Maurizio Seracini: The secret lives of paintings

35,263 views ・ 2012-10-12

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00:00
Translator: Joseph Geni Reviewer: Thu-Huong Ha
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Translator: Polonca Štritof Reviewer: Sara Tanjga
00:16
In 1975, I met in Florence a professor, Carlo Pedretti,
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Leta 1975 sem v Firencah srečal profesorja Carla Pedrettija,
00:20
my former professor of art history, and today
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mojega bivšega profesorja umetnostne zgodovine in danes
00:23
a world-renowned scholar of Leonardo da Vinci.
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svetovno znanega strokovnjaka za Leonarda da Vincija.
00:27
Well, he asked me if I could find some technological way
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Vprašal me je, če bi lahko poiskal kakšno tehnologijo,
00:31
to unfold a five-centuries-old mystery related to
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s katero bi razrešili petstoletno skrivnost
00:35
a lost masterpiece by Leonardo da Vinci,
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izgubljene mojstrovine Leonarda da Vincija
00:38
the "Battle of Anghiari," which is supposed to be located
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"Bitka pri Anghiariju", ki naj bi se nahajala v
00:41
in the Hall of the 500 in Palazzo Vecchio, in Florence.
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v Firencah, v Dvorani 15. stoletja [Salone del Cinquecento] v Palazzo Vecchiu.
00:43
Well, in the mid-'70s, there were not great opportunities
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Sredi 70-ih let prejšnjega stoletja velikih priložnosti
00:47
for a bioengineer like me, especially in Italy, and so
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za bioinženirja, kakršen sem bil sam, ni bilo, zlasti ne v Italiji,
00:50
I decided, with some researchers from the United States
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zato smo se z nekaterimi raziskovalci iz ZDA
00:54
and the University of Florence, to start probing the murals
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in Univerzo v Firencah odločili, da bomo v zidove ke države nad Milanom, krasila pa naj bi steno dvorane Salone dei Cinquecento,
00:59
decorated by Vasari on the long walls of the Hall of the 500
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ki jih je poslikal Vasari, izvrtali luknjice in vanje vstavili sonde,
01:03
searching for the lost Leonardo.
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s katerimi bi iskali izgubljeno Leonardovo fresko.
01:05
Unfortunately, at that time we did not know that
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Na žalost takrat nismo vedeli,
01:09
that was not exactly where we should be looking,
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da nismo iskali na pravem mestu,
01:13
because we had to go much deeper in, and so the research
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saj bi morali priti veliko globlje, zato se je raziskovanje ustavilo.
01:17
came to a halt, and it was only taken up in 2000
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Ponovno je oživelo šele leta 2000,
01:22
thanks to the interest and the enthusiasm of the Guinness family.
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zahvaljujoč interesu in navdušenju družine Guiness.
01:26
Well, this time, we focused on trying to reconstruct
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Tokrat smo se osredotočili na rekonstrukcijo
01:29
the way the Hall of the 500 was before the remodeling,
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zidu ke države nad Milanom, krasila pa naj bi steno dvorane Salone dei Cinquecento, kakršen je bil pred prenovo,
01:32
and the so-called Sala Grande, which was built in 1494,
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in zidu Velike dvorane, ki je bila zgrajena leta 1494
01:36
and to find out the original doors, windows,
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in tako najti prvotna vrata in okna.
01:39
and in order to do that, we first created a 3D model,
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V ta namen smo najprej izdelali 3D model zidu,
01:43
and then, with thermography, we went on to discover
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nato pa s pomočjo termografije odkrivali
01:47
hidden windows. These are the original windows of the hall
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skrita okna. To so originalna okna
01:50
of the Sala Grande. We also found out about the height
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Velike dvorane. Ugotovili smo tudi višino stropa
01:53
of the ceiling, and we managed to reconstruct, therefore,
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zaradi česar je bila možna tudi celotna rekonstrukcija
01:57
all the layout of this original hall
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prvotne dvorane,
01:59
the way it was before there came Vasari,
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kakršna je bila pred Vasarijem.
02:03
and restructured the whole thing,
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Prenovili smo vse,
02:05
including a staircase that was very important
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vključno s stopniščem, kar je bilo ključno
02:09
in order to precisely place "The Battle of Anghiari"
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za natančno umestitev freske "Bitka pri Anghiariju"
02:13
on a specific area of one of the two walls.
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na določeno mesto na enem od obeh zidov.
02:17
Well, we also learned that Vasari, who was commissioned
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Ugotovili smo tudi, da je Vasari,
02:20
to remodel the Hall of the 500 between 1560 and 1574
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ki je med 1560 in 1574 Salone dei Cinquecento prenavljal
02:25
by the Grand Duke Cosimo I of the Medici family,
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po naročilu vojvoda Cosima I iz družine Medici,
02:29
we have at least two instances when he saved masterpieces
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vsaj dvakrat shranil mojstrovine tako,
02:33
specifically by placing a brick wall in front of it
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da jih je prednje nazidal zid
02:36
and leaving a small air gap.
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in pri tem pustil majhno zračno odprtino.
02:38
One that we [see] here, Masaccio, the church of Santa Maria Novella in Florence,
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Tu vidimo Masaccijevo "Sveto trojico" v cerkvi Santa Maria Novella v Firencah.
02:42
so we just said, well maybe, Visari has done something
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Zato smo pomislili, da je mogoče Vasari kaj takega storil
02:45
like that in the case of this great work of art by Leonardo,
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tudi v primeru te velike Leonardove umetnine --
02:48
since he was a great admirer of Leonardo da Vinci.
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vemo namreč, da je bil velik občudovalec Leonarda da Vincija.
02:51
And so we built some very sophisticated radio antennas
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Zato smo razvili napredne radarske antene
02:55
just for probing both walls and searching for an air gap.
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zgolj za sondiranje obeh zidov in iskanje zračne odprtine.
03:01
And we did find many on the right panel of the east wall,
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In res smo pretežno na desni plošči vzhodnega zidu
03:06
an air gap, and that's where
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našli zračno odprtino. In tam
03:08
we believe "The Battle of Anghiari,"
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se po našem mnenju nahaja "Bitka pri Anghiariju",
03:10
or at least the part that we know has been painted,
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ali vsaj njen poslikan del,
03:12
which is called "The Fight for the Standard," should be located.
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ki se imenuje "Bitka za standard".
03:15
Well, from there, unfortunately,
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No, takrat se je na žalost
03:19
in 2004, the project
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leta 2004 projekt ustavil.
03:21
came to a halt. Many political reasons.
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Zaradi mnogo političnih razlogov.
03:24
So I decided to go back to my alma mater,
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Zato sem se napotil nazaj na svojo matično univerzo,
03:27
and, at the University of California, San Diego,
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in tam, na kalifornijski univerzi v San Diegu
03:29
and I proposed to open up a research center
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predlagal, da se odpre raziskovalni center
03:32
for engineering sciences for cultural heritage.
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za tehnične znanosti in kulturno dediščino.
03:35
And in 2007, we created CISA3 as a research center
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Leta 2007 smo tako odprli raziskovalni center CISA3
03:39
for cultural heritage, specifically art, architecture
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za kulturno dediščino s specifičnim poudarkom na umetnosti, arhitekturi
03:42
and archaeology. So students started to flow in,
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in arheologiji. Študentov je bilo vedno več,
03:45
and we started to build technologies, because that's
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začeli smo razvijati tehnologije, saj je to
03:47
basically what we also needed in order to move forward
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osnova, ki smo jo potrebovali za napredek in
03:49
and go and do fieldwork.
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izvajanje dela na terenu.
03:52
We came back in the Hall of the 500 in 2011,
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V Salone dei Cinquecento smo se vrnili leta 2011,
03:57
and this time, with a great group of students,
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tokrat z veliko skupino študentov
04:00
and my colleague, Professor Falko Kuester,
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in z mojim kolegom profesorjem Falkom Kuesterjem,
04:03
who is now the director at CISA3, and we
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ki je zdaj direktor raziskovalnega centra CISA3.
04:05
came back just since we knew already where to look for
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Ko smo prišli nazaj, smo vedeli, kje iskati,
04:10
to find out if there was still something left.
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da bomo videli, če je še kaj ostalo.
04:13
Well, we were confined though, limited, I should rather say,
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No, pri delu smo bili omejeni,
04:17
for several reasons that it's not worth explaining,
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- zaradi več razlogov, ki jih ni vredno razlagati -
04:20
to endoscopy only, of the many other options we had,
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izmed vseh možnosti zgolj na metodo z endoskopijo.
04:23
and with a 4mm camera attached to it,
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Pri endoskopiji smo uporabljali smo 4 mm kamero
04:27
we were successful in documenting and taking
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in uspešno dokumentirali in zajeli
04:32
some fragments of what it turns out to be
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nekaj fragmentov barve, ki se je izkazala za
04:37
a reddish color, black color, and there is some
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rdečkasto, črno,
04:40
beige fragments that later on
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kasneje smo našli tudi nekaj fragmentov bež barve.
04:44
we ran a much more sophisticated exams,
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Kasneje smo lahko izvedli veliko bolj kompleksne raziskave -
04:47
XRF, X-ray diffraction, and the results are very positive
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rentgensko fluorescentno (XRF) in rentgensko presevno (XRD) tomografijo.
04:52
so far. It seems to indicate that indeed
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Doslej smo imeli res zelo pozitivne rezultate, ki kažejo na to,
04:55
we have found some pigments, and since we know for sure
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da smo zares našli nekaj pigmentov. In ker zagotovo vemo,
04:58
that no other artist has painted on that wall
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da noben drug umetnik ni slikal na ta zid
05:00
before Vasari came in about 60 years later, well,
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razen Vasarija, ki pride 60 let kasneje,
05:04
those pigments are therefore firmly related to mural painting
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smo sklepali, da so ti pigmenti del zidne poslikave,
05:06
and most likely to Leonardo.
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torej najverjetneje pripadajo Leonardu.
05:09
Well, we are searching for the highest and highly praised
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Iščemo torej zelo cenjeno umetnino,
05:14
work of art ever achieved by mankind.
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ki jo je kadar koli ustvaril človek.
05:17
As a matter of fact, this is by far the most important
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Pravzaprav je bilo naročilo zanjo najpomembnejše
05:20
commission that Leonardo has ever had,
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od vseh, ki jih je Leonardo kadar koli dobil.
05:23
and for doing this great masterpiece, he was named
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Ko je mojstrovino dokončal,
05:28
the number one artist influence at the time.
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je bil proglašen za najvplivnejšega umetnika tiste dobe.
05:33
I had also had the privilege since the last 37 years
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Tudi sam sem imel čast zadnjih 37 let.
05:36
to work on several masterpieces as you can see behind me,
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delati z več mojstrovinami, kot vidite v ozadju -
05:40
but basically to do what? Well, to assess, for example,
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Kaj sem v osnovi počel z njimi? Na primer ugotavljal sem
05:43
the state of conservation. See here the face of the
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stanje ohranjenosti. Tu vidite
05:45
Madonna of the Chair that when just shining a UV light on it
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obraz "Marije na stolu". V trenutku, ko jo izpostavimo UV svetlobi,
05:50
you suddenly see another, different lady,
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se nenadoma prikaže še ena, drugačna ženska,
05:53
aged lady, I should rather say.
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ki deluje postarana, moram reči.
05:55
There is a lot of varnish still sitting there, several retouches,
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Še vedno je vidnega precej laka, kar nekaj retuširanj
05:59
and some over cleaning. It becomes very visible.
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in nekaj čiščenja. A postane zelo vidna.
06:02
But also, technology has helped to write new pages
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Tehnologija pa nam pomaga pisati tudi nova poglavja
06:05
of our history, or at least to update pages of our histories.
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zgodovine, ali vsaj njihove posodobitve.
06:08
For example, the "Lady with the Unicorn,"
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Na primer, na sliki "Dama s samorogom",
06:10
another painting by Rafael, well, you see the unicorn.
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ki jo je prav tako naredil Rafael, vidite samoroga.
06:13
A lot has been said and written about the unicorn, but
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Veliko je bilo povedanega in napisanega o tem samorogu,
06:15
if you take an X-ray of the unicorn, it becomes a puppy dog.
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toda če ga gledate pod UV svetlobo, postane pasji mladiček.
06:19
And — (Laughter) — no problem, but, unfortunately,
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In - (smeh) - kar ni problematično. A na žalost
06:23
continuing with the scientific examination of this painting
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so nadaljnje znanstvene raziskave te slike
06:26
came out that Rafael did not paint the unicorn,
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pokazale, da Rafael ni naslikal samoroga,
06:29
did not paint the puppy dog, actually left the painting
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ni naslikal psička, ampak je v resnici pustil sliko
06:32
unfinished, so all this writing about the exotic symbol
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nedokončano. Skratka, vse pisanje o eksotični simboliki
06:37
of the unicorn — (Laughter) — unfortunately,
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samoroga - (smeh) - na žalost
06:39
is not very reliable. (Laughter)
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ni zelo zanesljivo. (Smeh)
06:43
Well, also, authenticity. Just think for a moment
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Pristnost -- ravno tako. Samo pomislite,
06:45
if science really could move in the field of authenticity
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da bi znanost res lahko posegala v raziskovanje pristnosti
06:49
of works of art. There would be a cultural revolution
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umetniških del. Prišlo bi najmanj do kulturne revolucije,
06:53
to say the least, but also, I would say, a market revolution,
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in po mojem mnenju tudi do revolucije trga.
06:56
let me add. Take this example:
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Vzemimo tale primer -
06:58
Otto Marseus, nice painting, which is "Still Life"
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Lepa slika Otta Marseusa z naslovom "Tihožitje"
07:02
at the Pitti Gallery, and just have an infrared camera peering through,
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v galeriji Pitti. Ravno smo jo pregledali z infrardečo kamero
07:06
and luckily for art historians, it just was confirmed
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in na srečo umetnostnih zgodovinarjev je bilo potrjeno,
07:10
that there is a signature of Otto Marseus. It even says
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da je podpis spodaj zares Marseusov. Zapisano je celo,
07:12
when it was made and also the location.
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kdaj je bil podpis narejen in kje.
07:15
So that was a good result. Sometimes, it's not that good,
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To je primer pozitivnega rezultata. Včasih pa temu ni tako.
07:20
and so, again, authenticity and science could go together
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In zato bi lahko ugotavljanje pristnosti in znanost delali z roko v roki
07:25
and change the way, not attributions being made,
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- ne pri samem pripisu avtorstva -
07:29
but at least lay the ground for a more objective,
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ampak vsaj pri zagotavljanju temeljev za bolj objektivno,
07:33
or, I should rather say, less subjective attribution,
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oziroma, da se bolje izrazim, manj subjektivno pripisovanje avtorstva,
07:37
as it is done today.
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kakor se to počne danes.
07:40
But I would say the discovery that really caught
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Odkritje, ki je res prevzelo mojo domišljijo
07:43
my imagination, my admiration, is the incredibly vivid
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in vzbudilo občudovanje, je nenavadno nazorna
07:47
drawing under this layer, brown layer,
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risba pod rjavo plastjo
07:51
of "The Adoration of the Magi." Here you see
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na sliki "Čaščenje treh kraljev". Tu vidite
07:54
a handmade setting XYZ scanner with an infrared camera put on it,
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ročno izdelani komplet za XYZ skener in na njem infrardečo kamero,
07:58
and just peering through this brown layer
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ki s svetlobo prebada rjavo plast
08:02
of this masterpiece to reveal
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te umetnine in razkriva,
08:04
what could have been underneath.
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kaj bi lahko bilo spodaj.
08:07
Well, this happens to be the most important painting
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No, to je najpomembnejša slika
08:09
we have in Italy by Leonardo da Vinci, and
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Leonarda da Vincija, ki jo imamo v Italiji.
08:12
look at the wonderful images of faces that nobody has seen
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Samo poglejte čudovite podobe obrazov,
08:17
for five centuries. Look at these portraits.
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ki jih 5 stoletij nihče ni videl. Poglejte te portrete.
08:21
They're magnificent. You see Leonardo at work.
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Veličastni so. To je pravi Leonardo.
08:23
You see the geniality of his creation, right directly
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Vidimo genialnost njegove stvaritve neposredno
08:27
on the ground layer of the panel, and see
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na osnovni plasti platna, poglejmo pa še
08:30
this cool thing, finding, I should rather say,
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tole super zadevo - kar odkritje, bi lahko rekli -
08:36
an elephant. (Laughter) Because of this elephant,
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to je slon. (Smeh) Zaradi tega slona
08:39
over 70 new images came out, never seen for centuries.
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je bilo odkritih še 70 novih podob, ki jih prej nismo opazili.
08:43
This was an epiphany. We came to understand
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To je bilo pravo razodetje. Dojeli in
08:46
and to prove that the brown coating that we see today
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dokazali smo, da rjavi sloj, ki ga vidimo danes,
08:50
was not done by Leonardo da Vinci, which left us
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ni bil delo Leonarda da Vincija, tako da nam je ostala
08:52
only the other drawing that for five centuries
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samo spodnja risba, ki je pet stoletij sploh nismo mogli videti.
08:55
we were not able to see, so thanks only to technology.
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Zahvalimo se lahko samo tehnologiji.
09:00
Well, the tablet. Well, we thought, well, if we all have
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Tablični računalnik. Takole smo razmišljali -
09:05
this pleasure, this privilege to see all this,
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če imamo mi ta privilegij, da vse to vidimo
09:07
to find all these discoveries, what about for everybody else?
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in odkrijemo, kaj pa vsi ostali?
09:11
So we thought of an augmented reality application
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Domislili smo se aplikacije za nadgrajeno resničnost
09:14
using a tablet. Let me show you just simulating
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na tabličnih računalnikih. S simulacijo vam bom pokazal,
09:18
what we could be doing, any of us could be doing,
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kaj bi lahko vsi mi počeli z njo
09:22
in a museum environment.
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v muzejskih okoljih.
09:24
So let's say that we go to a museum with a tablet, okay?
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Recimo, da se odpravimo v muzej s tabličnim računalnikom, ok?
09:28
And we just aim the camera of the tablet
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Kamero na tablici usmerimo
09:32
to the painting that we are interested to see, like this.
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v sliko, ki nas zanima -- takole.
09:38
Okay? And I will just click on it, we pause,
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OK? Zdaj samo kliknem nanjo, počakam --
09:44
and now let me turn to you so the moment the image,
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-- naj se obrnem proti vam.
09:48
or, I should say, the camera, has locked in the painting,
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V trenutku ko kamera zazna sliko,
09:51
then the images you just saw up there in the drawing
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se začnejo na tablico nalagati podobe, ki jih vidimo na sliki.
09:54
are being loaded. And so, see.
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Takole, poglejte.
09:57
We can, as we said, we can zoom in. Then we can scroll.
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Kot sem povedal, zdaj lahko povečujemo in se pomikamo po njej.
10:01
Okay? Let's go and find the elephant.
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OK? Poskusimo najti slona.
10:06
So all we need is one finger. Just wipe off
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Vse, kar potrebujemo, je prst. Z njim samo zradirate en sloj z ekrana
10:09
and we see the elephant. (Applause)
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in prikaže se slon. (Aplavz)
10:14
(Applause)
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(Aplavz)
10:18
Okay? And then if we want,
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Če želimo nadaljevati,
10:20
we can continue the scroll to find out, for example,
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se pomaknemo naprej, na primer
10:23
on the staircase, the whole iconography is going
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na stopnišče, kjer se spremeni celotna ikonografija
10:27
to be changed. There are a lot of laymen reconstructing
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Tam je veliko navadnih ljudi,
10:29
from the ruins of an old temple a new temple,
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ki iz ruševin starega templja gradijo novega,
10:32
and there are a lot of figures showing up. See?
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zraven pa se pokaže še ogromno likov. Vidite?
10:36
This is not just a curiosity, because it changes
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Ne gre samo za zanimivost, saj ne spremeni
10:39
not just the iconography as you see it, but the iconology,
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samo ikonografije kot jo vidite,
10:42
the meaning of the painting,
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ampak ikonologijo, celoten pomen slike.
10:44
and we believe this is a cool way, easy way,
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Prepričani smo, da je to prijazen in enostaven način,
10:47
that everybody could have access to, to become more
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s katerim vsak uporabnik lahko dobi dostop,
10:50
the protagonist of your own discovery, and not just
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da postane protagonist svojih odkrivanj
10:54
be so passive about it, as we are when we walk through
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in ne samo pasiven gledalec, ki se sprehaja
10:57
endless rooms of museums.
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v neštetih muzejskih sobah.
11:01
(Applause)
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(Aplavz)
11:06
Another concept is the digital clinical chart, which sounds
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Še en koncept je digitalna diagnostična karta,
11:10
very obvious if we were to talk about real patients,
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ki je zelo razumljiv, če bi govorili o dejanskih pacientih.
11:13
but when we talk about works of art, unfortunately,
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A ko govorimo o umetnosti,
11:15
it's never been tapped as an idea.
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žal ta ideja nikoli ni bila udejanjena.
11:17
Well, we believe, again, that this should be the beginning,
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Prepričani smo, da je to šele začetek,
11:20
the very first step, to do real conservation,
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prvi korak pravega ohranjanja umetniških del,
11:22
and allowing us to really explore and to understand
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ki nam omogoča raziskovanje in razumevanje
11:26
everything related to the state of our conservation,
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kar je vezano na njihovo ohranjanje in varovanje -
11:28
the technique, materials, and also if, when, and why
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tehniko, materiale, pa tudi če, kdaj in zakaj
11:32
we should restore, or, rather, to intervene on
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naj restavriramo, oziroma posegamo
11:36
the environment surrounding the painting.
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v okolje slike.
11:40
Well, our vision is to rediscover
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Naša vizija je ponovno odkrivati
11:43
the spirit of the Renaissance, create a new discipline
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renesančni duh, razviti novo disciplino,
11:46
where engineering for cultural heritage is actually
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kjer bo inženirstvo v kulturni dediščini
11:49
a symbol of blending art and science together.
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postalo simbol združevanja umetnosti in znanosti.
11:52
We definitely need a new breed of engineers
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Definitivno za to potrebujemo novi rod inženirjev,
11:54
that will go out and do this kind of work and
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ki bodo šli na teren in opravljali tovrstno delo,
11:57
rediscover for us these values, these cultural values
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ki bodo za vse nas na novo odkrivali vrednote, kulturne vrednote,
12:01
that we badly need, especially today.
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ki jih tako obupno potrebujemo, posebno dandanes.
12:04
And if you want to summarize in one just single word,
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Če bi to povzeli z eno samo besedo,
12:08
well, this is what we're trying to do.
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mi skušamo početi tole:
12:11
We're trying to give a future to our past
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naši preteklosti poskušamo dati prihodnost,
12:13
in order to have a future.
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zato da bi sami imeli prihodnost.
12:15
As long as we live a life of curiosity and passion,
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Dokler živimo življenje polno radovednosti in strasti,
12:18
there is a bit of Leonardo in all of us. Thank you. (Applause)
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je v vsakem od nas nekaj Leonarda. Hvala. (aplavz)
12:23
(Applause)
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(Aplavz)
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