its valorisation in the direction of maximum usability. In this sense the new technologies applied to the sector intervene.
ICT techniques can assume a merely communicative connotation, presenting a series of contents in a narrative way to a wide and varied audience. They can instead have a didactic intent, providing a defined audience and language. Through interactive three-dimensional reconstructions and immersive environments, the cognitive process is enriched with visual contents in virtual and augmented reality, used as a privileged means to visually present historical concepts and situations.
In this sense, MAVV experiments with the use of these technologies in different variations, using the experience of the Protom Group, which using the WALL-T framework is able to conceive and develop a “immersive” virtual reality, thanks to the integration of biometric sensors and innovative interfaces.
We asked Giuseppe Santoro, the company’s IT Manager Business Unit, to explain how, in practice, these technologies can marry the design of a wine museum and illustrate which exhibition Protom has designed and built for the occasion.
“The new approach broadens the stimuli for emotional, cognitive access and is increasingly aware of all the valuable elements of our culture; elements that are rarely included within the “museum” scheme can be included, but which are in fact the founding elements of a “good”. A multidisciplinary narrative element is conveyed through an animation that makes fruition light, but nevertheless refers to many elements of the history of wine and what it has represented in the course of evolution, to facts and events of a biological nature, to social elements, productive and cheap; pills flowing by connecting key elements to small sketches.
A different technique is represented by videomapping which, with extreme realism in size and “physicality”, shows in a spectacular and extremely rigorous way the important fermentation process that takes place inside, thus changing the communicative register. From the realism of fermentation “as you have never seen it before”, we move on to “augmented” realism with an immersive vision of the vine that allows us to regulate the seasons with seasonal timelaps and capture the vital phenomena that lead to growth and ripening of the bunches.
Finally, a series of thematic videogames, specifically aimed at the millenial and post-millennial public, where each game talks about a phase of winemaking, from the grape harvest to the refinement in which each game is compared with one of the thousand factors that determine the quality and excellence of a product, with a “virtual” sommelier who ultimately judges production. Still realizations of augmented reality that suggest the correct combination of glass and bottle (this physical time) chosen and elements of video art complete the set-up “
In this way, history, art and the entire cultural heritage, while maintaining its aesthetic value, is enriched and renewed in meeting with the now global trend towards digitalisation and thus proposing new models of use. The public widens because it is more involved through the experiential dimension; the contents are simple and understandable to everyone; every type of cultural experience can be enhanced, from celebratory to recreational and emotional.
The good has a cultural value that does not derive from its objective quality, but from its social function.