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Historian of contemporary theatre, specialized in digital humanities and digital performances, Clarisse Bardiot has been an associate professor at the Université Polytechnique Hauts-de-France since 2006 and a research fellow at the CNRS (Thalim laboratory). In 2016, she was a research fellow in the " culture analytics" long program at the Institute for Pure & and Applied Mathematics at UCLA. Her research focuses on digital humanities, the history and aesthetics of digital performance, the relationship between art, science and technology, the preservation of digital works, and experimental publishing. Her scientific background is the epistemology of the performing arts and digital technologies.
Over the years, the focus has shifted from history and aesthetics (digital performances) to the question of the memory and historiography of theatre (theatre analytics). Her research on performing arts and digital humanities is both theoretical (epistemology of methodologies and their impact on historiography and digital heritage) and applied (software design: Rekall and MemoRekall). This work is funded by Europe, the French Ministry of Culture, and many cultural institutions. She is a member of the board of the francophone digital humanities association, Humanistica.
Emmanuelle Bermès has been deputy director for services and networks at the national library of France (BnF) since 2014. From 2003 to 2011, she worked at the BnF, first in digital libraries and digital preservation, then in metadata management. From 2011 to 2014, she was in charge of multimedia and digital services at the Centre Pompidou (Paris, France).
In the course of her career, Emmanuelle has held a number of responsibilities at international level (within Europeana, the Library Linked Data W3C incubator group, the IFLA Semantic Web special interest group (SWSIG), the International internet preservation consortium (IIPC), and the International Image Interoperability Framework (IIIF) consortium). She has authored several books related to digital technologies in libraries and the blog Figoblog.org.
Emmanuel Château-Dutier is an architectural historian and assistant professor in digital museology at the Université de Montréal. His research focuses on the administration of public architecture in France in the nineteenth century, the architectural profession, and architectural publishing. In addition, his work concerns digital museology and digital art history. He participates, or has participated, in several important collective research projects in art history that place digital technology at the heart of their thinking. In particular, he was the digital director of the critical edition of the Cours d’Antoine Desgodets, and he is one of the main collaborators of the Guides de Paris project of Labex les Passés dans le présent.
In addition to several personal research projects funded by SSHRC and FRQSC, he has been involved since 2018 in a multidisciplinary research program on Parisian experts in the eighteenth century, supported by the French National Research Agency. Emmanuel Chateau-Dutier is a member of the Centre de recherche interuniversitaire sur les humanités numériques (CRIHN), he is part of the Coordinating Committee of the Humanistica association, and is the French-speaking Vice-President of the Canadian Society for Digital Humanities (CSDH/SCHN).
Antoine Courtin was trained in art history at the University of Lille and then at the École Nationale des Chartes in digital technology, where he graduated in 2010. He was successively a product manager in the private sector and an engineer in the Labex “Les passés dans le présent” before joining the National Institute of Art History (INHA) in 2015. He is developing a digital research department there and in 2019 became its manager. Additionally, since 2017, Antoine Courtin is a lecturer at the University of Paris Nanterre.
Dr. Lev Manovich is one of the leading theorists of digital culture worldwide and a pioneer in the application of data science for analysis of contemporary culture. Manovich is the author and editor of 15 books including Cultural Analytics (MIT Press, 2020), AI Aesthetics (Strelka Press, 2019), Theories of Software Culture (Red Swallow, 2017), Instagram and Contemporary Image (2017), Software Takes Command (Bloomsbury Academic, 2013), Soft Cinema: Navigating the Database (MIT Press, 2005) and The Language of New Media (MIT Press, 2001) which was described as "the most suggestive and broad-ranging media history since Marshall McLuhan."
He was included in the list of "25 People Shaping the Future of Design" in 2013 and the list of "50 Most Interesting People Building the Future" in 2014. Manovich is a Presidential Professor at The Graduate Center, CUNY, and a Director of the Cultural Analytics Lab that pioneered analysis of visual culture using computational methods. The lab created projects for the Museum of Modern Art (NYC), New York Public Library, Google, and other clients. His latest book Cultural Analytics will be published by The MIT Press in Fall 2020.
Dario Negueruela del Castillo is scientific and operational coordinator of the Center for Digital Visual Studies (Max Planck - University of Zurich) since january 2020. Between 2017 and 2019, he was Head of Research at ALICE lab in EPFL, where he completed his Ph.D. entitled The City of Extended Emotions in 2017. Previously, he was founder and principal of Ná architectural office in Madrid after he had received an Msc in Architecture from TU Delft and a BA from the University of Westminster. He recently organized the International Symposium Scaffolds- Open Encounters in Brussels and coordinates the upcoming Deep City International Symposium. His research spans architecture, urbanism, affective science and spatial and visual perception with special emphasis on imagination and spatial agency.
The latest among his current projects are ‘On the Urbanity of Images’ and ‘Gesture, Emotion and the Enactment of Space’. Dario Negueruela’s most recent publications include “HOUSE 1 Protostructure: Enhancement of Spatial Imagination and Craftsmanship Between the Digital and the Analogical” in Digital Wood Design (Springer, 2019).
Dr. Nanne van Noord is a researcher at the University of Amsterdam and the Netherlands Institute for Sound and Vision from where he contributes to the Common Lab Research Infrastructure for the Arts and Humanities (CLARIAH) project. His research focuses on two areas: firstly, he is developing an infrastructure that provides humanities researchers with access to state of the art machine learning and computer vision technology, as well as the collections of Dutch audio-visual archives. Secondly, through close collaboration with humanities researchers he is developing new computer methods that push the state of the art in a manner that is informed by and relevant to cutting edge humanities research.
Currently, he is working on methods for pose analysis in early cinema, and methods for large-scale and in-depth analysis of iconic photographs. He holds a Ph.D. from Tilburg University for his thesis on learning visual representations of style, in collaboration with the Van Gogh Museum and the Cultural Heritage Agency of the Netherlands. He has previously worked as a researcher in the Sensory Moving Image Archive (SEMIA) project, developing techniques for non-semantic visual exploration of moving image archives for the collections of the Eye Film Museum and the Netherlands Institute for Sound and Vision.
Emily Pugh received her Ph.D. in Art History from the CUNY Graduate Center in 2008. Since then, she has been active as both an architectural historian and specialist in digital art history. From 2010 to 2014, she served as the first Robert H. Smith Postdoctoral Research Associate and at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington DC. Since 2014, Pugh has led the Digital Art History department at the Getty Research Institute, overseeing research activities in connection with technology initiatives.
Examples of such initiatives include Ed Ruscha Streets of Los Angeles and PhotoTech, a project to digitize 700,000 objects from the GRI’s Photo Archive. She is the author of Architecture, Politics, & Identity in Divided Berlin (University of Pittsburgh Press, 2014), and her essays on the Cold War urban built environment and on digital art history have appeared in the Journal of the Society of Architectural Historians, Centropa, and the International Journal of Digital Art History.
Her work has been supported by the Center for Architecture Theory Criticism History at the University of Queensland, the Center for Digital Humanities Research at Australian National University, the European Architectural History Network, and the Foundation for Landscape Studies.
Everardo Reyes is an Associate Professor in the Information Sciences Department at the Université Paris 8 Vincennes-Saint-Denis, research member of the Paragraphe Lab, co-director of the master’s in Digital Humanities, and Vice-President for Digital Matters in Research & Education at Université Paris 8. His research combines theories and methods grounded on visual semiotics, cultural analytics, and relationships between Art, Science, and Technology. As a research fellow at Campus Condorcet, he conducts projects on visualization of visual data using hypermedia technologies on the web. He has authored, edited, and translated several books on digital culture. He has also organized different conferences and exhibitions about digital media art. In 2019, he served as Art Papers chair for the ACM SIGGRAPH conference and edited the special issue in Leonardo, the journal of the international society for the arts, sciences, and technology (published by MIT Press).
Nuria Rodríguez-Ortega is Full Professor and the Head of the Art History Department of the University of Málaga. In 2019, she gained the first Digital Art History Chair in Spain. She is the founder and director of the iArtHis_Lab Research Group, an international laboratory focused on art history studies from a digital and computational perspective. She is Deputy Director of the ‘Cátedra Picasso Fundación Málaga’, where she coordinates the analysis of Picasso’s graphic production using Computer Vision technologies, and the President of the Sociedad Internacional de Humanidades Digitales Hispánicas (HDH).
Her investigations address the convergence between computational languages, digital media and artistic culture, with special emphasis on the application of data analytics for the study of complex cultural systems, the processing of natural language for the analysis of artistic criticism, the interpretation of new visual-formal epistemologies and the exploration of alternative narratives through emerging technologies. She also investigates how these emerging technologies are reformulating the processes of categorization and ordering of cultural phenomena. She has led more than 30 international scientific events, which includes the first International Workshop of Digital Art History in Europe (September, 2011).
In June 2017 Tristan Weddigen was appointed director at the BHMPI. After being awarded a Ph.D. from the TU Berlin with a dissertation on Raphael in 2002 and nominated university lecturer at the University of Bern with a study on the Dresden Gemäldegalerie in the 18th century in 2008, he became assistant professor at the University of Lausanne in 2008 and full professor for history of early modern art at the University of Zurich in 2009. There he ran the ERC project Textile – An Iconology of the Textile in Art and Architecture and the Getty project New Art Histories – Connecting Ideas, Objects and Institutions in Latin America, currently the Swiss Art Research Infrastructure (SARI) an the SNSF edition project Heinrich Wölfflins Gesammelte Werke.
His research department focuses on the global aspects of Italian art from the early modern period to today, thus extending the range of the research activities at the BHMPI to modern and contemporary times; furthermore, it addresses questions of materiality and mediality, studies the history of art history and engages in digital art history.
