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researchers.xml
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<?xml version="1.0" encoding="UTF-8"?>
<TEI xmlns="http://www.tei-c.org/ns/1.0">
<teiHeader>
<fileDesc>
<titleStmt>
<title>Liste de chercheurs en histoire de l’art et muséologie numériques</title>
<principal>
<forename>Emmanuel</forename>
<surname>Château-Dutier</surname>
<affiliation>
<orgName>Université de Montréal</orgName>
</affiliation>
<idno type="orcid">https://orcid.org/0000-0003-4092-4569</idno>
</principal>
</titleStmt>
<publicationStmt>
<authority>Ouvroir d’histoire de l’art et de muséologie numériques</authority>
</publicationStmt>
<sourceDesc>
<p>Fichier nativement numérique</p>
</sourceDesc>
</fileDesc>
</teiHeader>
<text>
<body>
<listPerson>
<head>Liste de chercheurs en histoire de l’art et muséologie numériques</head>
<person>
<persName>
<forename>Chiara</forename>
<surname>Bonacchi</surname>
</persName>
<affiliation>
<orgName>University of Stirling</orgName>
<country>United Kingdom</country>
</affiliation>
<note>
<p>Senior Lecturer @StirUni, leading on Digital Heritage. Former @UCL. I research the intersections between heritage, data and politics using digital methods.</p>
</note>
<idno type="twitter">@chiara_bonacchi</idno>
<idno type="orcid">0000-0002-0872-0614</idno>
<idno type="email">chiara.bonacchi@stir.ac.uk</idno>
<idno type="academic">https://www.stir.ac.uk/people/482880</idno>
<keywords>
<term>digital heritage</term>
</keywords>
</person>
<person>
<persName>
<forename>Xavier</forename>
<surname>Rubio-Campillo</surname>
</persName>
<affiliation>
<orgName>Universitat de Barcelona</orgName>
<country>Spain</country>
</affiliation>
<note>
<p>I am a Ramón y Cajal senior research fellow at the University of Barcelona. My main task in this position is to explore and teach new digital approaches to understand and communicate dynamics of past human activity.</p>
<p>My current research is focused on three linked goals: a) to develop innovative digital methods to understand the complex relation between environment and past societies, b) to improve how conflict heritage is interpreted and c) to promote reflexive approaches to the human past through digital education techniques. I investigate these themes by applying innovative quantitative frameworks to a variety of topics such as the neolithic transition, the evolution of warfare or settlement dynamics.</p>
</note>
<idno type="email">xrubio@ub.edu</idno>
<idno type="twitter">@xrubiocampillo</idno>
<idno type="isni">0000-0003-4428-4335</idno>
<idno type="github">https://github.com/xrubio/</idno>
<idno type="lab">https://www.didpatri.cat/investigadors/xavier-rubio-campillo/</idno>
<keywords>
<term>digital heritage</term>
</keywords>
</person>
<person>
<persName>
<forename>Sara</forename>
<surname>Nabil</surname>
</persName>
<note>
<p>Designing everyday interactive spaces, assistive technology and wearables for the well-being of people and a better quality of living. Using smart materials, digital fabrication and morphological actuation to explore new techniques of embodied interaction woven into interior design, product design and fashion design. Researching Human-Computer Interaction (HCI) to empower marginalized communities. </p>
<p>CRSH Exploration: Back to the Future: Exploring Digital Fabrication Technology in Designing Interactive Museum Artifacts https://www.sshrc-crsh.gc.ca/funding-financement/nfrf-fnfr/exploration/2020/award_recipients-beneficiaires_du_financement-fra.aspx</p>
</note>
<idno type="perso">https://saranabil.com</idno>
<keywords>
<term>making</term>
</keywords>
</person>
<person>
<persName>
<forename>Lai-Tze</forename>
<surname>Fan</surname>
</persName>
<affiliation>
<orgName>University of Waterloo</orgName>
<country>Canada</country>
</affiliation>
<keywords>
<term>digital storytelling</term>
</keywords>
</person>
<person>
<persName>
<forename>Caitlin</forename>
<surname>Fisher</surname>
</persName>
<idno type="academic">https://ampd.yorku.ca/profile/caitlin-fisher/</idno>
<idno type="perso">http://www.yorku.ca/caitlin</idno>
<affiliation>
<orgName>York University</orgName>
<country>Canada</country>
</affiliation>
<keywords>
<term>digital storytelling</term>
<term>cinema</term>
</keywords>
</person>
<person>
<persName>
<forename>Anne</forename>
<surname>Luther</surname>
</persName>
<note>
<p>Dr. Anne Luther is a specialist for digital heritage and a digital humanities scholar. Her work applies technology, design and humanities research for the interaction, exploration and opening of cultural heritage preserved and represented in digital data. She is the founder of The Institute for Digital Heritage and Principal Investigator for Digital Benin, leading the development of a digital platform which brings together rich documentation from collections worldwide to provide a long-requested overview of the royal artworks looted in the 19th century from the Kingdom of Benin.</p>
</note>
<affiliation>
<orgName>Institute for Digital Heritage</orgName>
<country>Germany</country>
<idno>https://www.institutefordigitalheritage.org</idno>
</affiliation>
<idno type="twitter">@AnneLuthera</idno>
<idno type="perso">https://anneluther.info</idno>
<keywords>
<term>digital museology</term>
</keywords>
</person>
<person>
<persName>
<forename>Tim</forename>
<surname>Sherratt</surname>
</persName>
<idno type="perso">https://timsherratt.org</idno>
</person>
<person>
<persName>
<forename>Sophie</forename>
<surname>Balcon-Fourmaux</surname>
</persName>
<affiliation>
<orgName>Paris 3</orgName>
<country>France</country>
</affiliation>
<note>
<p>Thèse en cours sous la direction de Franck Rebillard et de Fabrice Rochelandet : Les pratiques en réalité virtuelle, une étude transversale au sein des industries culturelles. https://www.theses.fr/s266483</p>
</note>
<idno type="linkedin">https://www.linkedin.com/in/sophie-balcon-fourmaux-35835a13b/?originalSubdomain=fr</idno>
<keywords>
<term>virtual</term>
</keywords>
</person>
<person>
<persName>
<forename>Olivier</forename>
<surname>Hu</surname>
</persName>
<affiliation>
<orgName>Université d’Angers</orgName>
<country>France</country>
</affiliation>
<idno type="perso"
>https://www.univ-angers.fr/fr/acces-directs/annuaire-2/h/u/uduser-olivier-hu-fr.html</idno>
<note>
<p>Responsable pédagogique du Master Technologies Numériques et Produits Culturels.</p>
<p>Responsable scientifique du projet PREDICT : Programme de Recherche et d’Évaluation des Dispositifs Interactifs Culturels et Touristiques.</p>
</note>
<keywords>
<term>mediation</term>
</keywords>
</person>
<person>
<persName>
<forename>Lise</forename>
<surname>Renaud</surname>
</persName>
<affiliation>
<orgName>Avignon Université</orgName>
<country>France</country>
</affiliation>
<note>
<p>Depuis sa prise de fonction à Avignon Université (2013), elle encadre des enquêtes quantitatives et qualitatives sur les publics de musées et de sites patrimoniaux dans le cadre de Muséocom.</p>
<p>Depuis 2013, ses recherches portent plus spécifiquement sur les politiques de numérisation des institutions patrimoniales. Ses travaux interrogent les stratégies et logiques de conception, les imaginaires des écrans et les écritures numériques des patrimoines.</p>
</note>
<idno type="lab"
>https://centrenorbertelias.cnrs.fr/equipes-de-recherche/chercheurs/lise-renaud/</idno>
<keywords>
<term>digital museology</term>
</keywords>
</person>
<person>
<persName>
<forename>Eva</forename>
<surname>Sandri</surname>
</persName>
<affiliation>
<orgName>Université Paul Valéry</orgName>
</affiliation>
<idno type="lab">https://www.lerass.com/author/esandri/</idno>
<note>
<p>Eva Sandri est maîtresse de conférences en sciences de l’information et de la communication à l’université Paul Valéry Montpellier 3 (équipes de recherche LERASS et GRIPIC). Ses recherches portent sur les enjeux actuels de la médiation culturelle et sur l’imaginaire des dispositifs numériques au musée. Elle a récemment publié l’ouvrage : Les imaginaires numériques au musée, aux éditions MkF, 2020. Elle a également coordonné le Supplément : « Les injonctions dans les institutions culturelles : ajustements et prescriptions » dans la revue : Les Enjeux de l’information et de la communication, en 2019.</p>
<list>
<item>La médiation culturelle et documentaire face aux enjeux de la culture numérique</item>
<item>Les discours sur l'innovation dans le domaine culturel</item>
<item>L'imaginaire des dispositifs numériques au musée</item>
<item>Les discriminations de genre dans le milieu culturel</item>
</list>
</note>
<keywords>
<term>digital museology</term>
</keywords>
</person>
<person>
<persName>
<forename>Stuart</forename>
<surname>James</surname>
</persName>
<idno type="perso">https://stuart-james.com</idno>
<note>
<p>Researcher (Assistant Professor) in Computer Vision at the Istituto Italiano di Tecnologia (IIT). Stuart's research focus is on Visual Reasoning to understand the layout of visual content from Iconography (e.g. Sketches) to 3D Scene understanding and their implications on methods of interaction. He is a PI on the MEMEX RIA EU H2020 project for increasing social inclusion with Cultural Heritage and Co-PI on the RePAIR EU FET H2020 project for the reconstruction of frescoes. Stuart has previously held PostDoc positions at IIT, University College London (UCL) and the University of Surrey. Also, at the University of Surrey, Stuart was awarded his PhD on visual information retrieval for sketches. Stuart continues to hold an honorary position at UCL and UCL Digital Humanities. He also regularly organises workshops and conferences, most recently the Vision for Art (VISART) Workshop at ECCV'20 and British Machine Conference (BMVC) 2021.</p>
</note>
<keywords>
<term>IA</term>
</keywords>
</person>
<person>
<persName>
<forename>Amanda</forename>
<surname>Wasielewski</surname>
</persName>
<idno type="perso">https://www.amandawasielewski.com</idno>
<idno type="mastodon">@mandon@mastodon.cc</idno>
<keywords>
<term>IA</term>
</keywords>
</person>
<person>
<persName>
<forename>Anne</forename>
<surname>Luther</surname>
</persName>
<idno type="perso">https://anneluther.info</idno>
<note>
<p>Dr. Anne Luther is a specialist for digital heritage and a digital humanities scholar. Her work applies technology, design and humanities research for the interaction, exploration and opening of cultural heritage preserved and represented in digital data. She is the founder of The Institute for Digital Heritage and Principal Investigator for Digital Benin, leading the development of a digital platform which brings together rich documentation from collections worldwide to provide a long-requested overview of the royal artworks looted in the 19th century from the Kingdom of Benin.</p>
</note>
<keywords>
<term>digital museology</term>
</keywords>
</person>
<person>
<persName>
<forename>Lukas</forename>
<surname>Fuchsgruber</surname>
</persName>
<affiliation>
<orgName>TU Berlin</orgName>
<country>Germany</country>
</affiliation>
<note>
<p>Lukas Fuchsgruber is an art historian at TU Berlin. His research focuses on digitization in museums, photo archives, and the history of the art market. Since 2020 he is part of the research network “Museum and Society – Mapping the Social”. His case study in the project focuses on the question of museums and data policy, especially on the design of interfaces and the production and dissemination of museum data. In 2021 he was part of an open source project that released an community oriented archive interface: cooArchi. He is a guest researcher at the Museum für Naturkunde Berlin.</p>
</note>
<keywords>
<term>digital museology</term>
</keywords>
</person>
<person>
<persName>
<forename>Peter</forename>
<surname>Bell</surname>
</persName>
<affiliation>
<orgName>Philipps-Universität Marburg</orgName>
<country>Germany</country>
</affiliation>
<idno type="academic">https://www.uni-marburg.de/de/fb09/khi/institut/lehrende-seiten-und-bilder/prof-dr-peter-bell</idno>
<keywords>
<term>IA</term>
</keywords>
</person>
<person>
<persName>
<forename>Leonardo</forename>
<surname>Impett</surname>
</persName>
<affiliation>
<orgName>Cambridge</orgName>
<country>United Kingdom</country>
</affiliation>
<affiliation>
<orgName>Cambridge Digital Humanities</orgName>
<idno type="uri">https://www.cdh.cam.ac.uk/about/people/dr-leonardo-impett/</idno>
</affiliation>
<note>
<p>Dr Leonardo Impett is a University Assistant Professor in Digital Humanities and convenor of the MPhil in Digital Humanities. He was previously Assistant Professor of Computer Science at Durham University. Leonardo has a background in information engineering and machine learning, having worked or studied at the Cambridge Machine Learning Lab, the Cambridge Computer Lab’s Rainbow Group, and Microsoft Research Cairo. His Ph.D., with Sabine Süsstrunk and Franco Moretti at EPFL, was on the use of computer vision for the “distant reading” of the history of art. In 2018 Leonardo was a DH fellow at Villa I Tatti – the Harvard University Center for Italian Renaissance Studies, from 2018-2020 he was Scientific Assistant, then Scientist, at the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome. Alongside his research in digital art history, he frequently works with machine learning in arts and culture, including for the Liverpool Biennial, the Royal Opera House, and the Whitney Museum of American Art.</p>
</note>
<idno type="lab">https://www.crassh.cam.ac.uk/about/people/leonardo-impett/</idno>
</person>
<person>
<persName>
<forename>Sébastien</forename>
<surname>Appiotti</surname>
</persName>
<affiliation>
<orgName>CELSA</orgName>
<idno type="uri">http://www.celsa.fr/celsa-equipe-pedagogique-FC.php</idno>
<idno type="blog">https://imanum.hypotheses.org</idno>
</affiliation>
</person>
<person>
<persName>
<forename>Susan</forename>
<surname>Hazan</surname>
</persName>
<affiliation>
<orgName>Digital Heritage, Israel</orgName>
<roleName>CEO</roleName>
</affiliation>
<idno type="linkedin">https://il.linkedin.com/in/susanhazan</idno>
</person>
<person>
<persName>
<forename>Julia</forename>
<surname>Noordegraaf</surname>
</persName>
<affiliation>
<orgName>department of Media Studies at the University of Amsterdam</orgName>
<roleName>professor of Digital Heritage</roleName>
</affiliation>
<affiliation>
<orgName>Amsterdam Centre for Cultural Heritage and Identity (ACHI)</orgName>
<roleName>Director</roleName>
<idno>https://www.uva.nl/en/about-the-uva/organisation/faculties/faculty-of-humanities/research/priority-areas/cultural-heritage-and-identity/cultural-heritage-and-identity.html</idno>
</affiliation>
</person>
<person>
<persName>
<forename>Peter</forename>
<surname>Dawson</surname>
</persName>
<affiliation>
<orgName>University of Calgary</orgName>
<roleName></roleName>
<idno>https://antharky.ucalgary.ca/digitalheritage/</idno>
</affiliation>
</person>
<person>
<persName>
<forename>Tula</forename>
<surname>Giannini</surname>
</persName>
<idno>https://sites.google.com/view/tgiannini</idno>
</person>
<person>
<persName>
<forename>Simone</forename>
<surname>Natale</surname>
</persName>
<note>
<p>Simone Natale is an associate professor at the University of Turin, Italy, and an editor of Media, Culture and Society. He is the author of Deceitful Media: Artificial Intelligence and Social Life after the Turing Test (Oxford University Press, 2021).</p>
</note>
</person>
<person>
<persName>
<forename>Petrina</forename>
<surname>Foti</surname>
</persName>
<affiliation>
<orgName>Loughborough University</orgName>
</affiliation>
<note>
<p>Petrina Foti is a museologist and scholar focused on the rise of digital information and technology and the resulting impact on both museums and the wider world. She is the author of Collecting and Exhibiting Computer-based Technology: Curatorial Expertise at the Smithsonian Museums (Routledge, 2018).</p>
</note>
<idno type="twitter">https://x.com/petrinafoti</idno>
<idno type="orcid">https://orcid.org/0000-0001-6152-3428</idno>
</person>
<person>
<persName>
<forename>Ross</forename>
<surname>Parry</surname>
</persName>
<occupation>Professor of museum technology</occupation>
<affiliation>
<orgName>University of Leicester</orgName>
<country>United kingdom</country>
<settlement>Leicester</settlement>
</affiliation>
<note>
<p>Ross Parry is a professor of museum technology at the University of Leicester, and the inaugural Director of its Institute for Digital Culture. He is co-founder the UK’s Museum Data Service, and co-editor of The Routledge Handbook of Museums, Media and Communication (Routledge 2019).</p>
</note>
</person>
<person>
<persName>
<forename>Hubertus</forename>
<surname>Khole</surname>
</persName>
<occupation>Lehrstuhl für Mittlere und Neuere Kunstgeschichte</occupation>
<affiliation>
<orgName>Ludwig-Maximilians-Universität München</orgName>
<country>Germany</country>
<settlement>Munich</settlement>
</affiliation>
<idno type="academic">https://www.kunstgeschichte.uni-muenchen.de/personen/professoren_innen/kohle/index.html</idno>
<idno type="orcid">https://orcid.org/0000-0003-3162-1304</idno>
<idno type="twitter">https://twitter.com/hkohle</idno>
<idno type="perso">http://www.sehepunkte.de</idno>
</person>
<person>
<persName>
<forename></forename>
<surname></surname>
</persName>
<affiliation>
<orgName>Ludwig-Maximilians-Universität München</orgName>
<country>Germany</country>
<settlement>Munich</settlement>
</affiliation>
<idno type="academic">https://www.kunstgeschichte.uni-muenchen.de/personen/wiss_ma/schneider/</idno>
<idno type="orcid">https://orcid.org/0000-0003-4915-6949</idno>
<idno type="github">https://github.com/stefanieschneider</idno>
</person>
<person>
<persName>
<forename>Joanne</forename>
<surname>Bernardi</surname>
</persName>
<occupation>Prof. of Japanese & Visual and Cultural Studies</occupation>
<affiliation>
<orgName>University of Rochester</orgName>
<country>United States</country>
<settlement>Rochester</settlement>
</affiliation>
<note>
<p>My research, publications, and teaching focus on Japanese cinema, media, and culture; early and silent cinema; the history and historiography of moving images and other visual media; film and media preservation; material culture studies; critical digital humanities practice; and the intersection between the history of the atomic age and popular culture. This work draws on my background in East Asian studies, film and media studies, film archiving and preservation, and photography and filmmaking. I seek out opportunities to collaborate and work across and in the spaces between traditional academic disciplines; today, this is where the issues and questions most relevant to the humanities reside. My most recent publications include two co-edited volumes (one on Japanese cinema and one on early cinema and provenance) and a book chapter for an edited volume, Recollecting Collecting (ed. Lucy Fischer), about how my experience as a collector informs my research and teaching. I am currently working on two book monographs, including a study of the cinema of Juzo Itami. In addition to my scholarship in print, I direct Re-Envisioning Japan, an ongoing digital humanities project comprising a physical collection and critical digital archive that documents changing images of Japan and its place in the world in the early to mid-twentieth-century. I enjoy working with students in adjacent disciplines, particularly in the Departments of Art and Art History, English, and History, and I support several of the university’s interdisciplinary programs, including Digital Media Studies (Advisory Committee), Film and Media Studies (former FMS director and interim FMS director), the Selznick Graduate Program in Film and Media Preservation (a collaboration with George Eastman Museum), the Graduate Program in Visual and Cultural Studies (affiliated faculty), the Susan B. Anthony Institute for Woman and Gender Studies (Associate), the Literary Arts Programs (affiliated faculty), and the Graduate Program in Photographic Preservation and Collections Management (GEM collaboration, 2014-2019). My scholarship has received support from the ACLS, NEH, Fulbright, the Japan Foundation, the Association of Asian Studies North East Area Council, the Social Science Research Council, and the U.S.- Japan Friendship Commission.</p>
</note>
<idno type="academic">https://www.sas.rochester.edu/mlc/people/faculty/bernardi_joanne/</idno>
<idno type="perso">https://joannebernardi.academia.edu</idno>
</person>
<person>
<persName>
<forename>Sheila K.</forename>
<surname>Hoffman</surname>
</persName>
<occupation>Senior Adjunct Professor, Art History</occupation>
<affiliation>
<orgName>University of Massachusetts Lowell</orgName>
</affiliation>
<note>
<p>Born in New Mexico and raised in Oregon, Dr. Sheila K. Hoffman has lived in 5 different countries and adventured through more than 40 others on 5 continents as a
scholar of art history, world cultures and symbols. She refers to herself as, “A female Robert Langdon (minus the tweed) with a passion for all things ancient, a sci-fi geek and an incurable explorer, a culinary crusader, foodie adventurer and pretty good cook.”</p>
<p>In addition to more than 20 years of experience in museums as a curator and director,
Sheila has two doctoral degrees: one from The Sorbonne in Paris in Art History and the
other from the Université du Québec à Montréal in Museology, Heritage and Cultural Mediation. Her dissertation, written and defended in French, on how digital technologies can transform world heritage was fully funded by Canada’s prestigious Vanier scholarship. She has also authored several books and articles, including an acclaimed examination of indigenous ceramics of the Southwestern United States. She is Senior Lecturer in Art History at the University of Massachusetts Lowell and has lectured around the world as a guest of governments and universities, including the Smithsonian, Tufts, Carnegie Mellon, Université de Paris VI, and to inaugurate the Nanjing University Cultural History and Museology Program. She served as one of the founding Reviews Editors for the International Museum Worlds Journal. And in 2020, her outstanding achievements in the cultural sector were honored with the Arts Luminary Award, given by the University of Oklahoma, where she conducted her master’s studies.</p>
<p>Sheila has appeared on many science-based television series, appearing on the Science, Discovery and Travel Channels among others as an expert contributor on numerous topics related to ancient cultures and religions. She has lectured across the globe on topics ranging from the history of museums and indigenous collections to the use of cutting-edge technologies in cultural heritage. From ancient symbols to digital culture, Sheila believes fiercely in the power of cultural images and objects to transform our understanding of the world we share. When she’s not studying or teaching, you can find her exploring the world by bike, kayak, camera or cuisine.</p>
</note>
<idno type="linkedin">https://www.linkedin.com/in/sheilakhoffman/</idno>
<idno type="academic">https://www.uml.edu/fahss/art/programs-of-study/art-history/faculty/hoffman-sheila.aspx</idno>
</person>
<person>
<persName>
<forename>Victoria</forename>
<surname>Szabo</surname>
</persName>
<occupation>Research Professor of Art, Art History, & Visual Studies</occupation>
<affiliation>
<orgName>Duke</orgName>
<country>United States of America</country>
<settlement>Durham, NC</settlement>
</affiliation>
<idno type="academic">https://scholars.duke.edu/person/ves4</idno>
<idno type="twitter">http://twitter.com/vszabo</idno>
<idno type="mastodon">vszabo@hcommons.social</idno>
<idno type="orcid">https://orcid.org/0000-0001-8008-5187</idno>
</person>
<person>
<persName>
<forename>Peter</forename>
<surname>Bell</surname>
</persName>
<occupation>Professor for art history and digital humanities</occupation>
<affiliation>
<orgName>Philipps-Universität Marburg</orgName>
<country>Germany</country>
<settlement>Marburg</settlement>
</affiliation>
<idno type="mastodon">peterbell@fedihum.org</idno>
</person>
<person>
<persName>
<forename>Maximilian</forename>
<surname>Schich</surname>
</persName>
<affiliation>
<orgName>Tallinn University</orgName>
<country>Estonia</country>
<settlement>Tallinn</settlement>
</affiliation>
<note>
<p>Maximilian Schich is a multidisciplinary scientist and art historian, with post-doc experience in network science and computational social science. Max collaborates towards a systematic understanding of art and culture, using critical and creative aesthetics, qualitative inquiry, quantitative measurement, and computation.</p>
</note>
<idno type="perso">https://www.schich.info</idno>
</person>
<person>
<persName>
<forename>Eva</forename>
<surname>Coudyzer</surname>
</persName>
<note>
<p>Eva Coudyzer obtained a Master in Art History and Archaeology in 2004 at the Vrije Universiteit Brussel. She worked in documentation centers and collection management services in several cultural organizations in Belgium. In 2009 she started working as a scientific assistant at the Royal Museums of Art and History, specializing in collection management systems. She was coordinator and partner in several national and international digitization projects with a main focus on linking and publishing collections with the use of standardized controlled vocabularies. She currently works as a scientific assistant at the information center of the Royal Institute for Cultural Heritage where she participates in the development of the collection management system and the valorization of the collection in digitization projects.</p>
</note>
<idno type="linkedin">https://www.linkedin.com/in/eva-coudyzer-6604b34/</idno>
</person>
<person>
<persName>
<forename>Alison</forename>
<surname>Langmead</surname>
</persName>
<affiliation>
<orgName>University of Pittsburgh</orgName>
<country>United States of America</country>
<settlement>Pittsburgh</settlement>
</affiliation>
<note>
<p>Alison Langmead holds a joint faculty appointment at the University of Pittsburgh between the Dietrich School of Arts and Sciences and the School of Computing and Information. She is the Director of the Visual Media Workshop (VMW), a humanities lab located in the Department of the History of Art and Architecture that investigates material and visual culture in an environment that encourages technological experimentation. Langmead is also a member of the Executive Committee overseeing Pitt’s graduate and undergraduate Digital Studies and Methods curricula, as well as serving as the university-wide Principal Contact for the DHRX: Digital Humanities Research initiative at Pitt.</p>
</note>
<idno type="academic">https://www.haa.pitt.edu/people/alison-langmead</idno>
</person>
<person>
<persName>
<forename>Karine</forename>
<surname>Lasaracina</surname>
</persName>
<note>
<p>Karine Lasaracina has master degrees in art history and journalism. She joined the RMFAB in 1999 and is now head of the Digital Museum unit. From the very beginning of her career, she has been interested in the concept of digital management of heritage data. A current focus is the development of digital applications that can support enriched visitor experiences in the museum through the implementation of various innovative technological solutions, for example virtual reality tools, multimedia narratives and virtual exhibitions. Promoter of various ongoing research projects, she also works on Data Interoperability, Open Science, the development of Artificial Intelligence to serve the museums, as well as innovation in the field of images of artworks (reproduction, storage, preservation and sharing).</p>
</note>
</person>
<person>
<persName>
<forename>Melanie</forename>
<surname>Conroy</surname>
</persName>
<occupation>Associate Professor of French</occupation>
<affiliation>
<orgName>University of Memphis</orgName>
<country>United States</country>
</affiliation>
<note>
<p>Melanie Conroy Melanie Conroy is Associate Professor of French at the University of Memphis, US. She received her doctorate from Stanford University and MAs from the University of Paris 8 and SUNY Buffalo. Her research explores the intersection of literature, visual studies, and social networks in modern French culture. She is the co-director of the Salons Project (https://blogs.memphis.edu/salonsproject/), a part of Mapping the Republic of Letters, as well as the director of Mapping Balzac (https://blogs.memphis.edu/mappingbalzac/). She is currently working on a cultural history of European salons as sites of literary production, as well as a digital humanities survey on literary geography in the French realist and post-realist novel from Balzac to Proust. Website: https://sites.google.com/view/melanierconroy</p>
</note>
<idno type="perso">https://sites.google.com/view/melanierconroy</idno>
<keywords>
<term>Digital art history</term>
</keywords>
</person>
<person>
<persName>
<forename>John</forename>
<surname>Bell</surname>
</persName>
<note><p>John Bell is the Associate Director of the Media Ecology Project at Dartmouth College, where he is also a Lecturer in Film & Media Studies, Program Manager for Research Computing's Digital Humanities Program, and Director of the Data Experiences and Visualizations Studio. Bell is an artist and programmer whose research focuses on digital collaboration. In addition to his work at Dartmouth, Bell is an Assistant Professor of Digital Curation at the University of Maine.</p></note>
<keywords>
<term>Computer vision</term>
</keywords>
</person>
<person>
<persName>
<forename></forename>
<surname></surname>
</persName>
<note>
<p>Theresa Avila earned a Ph.D. in Art History from the University of New Mexico with a focus on Latin American and Latin@x art. She is an Assistant Professor of non-Western Art History at California State University, Channel Islands. Prior to that she managed the Simon Burrow Collection of maps and books for the School of Transborder Studies at Arizona State University. As a Mexican descent citizen of the United States who has and continues to live, study, and work in California, New Mexico, and Arizona she specializes in the history, practices, and systems that impact contemporary Latin@x communities within the U.S. southwest. As a scholar and curator her work focuses on the intersections between the visual and political, on a national and global scale, as she interrogates historiography, nation-building, systems of differentiation, social justice struggles, and civil rights protest. Recent publications include Making and Being Made: Contemporary Citizenship, Art, and Visual Culture (2017), which she co-edited; the essay “Icons of the Mexican Revolution: Constructions of Emiliano Zapata in Prints of the Mexican Revolution” in the book Imprints of Revolution: Visual Representations of Resistance (2016); and she also co-edited a special issue of Third Text (2014) focused on “Art and Revolution in Mexico.” She has also curated numerous exhibitions, such as Greater Arizona: Mapping Place, History, and Transformation (2017) at Arizona State University; Legacy of the Mexican Revolution (2015) for the Maxwell Museum of Anthropology, University of New Mexico; and Imagined Regions: The Simon Burrow Transborder Map Collection (2015) for the Mexican Consulate in Phoenix, Arizona. Dr. Avila firmly believes we must activate art in meaningful ways, and she dedicates herself to community oriented projects that engage art as a tool for change.</p>
</note>
<idno type="academic">https://lib.asu.edu/mapping-grand-canyon-conference/presenters/theresa-avila</idno>
</person>
<person>
<persName>
<forename>Lindsay S.</forename>
<surname>Cook</surname>
</persName>
<occupation>Assistant Teaching Professor of Architectural History</occupation>
<affiliation>
<orgName>Penn State College of Arts and Architecture</orgName>
</affiliation>
<note><p>Lindsay S. Cook (she/her) is an architectural historian, medievalist, digital humanist, translator, and digital preservation advocate. A specialist in medieval European architecture, Dr. Cook’s current research addresses architectural and artistic responses to the Gothic cathedral Notre-Dame of Paris, medievalism in African American architecture, medieval architectural space, and digital and material approaches to the valorization, conservation, and restoration of cultural heritage.</p>
<p>Her research on medieval, early modern, modern, and contemporary histories of Notre-Dame has recently appeared in the journals Future Anterior and Different Visions and the edited volume The Analysis of Gothic Architecture (Brill, 2023). Notre-Dame Cathedral: Nine Centuries of History, her English translation of the French-language monograph co-authored by Dany Sandron and Andrew Tallon, was published by Penn State University Press in 2020. She is currently writing a monograph about architectural and artistic responses to Notre-Dame from the 12th century to the present.</p>
<p>Dr. Cook was a member of the multi-year digital humanities projects Mapping Gothic, Life of a Cathedral: Notre-Dame of Amiens, and Musiconis, and, from 2021-2024, she chaired the Digital Resources Committee of the International Center of Medieval Art (ICMA). She is a board member of the scholarly association Scientifiques de Notre-Dame, a member of the advisory board of the non-profit educational organization Handshouse Studio, and editor of The Notre-Dame Translation Project, which makes open-educational resources about the history, conservation, and restoration of Notre-Dame following the catastrophic 2019 fire available to students and the general public.</p>
<p>Dr. Cook teachers upper-level courses about the architectural history of the medieval world and theories and practices of conservation, as well as broader architectural history surveys.</p>
</note>
<idno type="academic">https://arts.psu.edu/directory/lindsay-cook</idno>
<keywords>
<term>architectural history</term>
</keywords>
</person>
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