{"id":1036,"date":"2025-12-28T17:45:32","date_gmt":"2025-12-28T17:45:32","guid":{"rendered":"https:\/\/complexhibit.eu\/?post_type=portfolio&#038;p=1036"},"modified":"2025-12-28T18:03:08","modified_gmt":"2025-12-28T18:03:08","slug":"generativecuration","status":"publish","type":"portfolio","link":"https:\/\/complexhibit.eu\/en\/actividades-publicaciones\/generativecuration\/","title":{"rendered":"Generative Curation Symposium"},"content":{"rendered":"<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-m152wg98-bbe92eea382b43a3207ccce01254647a\">\n#top .hr.hr-invisible.av-m152wg98-bbe92eea382b43a3207ccce01254647a{\nheight:50px;\n}\n<\/style>\n<div  class='hr av-m152wg98-bbe92eea382b43a3207ccce01254647a hr-invisible  avia-builder-el-0  el_before_av_textblock  avia-builder-el-first'><span class='hr-inner'><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<section  class='av_textblock_section av-m152wwny-f01ad093921d5950de6eaf63fb528714'   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h1 class=\"av-special-heading-tag\" style=\"text-align: center;\">Generative Curation Symposium<\/h1>\n<\/div><\/section>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-1itv1g-48f93e721bd57ed0c2683f126e2ae35b\">\n#top .hr.hr-invisible.av-1itv1g-48f93e721bd57ed0c2683f126e2ae35b{\nheight:50px;\n}\n<\/style>\n<div  class='hr av-1itv1g-48f93e721bd57ed0c2683f126e2ae35b hr-invisible  avia-builder-el-2  el_after_av_textblock  el_before_av_one_full'><span class='hr-inner'><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<div  class='flex_column av-35el8-b7ee46949f65d28e052754818f985361 av_one_full  avia-builder-el-3  el_after_av_hr  el_before_av_hr  first flex_column_div'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-mjq0fkqq-8135a5a303b132560fc21d353a27b9c6\">\n.avia-image-container.av-mjq0fkqq-8135a5a303b132560fc21d353a27b9c6 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-mjq0fkqq-8135a5a303b132560fc21d353a27b9c6 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-mjq0fkqq-8135a5a303b132560fc21d353a27b9c6 av-styling- avia-align-center  avia-builder-el-4  avia-builder-el-no-sibling'   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-1046 avia-img-lazy-loading-not-1046 avia_image' src=\"https:\/\/complexhibit.eu\/wp-content\/uploads\/2025\/12\/destacada-blog-GCS.jpg\" alt='' title='featured-blog-GCS'  height=\"497\" width=\"800\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/complexhibit.eu\/wp-content\/uploads\/2025\/12\/destacada-blog-GCS.jpg 800w, https:\/\/complexhibit.eu\/wp-content\/uploads\/2025\/12\/destacada-blog-GCS-300x186.jpg 300w, https:\/\/complexhibit.eu\/wp-content\/uploads\/2025\/12\/destacada-blog-GCS-768x477.jpg 768w, https:\/\/complexhibit.eu\/wp-content\/uploads\/2025\/12\/destacada-blog-GCS-18x12.jpg 18w, https:\/\/complexhibit.eu\/wp-content\/uploads\/2025\/12\/destacada-blog-GCS-705x438.jpg 705w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><\/div><\/div><\/div><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-4oojws-1113c1d1f829db3c206f56552f4f4c87\">\n#top .hr.av-4oojws-1113c1d1f829db3c206f56552f4f4c87{\nmargin-top:30px;\nmargin-bottom:30px;\n}\n.hr.av-4oojws-1113c1d1f829db3c206f56552f4f4c87 .hr-inner{\nwidth:50px;\nborder-color:#dddddd;\nmax-width:45%;\n}\n<\/style>\n<div  class='hr av-4oojws-1113c1d1f829db3c206f56552f4f4c87 hr-custom  avia-builder-el-5  el_after_av_one_full  el_before_av_hr  hr-center hr-icon-yes'><span class='hr-inner inner-border-av-border-thin'><span class=\"hr-inner-style\"><\/span><\/span><span class='av-seperator-icon avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue808' data-av_iconfont='entypo-fontello' ><\/span><span class='hr-inner inner-border-av-border-thin'><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-4m6j64-26113cb63d4318467ecb99ab2ee66da0\">\n#top .hr.hr-invisible.av-4m6j64-26113cb63d4318467ecb99ab2ee66da0{\nheight:50px;\n}\n<\/style>\n<div  class='hr av-4m6j64-26113cb63d4318467ecb99ab2ee66da0 hr-invisible  avia-builder-el-6  el_after_av_hr  el_before_av_one_half'><span class='hr-inner'><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<div  class='flex_column av-1fiwms-9c6f158b1fe1f90fcee37bdef428b28c av_one_half  avia-builder-el-7  el_after_av_hr  el_before_av_one_half  first flex_column_div'     ><section  class='av_textblock_section av-m152xoyx-2cf3f5ebc63a1814218b77a322aeaadd'   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><section class=\"av_textblock_section av-25q05ys-0e96b2db4ad3881b12e3bdb49321f90c\">\n<div class=\"avia_textblock\">\n<h2 class=\"heading-line\">Symposium Concept<\/h2>\n<\/div>\n<\/section>\n<section class=\"av_textblock_section av-23pcn0k-b74316c462cc4a318fd71b562c8b98b7\">\n<div class=\"avia_textblock\">\n<p>The Generative Curation Symposium explores if and how Artificial Intelligence (AI) questions, reshapes, and intersects the practice of curation in its broadest sense-encompassing both the narrative construction of exhibitions and the organisation and interpretation of archives. This symposium aims to gather scholars, art practitioners, curators, PhD researchers, and other reflexive voices to critically examine the integration of AI within the world of art and cultural heritage and its institutions. We stand at a pivotal moment where machines can augment and, in some cases, even autonomously perform curatorial tasks previously reserved for human experts. This gathering will delve into the questions, challenges, risks, and opportunities this new reality presents.<\/p>\n<p>This symposium seeks to foster a reflective dialogue, contextualizing current developments within broader frameworks from the humanities and the digital humanities, with a focus on curatorial studies, digital visual studies, art history, and technology in the GLAM sector. We welcome contributions in the form of research papers, case studies, artistic projects, and theoretical explorations that offer original insights into AI's application in curatorial practices.<\/p>\n<\/div>\n<\/section>\n<\/div><\/section><\/div><div  class='flex_column av-1vbi64-83df1046ca263e38900003595e552592 av_one_half  avia-builder-el-9  el_after_av_one_half  el_before_av_hr  flex_column_div'     ><section  class='av_textblock_section av-mjq0clhx-e7e91db9bdea98d347afe052a93d5eac'   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><section class=\"av_textblock_section av-25q05ys-0e96b2db4ad3881b12e3bdb49321f90c\">\n<div class=\"avia_textblock\">\n<section class=\"av_textblock_section av-1v0phtw-499726e03d9013e85aa76ad4bbb7eb68\">\n<div class=\"avia_textblock\">\n<h2 class=\"heading-line\">Keynote \/ Joasia Krysa<\/h2>\n<\/div>\n<\/section>\n<section class=\"av_textblock_section av-1srjgxg-fcae071391da472cfe0a32987cf9986f\">\n<div class=\"avia_textblock\">\n<p>Joasia Krysa is a curator, Professor of Exhibition Research and Director of the Institute of Art and Technology at Liverpool John Moores University, with an adjunct position at Liverpool Biennial. She served as Chief Curator of the 2nd Helsinki Biennial (2023) and co-curator of the 9th Liverpool Biennial (2016) and DOCUMENTA 13 (2012). Her curatorial work was presented at major international institutions including The Whitney Museum of American Art New York, KANAL Centre Pompidou Brussels, ZKM Center for Art and Media, Karlsruhe, Helsinki Art Museum, and Tate Modern London. Recent publications include books Curating Intelligences: Reader on AI and Future Curating (London Open Humanities Press 2025) and Helsinki Biennial: New Directions May Emerge (Helsinki Art Museum 2023), a chapter in Bloomsbury Encyclopaedia of New Media Art (London 2025), and forthcoming The Routledge Companion to Art and Technology (London \/ New York 2027).<\/p>\n<\/div>\n<\/section>\n<\/div>\n<\/section>\n<section class=\"av_textblock_section av-23pcn0k-b74316c462cc4a318fd71b562c8b98b7\">\n<div class=\"avia_textblock\"><\/div>\n<\/section>\n<\/div><\/section><\/div><\/p>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2te38-fbcea0564c9a0b9760fa66a0e706baae\">\n#top .hr.hr-invisible.av-2te38-fbcea0564c9a0b9760fa66a0e706baae{\nheight:50px;\n}\n<\/style>\n<div  class='hr av-2te38-fbcea0564c9a0b9760fa66a0e706baae hr-invisible  avia-builder-el-11  el_after_av_one_half  el_before_av_one_full'><span class='hr-inner'><span class=\"hr-inner-style\"><\/span><\/span><\/div>\n<div  class='flex_column av-71kbmk-9d8a11b898e668961a96ba4afd872328 av_one_full  avia-builder-el-12  el_after_av_hr  el_before_av_one_full  first flex_column_div'     ><section  class='av_textblock_section av-mjq0he2t-09635f7bd66657de7340afb4fc09f119'   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h2>Defining Generative Curation<\/h2>\n<p>Crucially, we conceive generative curation beyond merely \u201cusing AI as a tool\u201d.  Instead, generative curation treats curatorial practice itself as a programmable, procedural, and co-authored system. For this symposium, we define generative curation as the design and critical deployment of procedures, models, and rule-based systems (computational or hybrid) for curatorial purposes, including collections of art and cultural data, in the context of exhibitions, archives, museums, and cultural institutions. Moreover, these generative systems can iteratively produce, recombine, or adapt curatorial outcomes over time. These outcomes include (but are not limited to) selection and sequencing of works in terms of spatial, temporal, and narrative arrangement; interpretive layers; public programs; and the circulation of documentation.<\/p>\n<p>This symposium stems from the tradition of curation in museums, archives, collections, and galleries. Historically rooted in the traditions of selection, care, and the scholarly contextualization of artworks, the curator's role has evolved to become a central form of artistic and intellectual authorship. While we acknowledge the broad expansion of curatorial practice across domains, materials, and institutional framings, this symposium does not rehearse that expansion. Our focus is precise: to define, interrogate, and advance generative curation. But precisely because of the pervasiveness of these technologies, it expands to the more transversal implications of the curation of culture. The symposium, therefore, raises the question: What is the role of curation in the creation of knowledge? The crucial and radical choice of what to include and how, from a large collection, is now of renewed currency-there is so much material, a fight for exposure and public reach, a transformation of languages, media, and social codes that change the status of art and culture, and their mediated formats through internet culture.<\/p>\n<p>Cultural institutions and independent initiatives increasingly rely on data-driven pipelines, digital platforms, fast and mediatised formats and platforms, and also AI-assisted workfl ows. This raises urgent questions about authorship and accountability; consent, bias, and provenance in datasets; institutional governance; reproducibility and documentation; and the ethics of automation in cultural labor. Generative curation offers both opportunities (scalability, responsiveness, new forms of audience address) and risks (opacity, technical capture, aesthetic homogenization) that demand rigorous debate and demonstration.<\/p>\n<p>Within this expanded landscape, the blurring distinction between artist as curator and curator as artist is increasingly complexified, also by the aperture to collective and more-than-human agency. This raises fundamental questions about how we curate images, text, and other materials through\/with AI models, and how we curate AI-generated content itself. What are the implications of using these tools and not using them? How are generative tools included in the curation process, and how are we defining curating in both the physical and the digital? How are these tools permeating the curatorial discourse and practice? This definition is a point of departure to be tested, refined, and contested so that, collectively, we can map the concept's boundaries. Given the complexity and multidimensionality of curation, the implication of AI models constitutes an active surface of contact that both articulates and reconfigures the many elements, concepts, and actors involved, opening new problems and reformulating previous ones, and, therefore, requires an interdisciplinary, collective, and critical discussion.<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-642h4s-f8da6df48a76a2190c26bbb375a74c81 av_one_full  avia-builder-el-14  el_after_av_one_full  el_before_av_one_full  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-mjq0j4e0-cfd0f6496b3544b6c1e8c853e281e38d'   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h2 class=\"heading-line\">Emergent Curatorial Practices With and Against AI<\/h2>\n<p>We propose to investigate how generative technologies compel us to move beyond anthropocentric models of narrative, taste, and judgment. What does it mean to \u00abcurate\u00bb when aesthetic decisions, the construction of exhibition narratives, and even the generation of art itself are shared with non-human agents? This symposium invites contributors to question the core tenets of artistic curation: its epistemological foundations, its claims to authority, and its ethical responsibilities in an era of algorithmic logic.<\/p>\n<p>We invite contributions that re\ufb02ect on the following key topics:<\/p>\n<p><strong>1. The Curatorial Agent: Authorship, Agency, and Judgment<\/strong><\/p>\n<p>The use of algorithmic techniques and, in particular, AI models is often perceived as a challenge to previous understanding of curatorial authorship and aesthetic agency and authority, but does this constitute a delegation of responsibility or a type of co-authorship? Moreover, how does the imposed worldview encoded in different AI models play a role in curatorial narratives? And, is there a place for non-aligned, dissentive narratives or space for disagreement in curatorial practices with AI?<\/p>\n<p><strong>2. Technological Innovations and New Exhibition Methodologies<\/strong><\/p>\n<p>New multimodal AI models\u2019 unprecedented capacity to connect disparate artworks and media can help revisit and challenge traditional art historical categorizations and exhibition narratives, including globalized curatorial formats like the \u2018white cube\u2019. How might AI's capacity to process vast visual and textual data reshape our understanding of art history and the canon itself?<\/p>\n<p><strong>3. Ethical Implications: Algorithmic Bias and Specific Context Analysis<\/strong><\/p>\n<p>There is an increasing awareness of different types of AI biases, but what happens when AI is used for the detection of previously unnoticed biases in collections?<\/p>\n<p>Moreover, does AI's far-reaching sight lead to both the rediscovery of unnoticed figures and practices and\/or a form of algorithmic colonialism? What are the agencies, challenges, and opportunities for generative curation regarding both culturally specific and politically sensitive or con\ufb02ictual contexts?<\/p>\n<p><strong>5. Future Directions: New Art Experiences and Interdisciplinary Frontiers<\/strong><\/p>\n<p>Current experiments inhabit a middle ground and bridge between scientific research and artistic practice, pointing to new interdisciplinary forms of creation and exhibition. How should we reimagine generative curatorial practice without losing touch with traditional art historical and curatorial skills? And, in a context of ever-updating technology, do new generative curatorial projects need to forcefully embrace a context of ever-updating technology? How does this context redefine the concept of a \u2018finished\u2019 artwork? How might AI-driven curation reshape the experience of the participants and audiences?<\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-3ya6y4-1042556d2246e8a954288fd4e6c92a79 av_one_full  avia-builder-el-16  el_after_av_one_full  el_before_av_one_full  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-mjq0l8pa-37fd4d18001c4e25b6ae975c4f34afbf'   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h2 class=\"heading-line\">Program<\/h2>\n<h3><b>Wednesday, January 28th, 2026<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">15:00-15:15\u00a0 \u00a0 <strong>Institutional opening<\/strong><\/span><\/p>\n<p><span style=\"font-weight: 400;\">15:15-15:30\u00a0 \u00a0 <strong>Event opening\u00a0<\/strong>\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">15:30-16:15\u00a0 \u00a0 <strong>Keynote 1 - Joasia Krysa (<em>title<\/em> TBC)<\/strong><\/span><\/p>\n<p><span style=\"font-weight: 400;\">16:30-18:00\u00a0 \u00a0<strong>Paper presentations 1: Structural &amp; Institutional Shifts. <\/strong><\/span><em><strong>How algorithmic systems are reshaping institutional boundaries and values<\/strong><\/em><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Ana Avelar, T\u00e2nia Sulzbacher (Federal University of S\u00e3o Paul): <em>Wetlands as Interface: Curating Through Institutional Absences and Algorithmic Limits<\/em><\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Linda Rocco (Royal College of Art, London): <em>The Extitutional Curator: Infrastructuring Value at the Edges of Algorithmic Systems<\/em><\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Nadine Isabelle Henrich (House of Photography, Deichtorhallen, Hamburg), Lisa H\u00f6rstmann (Hamburger Bahnhof - Hamburger Bahnhof - Hamburger Bahnhof, Hamburg), Lisa H\u00f6rstmann (Hamburger Bahnhof, Hamburg)<br \/>\nNationalgalerie der Gegenwart, Berlin), and Leslie P. Zimmermann (Reiss-Engelhorn-Museen Mannheim): <em>Countering the Algorithmic Gaze: Museums in the Age of Generative Video<\/em><\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">18:15-18:30\u00a0 \u00a0 <strong>Coffee break<\/strong><\/span><\/p>\n<p><span style=\"font-weight: 400;\">18:30-20:00\u00a0 <strong>Paper presentations 2: Generative Logic &amp; Future Curatorial Models. <\/strong><\/span><strong><em>Theoretical frameworks and new models for curation in the age of AI<\/em><\/strong><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Bassam El Baroni, and Marina Valle Noronha (Aalto University): <em>The Synthetic Curatorium, or, Prompted Collectivity and the Logic of Trustless Synthesis<\/em><\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Paola Nu\u00f1ez del Prado (Stockholm University of the Arts): <em>From Curated Datasets to AI Curation: Towards a Theory of Technocultural Parametrization<\/em><\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">TBC<\/span><\/li>\n<\/ul>\n<hr \/>\n<h3><b>Thursday, January 29th, 2026<\/b><\/h3>\n<p><span style=\"font-weight: 400;\">9:30-10:00\u00a0 \u00a0 <strong>Keynote 2 - TBC<\/strong><\/span><\/p>\n<p><span style=\"font-weight: 400;\">10:00-11:30\u00a0 \u00a0<strong>Paper presentations 3<\/strong><\/span><\/p>\n<ul>\n<li><span style=\"font-weight: 400;\">Digital Visual Studies - University of Zurich<\/span><\/li>\n<li><span style=\"font-weight: 400;\">iArtHis_Lab - University of M\u00e1laga<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">11:30-12:00\u00a0 <strong>Coffee break<\/strong><\/span><\/p>\n<p><span style=\"font-weight: 400;\">12:00-13:30\u00a0 <strong>Round table: <em>From Infrastructure to Ethics: Institutional Strategies for AI in Museums &amp; Cultural Heritage<\/em><\/strong><\/span><\/p>\n<ul>\n<li><span style=\"font-weight: 400;\">Participants:\u00a0<\/span>\n<ul>\n<li><span style=\"font-weight: 400;\">Juhyun Cho, Pompidou South Korea,<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Prado Museum (TBC)<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Juan March Foundation (TBC)<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Barcelona Supercomputing Centre (TBC)<\/span><\/li>\n<li><span style=\"font-weight: 400;\">(more to be confirmed)<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">13:30-15:00\u00a0 \u00a0<\/span><strong>Lunch<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">15:00-16:30 <strong>Paper presentations 4: Experience, Embodiment &amp; Human Interpretation. <em>The sensory and human experience of generative art and archives<\/em><\/strong><\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Sabiana Paoli (Liverpool John Moores University \/ Transart Institute for Creative Research): <em>Embodied Intelligence: Generative Curation and the Sensory Reconfiguration of Curatorial Agency<\/em><\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Richard The, Fr\u00e9d\u00e9ric Eyl (Parsons School of Design):\u00a0 <em>From Archive to Experience: Three Explorations in Generative, Multisensory Encounters with Museum Collections<\/em><\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Johanna Eiramo (Finnish National Gallery): <em>Data, Code, and Context: Human Interpretation in Generative Art Exhibitions<\/em><\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">16:45-17:45\u00a0 <strong>Round table: <em>Curating Superintelligences: AI and Future Curating<\/em><\/strong><\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Joasia Krysa, Liverpool John Moores University<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Magdalena Ty\u017clik-Carver, Aarhus University<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">L\u00edvia Nolasco-R\u00f3zs\u00e1s, University College London<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">CrossLucid, Sylwana Zybura &amp; Tomas Toth.\u00a0<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">17:45- 18:15\u00a0 <strong>Wrap-up and closing<\/strong><\/span><\/p>\n<\/div><\/section><\/div>\n<div  class='flex_column av-22x7kc-15a3b6bdc05f2e4e8fa08eea90037006 av_one_full  avia-builder-el-18  el_after_av_one_full  el_before_av_hr  first flex_column_div  column-top-margin'     ><section  class='av_textblock_section av-mjq0mr7z-55326d19932ddead5fc4ae3a49f09c5a'   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h2 class=\"heading-line\">Organization<\/h2>\n<p>The <a href=\"https:\/\/catedratelefonicauma.es\/presentacion\/\">Chair on 5G, Digital Culture and Next-Generation Technologies for Society<\/a>\u00a0is founded on the conviction that 5G technologies, next-generation networks, and, more broadly, emerging technological developments will play a crucial role in the social, cultural, business, economic, and scientific transformation that will define our future.<\/p>\n<p>The\u00a0<a href=\"http:\/\/www.dvstudies.net\/\">Center for Digital Visual Studies<\/a>\u00a0at the University of Zurich and funded by the Max Planck Society.<\/p>\n<p>The<a href=\"https:\/\/www.biblhertz.it\/en\">\u00a0Bibliotheca Hertziana - Max Planck Institute for Art History<\/a>\u00a0promotes scientific research in the field of Italian and global history of art and architecture. Established as a private foundation by Henriette Hertz (1846-1913), it was inaugurated in 1913 as a research centre of the Kaiser-Wilhelm-Gesellschaft. Today, the Bibliotheca Hertziana is part of the Human Sciences Section of the Max Planck Society and is considered one of the world's most renowned research institutes for art history.<\/p>\n<p><a href=\"https:\/\/complexhibit.eu\/en\/\">The Complexhibit Project<\/a> (PID2021-125037NB-I00): Study and Interpretation of the Art Exhibition Domain as a Complex Cultural Ecosystem through Data Analytics and NLP.<\/p>\n<p><a href=\"https:\/\/iarthis.iarthislab.eu\/\">iArtHis_Lab<\/a>,University of M\u00e1laga. A research, training, and innovation laboratory focused on the study of artistic culture from digital, computational, and techno-critical perspectives.<\/p>\n<\/div><\/section><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-j817g-cd882aff103ac615548fa84fff602948\">\n#top .hr.hr-invisible.av-j817g-cd882aff103ac615548fa84fff602948{\nheight:50px;\n}\n<\/style>\n<div  class='hr av-j817g-cd882aff103ac615548fa84fff602948 hr-invisible  avia-builder-el-20  el_after_av_one_full  avia-builder-el-last'><span class='hr-inner'><span class=\"hr-inner-style\"><\/span><\/span><\/div>","protected":false},"excerpt":{"rendered":"<p>This course is designed for researchers who wish to start applying computational methodologies in their work, as well as for humanists (students, graduates or practitioners) interested in exploring the convergence with digital, computational and datification.<\/p>","protected":false},"author":4,"featured_media":1054,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"tags":[14,13,12],"portfolio_entries":[4,24,23],"class_list":["post-1036","portfolio","type-portfolio","status-publish","has-post-thumbnail","hentry","tag-certificado-de-extension-universitaria","tag-datos-culturales","tag-humanidades-digitales","portfolio_entries-actividades","portfolio_entries-noticias","portfolio_entries-seminarios"],"_links":{"self":[{"href":"https:\/\/complexhibit.eu\/en\/wp-json\/wp\/v2\/portfolio\/1036","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/complexhibit.eu\/en\/wp-json\/wp\/v2\/portfolio"}],"about":[{"href":"https:\/\/complexhibit.eu\/en\/wp-json\/wp\/v2\/types\/portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/complexhibit.eu\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/complexhibit.eu\/en\/wp-json\/wp\/v2\/comments?post=1036"}],"version-history":[{"count":5,"href":"https:\/\/complexhibit.eu\/en\/wp-json\/wp\/v2\/portfolio\/1036\/revisions"}],"predecessor-version":[{"id":1070,"href":"https:\/\/complexhibit.eu\/en\/wp-json\/wp\/v2\/portfolio\/1036\/revisions\/1070"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/complexhibit.eu\/en\/wp-json\/wp\/v2\/media\/1054"}],"wp:attachment":[{"href":"https:\/\/complexhibit.eu\/en\/wp-json\/wp\/v2\/media?parent=1036"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/complexhibit.eu\/en\/wp-json\/wp\/v2\/tags?post=1036"},{"taxonomy":"portfolio_entries","embeddable":true,"href":"https:\/\/complexhibit.eu\/en\/wp-json\/wp\/v2\/portfolio_entries?post=1036"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}