Behind the screen. Reflections on digital educational space between heritage, art and image during the #culturequarantine.

Before the lockdown condition of public life, for all educational and training agencies (museums, schools, universities) digital technology was perceived as an important, but an ancillary, resource. The sudden shift from a complementary to an essential situation generated a substantial change in the relationship between the user and the provider of cultural, educational, and training services. This change has led to a profound crisis from which a revolution in exhibition methodologies and techniques has begun. Through some case studies deriving from direct experiences of training and updating during the Italian #culturequarantine, we will highlight the first attempts to respond and some difficulties that emerged during the first lockdown. Starting from the studies in the field of performing arts and in particular those on dance (Nancy, 2011), the attention will move to a different way of understanding the gaze of those who participate in the educational event, starting from the new physical space of learning: the screen. The screen is interpreted as a frame, which means what represents the structure of the choreography, becomes the opportunity to return a different idea of the body (Cunti 2015; Bruzzone 2016). The action research described in this article, accompanied by some international cases, will reflect on the use of the choreographic gesture as a metaphor capable of generating connections with reality. The relationship with reality is the basis of any educational process based on experience (Dewey 1910, 1934 ) and, more or less openly, one of the pillars for educators and teachers of disciplines related to art and image. Constrained by a two-dimensional spatial structure, although the gesture is an expression of the present, this peculiarity allows it to be a bridge between the experiences lived between synchronicity and asynchronicity, the body discovers itself resituated to new possibilities (Agamben 2014).