Experience

The text analyzes the social and cultural barriers that in Italy limit access to cultural life, considered a citizenship right and a form of community relationship. Beyond physical, economic, or territorial obstacles, symbolic and ritual signals especially weigh, making culture perceived as an elitist space, excluding those who do not master its codes. The dominant cultural imagery, not very representative of the diversity present in the country, marginalizes stories and memories of underrepresented groups, particularly people with migratory backgrounds. The text presents examples of intercultural and community practices that reduce these barriers by making museums and libraries shared and participatory places. For these changes to become structural, long-term policies based on participatory governance, linguistic plurality, and redistribution of cultural power are needed. The final challenge is to redefine the 'we' of Italian culture, recognizing diversity as a resource and condition for a broader cultural democracy.

Gino Roncaglia, in an article dedicated to the possible uses of generative multimodal artificial intelligences, focuses on a particularly interesting aspect related to accessibility, with the automatic generation of highly personalized alternative descriptions based on communicative codes, different from the primary content. 

This contribution is excerpted from the article: Generative Multimodal Artificial Intelligence in the Humanities. Some Introductory Considerations, 2024, DIGITCULT, 8 (2), 127-137.

The exhibition Le storie sono vere... Storia popolare italiana stands as a true manifesto of public culture, redefining the museum’s role as an accessible space-time to the diversity of contemporary audiences and making accessibility the guiding principle to revive the heritage of Italian traditions.

Established in 1993 and officially recognized by the Italian Parliament as a State Museum in 1999, the Museo Omero is an inclusive cultural space for everyone.