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Letteratura scientifica selezionata sul tema "Curator"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 9 giugno 2025

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Articoli di riviste sul tema "Curator"

He, Wanrong, Mitchell L. Gordon, Lindsay Popowski, and Michael S. Bernstein. "Cura: Curation at Social Media Scale." Proceedings of the ACM on Human-Computer Interaction 7, CSCW2 (September 28, 2023): 1–33. http://dx.doi.org/10.1145/3610186.

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How can online communities execute a focused vision for their space? Curation offers one approach, where community leaders manually select content to share with the community. Curation enables leaders to shape a space that matches their taste, norms, and values, but the practice is often intractable at social media scale: curators cannot realistically sift through hundreds or thousands of submissions daily. In this paper, we contribute algorithmic and interface foundations enabling curation at scale, and manifest these foundations in a system called Cura. Our approach draws on the observation that, while curators' attention is limited, other community members' upvotes are plentiful and informative of curators' likely opinions. We thus contribute a transformer-based curation model that predicts whether each curator will upvote a post based on previous community upvotes. Cura applies this curation model to create a feed of content that it predicts the curator would want in the community. Evaluations demonstrate that the curation model accurately estimates opinions of diverse curators, that changing curators for a community results in clearly recognizable shifts in the community's content, and that, consequently, curation can reduce anti-social behavior by half without extra moderation effort. By sampling different types of curators, Cura lowers the threshold to genres of curated social media ranging from editorial groups to stakeholder roundtables to democracies.

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Yuhelson, Yuhelson, and Muhamad Adystia Sunggara. "The Curator Responsibility of the Loss of Wealth Bankrupt Limited Company." Proceeding of Community Development 2 (February 21, 2019): 37. http://dx.doi.org/10.30874/comdev.2018.74.

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Curators can be personally liable if they make a mistake or negligence outside the provisions of the Bankruptcy Act and PKPU which causes losses to bankrupt assets. If the curator has carried out his duties in accordance with the provisions of the Bankruptcy Act and PKPU, then if a loss arises from bankruptcy, he does not have to be personally liable and the loss will be charged to the bankrupt assets. In connection with the personal responsibility of the curator, in addition to being able to be held accountable civilly it is possible for the curator's actions to be held criminally accountable. In addition, administrative sanctions can also be imposed on the curator. It should be borne in mind that as long as the curator carries out his duties and authorities in accordance with the provisions of the Bankruptcy and PKPU Law, he should not be sued either civilly, criminally or subject to administrative sanctions even if his actions cause losses to bankrupt assets.

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Tahlina, Yuliia S., and Oleksandra S. Kutenko. "THE ROLE OF THE PRINCIPLE OF CURATION IN THE CONTEMPORARY CULTURE." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 63 (May 31, 2021): 68–76. http://dx.doi.org/10.26565/2306-6687-2021-63-08.

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The article analyzes phenomenon of the «principle of curation» in historical and philosophical development. In the modern world, overloaded with large volumes of information, it is not just access to information that becomes important, but the ability to navigate it. Problems of critical reflection, choice, interpretation in the information space are gaining in importance. That is exactly why the use of the principle of curation is proposed to implement these processes. The authors consider history of the emergence of the concepts of «curator» and «curatorship», delineation of the features of curatorial principle and differences in meanings and understanding of the principle of curation. Having considered the history of transformation of these concepts, having analyzed their use in various fields, the authors come to the conclusion that semantic component of the curator changes over time. If initial connotations were limited to the view of the curator as a guardian and caretaker of collections, then in the modern sense curator him/herself is a creative subject. Therefore, the interpretation of works of art essentially depends on the creative activity of the curator and the space that he creates for presentation. Modern practice of curation should be considered as a newly formed field of activity, which is fundamentally different from the forms that preceded it. In the 21st century, the principle of curation is becoming a universal and necessary method of presenting selected and orderly information, which aims to solve the problem. Curators are the ones who work with this flow of information in the era of information overload: they process it, systematize, organize, conceptualize and present it to the public, thus becoming liquidators of the problem of information overload. The article puts forward a hypothesis for further philosophical reflection: the curatorial principle is a necessary component for organizing the presentation space of a cultural archive.

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Anam, Khoirul, Lono P. Simatupang, and Suwarno Wisetrotomo. "Different Types of Curators Based on Field of Work and Responsibilities in OHD Museum." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 5, no. 2 (October 28, 2022): 72–81. http://dx.doi.org/10.31091/lekesan.v5i2.1821.

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The development of curatorial work practices will be very important for the development of museums, arts, and culture. However, it is undeniable that studies and understanding of the development of curatorial work practices are still not optimal in Indonesia. Awareness of the realm and responsibility of the curator is also sometimes poorly understood by the public and the practitioners of curatorial work practices themselves. This vacancy becomes an obstacle in the development of the profession of independent curator and museum curator. Where the curator profession is no longer seen only as a museum guard or seen only as a writer in an exhibition. The discourse in this study will raise the question of how curatorial work practices at OHD Museum are based on the field of work and responsibilities, which we can see from the different types of curators in an art museum. This study focuses on explaining and understanding the definition of curator and the types of the curator in the development of curatorial studies in an art museum. The results of this study indicate that from the division of In-House Curators and Guest Curators at the OHD Museum, they are distinguished by their field of work and responsibilities. The In-House Curators has responsibilities, among others; acquisition, deaccession, borrowing, conservation, restoration, documentation, and research, where related to the field of collection. Then, look at the Guest Curator with responsibilities, among others; creating a curatorial concept for an exhibition, selecting the collections and artists involved, producing a narrative document (curatorial text), and designing an exhibition.

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Wyse Jackson, P. N. "Silver Pages: 25 years of the Newsletter of the Geological Curators' Group and The Geological Curator." Geological Curator 7, no. 3 (June 2000): 95–99. http://dx.doi.org/10.55468/gc436.

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Soon after its inception in 1974 the Geological Curator's Group established the publication Newsletter of the Geological Curators' Group. In the following years it has undergone several changes not only in style, but also most notably in name to The Geological Curator. This reflected an evolution of an original newsletter-style into a journal-style publication. In 1980 the newsletter Coprolite was first published. The publications of the Geological Curators' Group have aided the development of professionalisation amongst geological curators.

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Dupuis, Chris. "Dance curation as choreographic practice." Dance Articulated 6, no. 1 (June 24, 2020): 89–110. http://dx.doi.org/10.5324/da.v6i1.3640.

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Dance curators (or programmers, as they are often called) have a significant impact on the dance field throughtheir selection processes: elevating certain works, practices, and artists, while effectively excluding others. Through this, they have a considerable hand in shaping what kinds of dance pieces a local audience has access to,effectively writing dance history over time. But their working processes remain poorly understood, and there have been limited attempts to theorize their practice. This article begins with an exploration of the etymology of the term curator and the historical emergence of the curator in both the fine arts and dance. It then goes on to examine the role of the curator as mediator in two common models for dance presentation (the festival and the theater season) and explores two alternative curatorial models (the focus program at Brussels venue Beursschouwburg and the uncurated model of Amsterdam festival Come Together). Finally, it explores the practice of dance curation as a form of choreography itself. It concludes that contextualizing dance curation asa form of choreography could be an effective starting point for theorizing the practice, hopefully paving the way for further study.

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Meehitiya, Luanne. "Be A Curator: Developing a new Geological Curators' Group activity to engage the public with geological curation." Geological Curator 10, no. 6 (December 2016): 259–61. http://dx.doi.org/10.55468/gc17.

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A new outreach activity developed by the author for GCG is briefly described. The Be A Curator activity is aimed at use in FossilFestivals and similar events, and for loan by curators for local use. The activity is based around a range of labels on a magnetic board and introduces people to the idea of curation.

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Cachia, Amanda. "Reflections on Access: Disability in Curatorial Practice." Canadian Journal of Disability Studies 8, no. 1 (February 21, 2019): 98–117. http://dx.doi.org/10.15353/cjds.v8i1.472.

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Access is a vital tool to deploy within a critical disability curatorial practice and can embody both conceptual and physical possibilities, whereby the very idea of access can be discovered in an artist’s work, and, at the same time, be productively curated into both gallery spaces and the exhibition of the artwork. This essay reflects on the author’s critical disability curatorial practice with the exhibitions Marking Blind (2015) and Sweet Gongs Vibrating (2016). Through the curation of works by Raphaëlle de Groot and Carmen Papalia, and through the artist curator relationship between the artists and the curator, the author of this paper, both exhibitions incorporated access in order to benefit the artists, the artworks, as well as diverse audiences. This paper argues that through the guidance of the curator, access can be incorporated into the exhibition in highly imaginative and artistic ways.

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Nenastina, T., K. Berezhna, and S. Bugaevskyi. "Curator's work during the adaptation period of students at the Kharkiv National Automobile and Road University." New Collegium 1, no. 110 (March 28, 2023): 59–64. http://dx.doi.org/10.30837/nc.2023.1-2.59.

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Due to the transition to the new generation of educational standards and the increase in hours for independent work, there is a need to train a creative, active person who can independently choose his own life path. The educational process in the life of the university is planned and organized along with studies and scientific activities. The curator of the academic group is usually assigned an experimental teacher, since this position includes responsible and thorough work, which should take into account the profile of training of specialists and the specifics of the faculty. Students' problems related to the educational process at the university, interpersonal conflicts and relations in the group, and the question of the student group participation in the public and cultural mass activities of the university are resolved by the curator. The effectiveness of the educational work of the curator of the academic group is largely determined by its planning. Based on the analysis of theoretical studies and the experience of modern pedagogues-practitioners, the roles and functions of the curator in working with the group are defined, the curator's duties are described, and an approximate plan for the work of curators in universities is proposed. The views on the organization of educational work in higher education are presented. The creation of new mechanisms related to the selectivity of some disciplines makes it necessary to carry out additional explanatory and advisory work of curators regarding the formation of individual study plans for applicants. It is shown that the curator uses various forms of educational work in his activities, which contribute to the formation of the personality of the future specialist as a patriot citizen, who cares about the fate of the Ukrainian state, law, and order, education, and culture.

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Li, Yuanyuan. "The Role Positioning and Survival Status of “Contractor” Style Curators in Contemporary China." International Education Forum 2, no. 11 (December 23, 2024): 17–22. https://doi.org/10.26689/ief.v2i11.9118.

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In the context of the thriving development of contemporary art, the curators’ authority in exhibitions is increasingly strengthened, leading to a growing demand for professionals in art curation. The number of curators continues to rise, and their status and role within the art ecosystem are widely acknowledged. However, the working environment and conditions for contemporary art curators in China are not optimistic. Their development has not been as ideal as expected, with both subjective and objective issues and contradictions present. In light of the various problems and contradictions facing the curator community in China, it is essential to conduct an in-depth analysis of these issues to gain a clear understanding of the art curation industry and to truly respect the work of art curators.

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Più fonti

Tesi sul tema "Curator"

O'Neill, Rebecca. "The rise of the citizen curator : participation as curation on the web." Thesis, University of Hull, 2017. http://hydra.hull.ac.uk/resources/hull:16449.

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From jazz clubs to cheese plates, the term curation has become a signifier of the growing need to organise and prioritise the seemingly endless possibilities of the digital sphere. The issue addressed here is in the associated meanings of the word curation and what it means to be a curator by examining the experience of the curatorial within a discrete context: the Irish curatorial landscape. The word curation comes from the Latin curare, to care for, and has long been associated with the professional duties of those selected as custodians for objects and knowledge deemed to be important to communities, nations, countries or even the world. However, as objects move from being purely physical to the digital, and knowledge changes from being transmitted through similarly physical media to digital formats that can be set free on the Web, what it means to curate has also changed. Curators are no longer necessarily identified as employed within museums or galleries; the word is now also applied to those who engage with and aid in the management and presentation of digital assets online. Curators have emerged in the online space much like their forerunners, bloggers or citizen journalists. We are now seeing the rise of citizen curators on the Web, which has not created these individually motivated curators, but has made their curatorial activities visible. Citizen journalists no longer need to have a printing press or publishing house to communicate with their audience; similarly, citizen curators do not need a private cabinet of curiosities or a job in a museum to allow them to curate or exhibit to an audience. The aims of this research are threefold: to examine the current terminology related to curation by those who identify as curators or engage in curation in Ireland; to define what it means to be a curator or a citizen curator within the Irish context; and to investigate the changing nature of exhibition spaces contained in the Irish context in light of the Web and digital spaces. The study will take the form of an autoethnography, exploiting my unique position within the museum and open knowledge community in Ireland to examine current understandings of curation and the phenomenon of the citizen curator. The focus will be on my work within Wikimedia Community Ireland (WCI), a branch of the Wikimedia Foundation which promotes the use of Wikipedia in Ireland in education, culture, and open knowledge. As an autoethnographer, I can act as an intermediary, part way between those working in cultural organisations and the public involved in knowledge building projects. The study will look at how those engaged in curation articulate the work they do by means of interviews and participant observation. These sources will allow for the development of a spectrum of curatorial practice. The spectrum will arise from the participants’ (both citizen curators and those working in Irish cultural institutions) own understanding and definitions of curation and what it means to curate. In placing these definitions of curation within a spectrum that takes in broader understandings of curatorial practice, the newer forms of digital curation, and a picture of how the citizen curator relates to these methods, will emerge. The disruptive effect which the digital, and in particular the concept of the Long Tail, has brought to bear upon understanding of the assembling, storing, and using of collections will be examined. It will answer many of the issues surrounding the discipline-specific definitions of curation and the curator while informing their relationship with each other. By drawing out curation into a spectrum, what unfolds is the movement of curation from a traditional and closed system of learnt practices, to one which is formed around more open and accessible conventions of curation. In identifying the citizen curator, their role in the larger curatorial debate can be acknowledged and better incorporated into the multitude of online curated projects. This hinges on the emergence of the Do It With Others ethos which pervades both online and offline creative communities, and it redefines curation from a solitary practice, to one which is demarcated by its participatory nature.

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Meier, Dominicus M. "Der Curator im kanonischen Prozeßrecht /." Essen : Ludgerus-Verl, 1998. http://www.gbv.de/dms/spk/sbb/recht/toc/274215608.pdf.

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Marinaki, Irini. "Nicolas Calas : critic and curator." Thesis, Birkbeck (University of London), 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600386.

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Black, Sarah. "Mother as curator : performance, family and ethics." Thesis, Middlesex University, 2018. http://eprints.mdx.ac.uk/25913/.

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This thesis attends to the mother-artist developing a performance-based practice with her family in the home. This is a practice-as-research exploration which integrates areas of maternal ethics and the mother-artist, family and narrative enquiry, the home and sited practices. It consists of a written dissertation, three full (larger) scale installations set within the family home, Trace (2013), Reclaiming the Ritual (2014), 31 Days Old (2016), and a series of smaller works Bed Bound (2014) and Children's Practice (2014-17), plus digital documentation. The main argument focuses on the role of the mother-artist who initiates an art making practice with her family and considers the personal, professional and ethical questions that can arise. Furthermore, weaving throughout the thesis is the development of what I call, 'Mother Ethics' - emphasising a sensitive approach to art-making with children and family, and considering practices and implications of exploring the home as a site for the dissemination of an art practice. The methodology is developed from the position of the mother and uses practice-as research creative methodologies alongside narrative enquiry, and memory work. It employs sensitive approaches to documentation, and anecdotal writing modes. This thesis is situated and contextualised within theoretical fields of maternal studies, maternal ethics, narrative studies, and site-specific dance practices. The key arguments have been developed through engaging with Sara Ruddick, Lisa Baraitser, Iris Marion Young, Llangellier and Peterson, Jerome Bruner, and Mike Pearson. For the purpose of situating my own work and drawing upon the practices of others in the related worlds of maternal, family and home, I have drawn upon current practices and discourses in particular Mary Kelly, Lena Simic, Grace Surman, Lenka Clayon, Jo Spence, and The Institute for Art and Practice of Dissent at Home.

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Wilkinson, Judith. "Uncovering the legacy : Samuel Beckett : artist + curator." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7408/.

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Ostling, Susan. "The Defining and Shaping of the Contemporary Art Curator." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/368133.

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Curators have come to figure quite prominently in the cultural landscape of late, such that the concept of a curator is now applied in a wide variety of contexts from art to shopping. It is said curators are now far more linked to the internet and social networks, than to the interiors of museums; and most accounts see the contemporary art curator as caught in the flux of global cultural economies. Why should this be? It is in this volatile terrain I have situated my research on the contemporary art curator. I ask how has the role of the curator been shaped, defined and constrained by competing discourses? Were there other influences, I ask beyond the global market place that may have contributed to the defining and shaping of the contemporary curator? I undertake this study in two ways. Firstly, I conduct an historical overview to explore whether there were precedents of curatorial practice that might lead to a greater understanding of the contemporary curator. Here, following Foucault, I consider the transformations in dominant discourses that have effected the assembling and interpretation of collections of significant objects. Secondly, using interviews conducted with three ‘independent’ curators—Seth Siegelaub, Juliana Engberg and Charles Esche—I undertake discourse analyses, identifying a number of fields of discourse, which I argue have impacted and shaped their curatorial practices. What has emerged through this study has been recognition of how across time there is a duality of discourses at the core of curatorial activities. And far from undermining or weakening the curatorial practice, I suggest this duality plays a dynamic and regenerative role in forming the relationships produced between place, ideas, objects, artists, viewers and capital. Thesis (PhD Doctorate) Doctor of Philosophy (PhD) Queensland College of Art Arts, Education and Law Full Text

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Steierhoffer, Eszter. "The rise of the curator and architecture on display." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1815/.

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This thesis constitutes a new approach to contemporary exhibition studies, a field of research that has until now dedicated little attention to connections between exhibitions of contemporary art and those of architecture. The late 1970s saw a 'historical turn' in the architectural discourse, which alluded to the rediscovery of history, after its abandonment by all the Modern masters, and developed in close alignment with architecture’s project of autonomy. This thesis proposes a reading of this period in relation to the formative moment for contemporary curatorial practices that brought art and architecture together in unprecedented ways. It takes its starting point from the coexisting and often contradictory spatial representations of art and architecture that occur in exhibitions, which constitute the inherently paradoxical foundations – and legacy – of today’s curatorial discourse. The timeframe of the late 1970s, which is this study’s primary focus, marks the beginning of the institutionalisation of the architecture exhibition: The opening of the Centre Pompidou in Paris (1977), the founding of ICAM in Helsinki (1979), and the first official International Architecture Biennale in Venice (1980), all of which promoted architecture within the museum. This period also saw the idealism of the social, political and artistic revolutions of 1968 finally dissipate, marking the emergence of a new conservatism. The concurrent postmodernisation of the cultural discourse, together with the post- industrial era’s changing economic climate, prompted a need to redefine the purpose and position of the architectural profession. The resulting new architecture not only developed within the space of art, but also substantially reshaped it, provoking numerous artistic and curatorial responses, which continue to this day. In order to explore and elucidate the connections between the fields of architecture, contemporary art and curatorial practices, the chapters consider the often-overlapping notions of architecture as object, concept, process, media and context through period case studies, including examples of the ‘void shows’ and artist museums, Ungers’ building of the DAM, Friedman’s Street Museum, Frankfurt’s Museumsufer, Matta-Clark’s and Kabakov’s respective practices and Portoghesi’s ‘Strada Novissima’ at the first Venice Biennale of Architecture. Surveying the separate models of architectural displays, drawn from different institutional and disciplinary contexts of the late 1970s and early 1980s, this thesis questions how these different exhibition typologies have expanded the definition of architecture. It also investigates the ways in which contemporary curatorial and art practices have been informed and shaped by architecture, and, how these curatorial representations of architecture adhere to the wider cultural, political and economic contexts. Ultimately, the thesis reconsiders the past as a way to grasp the present, and, through the analysis of the socio-political and economic contexts of the case studies, it builds a critique of the globalised hyper-acceleration of contemporary curatorial production.

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Ekman, Jan. "Gränser och passager : En analys av de curatoriska och konstnärliga subfälten." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-15375.

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I have, with a point of departure in two case studies; the artist, curator and scientist Andreas Gedin and Maria Lind, curator and director of Tensta konsthall, contextualized with a couple of respondents; the freelance curator, writer and editor Power Ekroth and the freelance curator and artist Carl Michael von Hausswolff, conducted a field analysis on curatorial and artistic practices. I have applied key concepts in order to conduct the analysis. Furthermore, the case studies and the respondents have been placed in a contemporary artworld. These components have been related to a contemporary historical segment of the artworld. This in turn, has been related to older, international cicumstances of change and various conditions in the two subfields. I have suggested certain a proximity in the artistic and curatorial practices. I have also suggested three types of conduct or signature features linked to the curatorial practices. One result implied in the responses in the interviews is that the formal requirements to enter the field are low on part of the artist as compared to that of the curator. This is only a weak indication due to the small sample. This distribution seems plausible in that, amongst other things, the connection on the curatorial part to the institution as well as a greater proximity to centres of power requires a larger accumulation of educational capital. The movements that at times occur between the subfields could simply be a consequence due to the frail demarcation of the fields. The dynamics due to the accumulated capital appears to be the foremost distinctive factor that influence the possibility of movement across the demarcations. The artist appears to have the most to gain from the weak demarcations due to the fact that venturing in to curatorial territory provides a greater access to the possibilities of defining the field. Another plausible explanation to the at times frequent passing over the borders is the economical cicumstances in the cultural sector. VG

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Beignon, Anaëlle. "Participatory Design Fiction Curator – Providing inspiration from Participatory Design fiction Research." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23284.

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Designers take inspiration about the future in order to shape values for their design practice, especially whennew technologies are involved. Participatory design fiction is an approach that enables designers to reflectupon futures are created by non-designers. These narratives about technologies that come from nondesignersare valuable for designers in the industry as inspirational material. Nonetheless, the distancebetween the academic research and designers in the industry makes difficult the spreading of design fictionsproduced by non-designers.This thesis project explore the following: How might we design a digital infrastructure that integrates the enduser's imaginaries about new technologies as inspiration and material for reflection in the design industrypractice?As well as: How might we enable the design research community to share results of their participatory designfiction experiments with the design industry in ways that benefit both parts?I will present an investigation in the relations between the academic design researchers and the designpractitioners by the means of co-design workshops, interviews, virtual ethnography and iterative prototyping.The outcome is an infrastructure which takes advantage of the existing practices of the design community onTwitter. By investigating these social media dynamics, I intent to create a bridge between academia anddesign industry for enabling critical inspiration from participatory design fiction outcomes. The final prototypeis a Twitter account run by a bot which enables an autonomous collection of design fictions from nondesignersshared on Twitter by design researchers with designers from the industry.

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McCartney, Laura Lee. "Unpacking Self in Clutter and Cloth: Curator as Artist/Researcher/Teacher." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849713/.

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This a/r/tographic dissertation offers opportunities to interrogate curator identity and curator ways of being in both public and private spaces. Instead of an authoritative or prescriptive look at the curatorial, this dissertation as catalogue allows for uncertainty, for messiness, for vulnerable spaces where readers are invited into an exhibition of disorderly living. Stitched throughout the study are stories of mothering and the difficulties that accompanied the extremely early birth of my daughter. Becoming a mother provoked my curating in unexpected ways and allowed me to reconsider the reasons I collect, display, and perform as a curator. It was through the actual curating of familial material artifacts in the exhibition Dress Stories, I was able to map the journey of my curatorial turns. My engagement with clothing in the inquiry was informed by the work of Sandra Weber and Claudia Mitchell, where dress as a methodology allows for spaces to consider autobiography, identity, and practice. It was not until the exhibition was over, I was able to discover new ways to thread caring, collecting, and cataloging ourselves as curators, artists, researchers, teachers, and mothers. It prompts curators and teachers to consider possibilities for failure, releasing excess, and uncaring as a way to care for self, objects, and others.

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Più fonti

Libri sul tema "Curator"

Priglinger, Sabine. The curator as ... Vienna: Schlebrügge.Editor, 2018.

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M. A. L. M. Willems. Faillietverklaring, curator en r-c. Deventer: Kluwer, 2005.

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(Gallery), Daimler Contemporary, ed. Duchamp als Kurator: Duchamp as curator. Köln: Snoeck, 2017.

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Watson, Fleur. The New Curator: Exhibiting Architecture & Design. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351029827.

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Speyer, A. James. A. James Speyer: Architect, curator, exhibition designer. Chicago, Ill: Distributed by the University of Chicago Press, 1997.

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Han, Mi-ae. K'yureit'ŏ, kŭrigo misulgwan: Curator & museum of art. Sŏul-si: Chŏngju, 2001.

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Róna, Péter, László Zsolnai, and Agnieszka Wincewicz-Price, eds. Homo Curator: Towards the Ethics of Consumption. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51700-6.

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Vazquez, Julia Maria. The Artist as Curator: Diego Velázquez, 1623-1660. [New York, N.Y.?]: [publisher not identified], 2020.

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Davis, Steffon. The Rise of the Curator Class. ABC-CLIO, LLC, 2019. http://dx.doi.org/10.5040/9798216009214.

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Pairing "big ideas" in marketing with the popular activity of content curation, The Rise of the Curator Class positions curation as a "humanization" movement that is restructuring the internet. Curation is set to overturn the $2.2 trillion global creative industry, revolutionizing how we create, market, and discover content. In the era of content overload and fake news, in which everything to buy, listen to, read, or watch is available online, there is one group of people who have learned to thrive in this climate of superabundance: the curator class, whose influence and power grows as more people look to them as guides. This new curator class is rewriting traditional curation, tackling the overload and making sense of it for others. In the past, curation was available to an elite few. Now, internet platforms such as Pinterest, Spotify, and Twitter empower hundreds of millions of people to curate their ideas for anyone who may be interested, revolutionizing how content is marketed and sold. The Rise of the Curator Class explains how curation is disrupting internet commerce as consumer trust moves farther away from traditional brands and closer to the curators who lead tastes, and it equips readers to think critically about how curation can work for them.

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Curator. Hodder & Stoughton, 2023.

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Capitoli di libri sul tema "Curator"

Theisohn, Philipp. "»Carsten Curator« (1878)." In Storm-Handbuch, 209–12. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05447-0_59.

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Hassal, Arthur. "Curator of Common Room." In Lewis Carroll, 54–55. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-08724-2_23.

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Mukhtar, Yousra, and Uma Shankar. "Taxonomist and Museum Curator." In Skill Development and Start-Ups in Entomology, 152–68. London: CRC Press, 2024. http://dx.doi.org/10.1201/9781003532545-10.

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Gusmita, Ria Hari, Rricha Jalota, Daniel Vollmers, Jan Reineke, Axel-Cyrille Ngonga Ngomo, and Ricardo Usbeck. "QUANT - Question Answering Benchmark Curator." In Lecture Notes in Computer Science, 343–58. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-33220-4_25.

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Schreiber, Lilli Kim. "The curator as an ally." In Decolonial Cultural Practices Towards Pluriversal Cultural Institutions and Policies, 114–34. London: Routledge, 2024. https://doi.org/10.4324/9781003489597-9.

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Gurian, Elaine Heumann. "Curator—From Soloist to Impresario." In Centering the Museum, 100–115. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003096221-7.

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Watson, Fleur. "The Activist (Curator as Agent)." In The New Curator: Exhibiting Architecture & Design, 205–36. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351029827-11.

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"Historian/Curator." In Curating the American Past, 11–30. University of Arkansas Press, 2022. http://dx.doi.org/10.2307/j.ctv25wxbf7.5.

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"The curator." In The Philosophy of Curatorial Practice. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781350115361.0007.

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"curator, n." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/1020481410.

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Atti di convegni sul tema "Curator"

Naik, Ved, Khushi Tejwani, Aanya Lari, and Ishani Saha. "Culinary Curator: An AI-Powered Recipe Assistant." In 2024 International Conference on Intelligent Systems and Advanced Applications (ICISAA), 1–7. IEEE, 2024. https://doi.org/10.1109/icisaa62385.2024.10828847.

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Sprengart, Benjamin, Anthony Collins, and Judy Kay. "Curator." In the ACM International Conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1731903.1731946.

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Walsh, Greg, and Jennifer Golbeck. "Curator." In the 28th international conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1753326.1753643.

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Porcheron, Martin, Andrés Lucero, and Joel E. Fischer. "Co-curator." In AcademicMindtrek'16: Academic Mindtrek Conference 2016. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2994310.2994350.

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Chun Wai, Wilson Yeung, and Estefanía Salas Llopis. "THE SPACE BETWEEN US." In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.

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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.

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Trielli, Daniel, and Nicholas Diakopoulos. "Search as News Curator." In CHI '19: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3290605.3300683.

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Vladetić, Srđan. "FRONTINOV OSVRT NA POLOŽAJ STARATELjA RIMSKOG VODOVODA (CURATOR AQUARUM)." In XV Majsko savetovanje: Sloboda pružanja usluga i pravna sigurnost. University of Kragujevac, Faculty of Law, 2019. http://dx.doi.org/10.46793/xvmajsko.469v.

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After the Agrippa’s death (12 B.C.) and encouraged with his achievements August has established permanent service for maintenance of water supply. That service has been governed by the curator aqaurummentioned by the Frontinus on the several occasions in his peace “De aquaeductuurbisRomae”. Having in mind position of the curator aquarum, particularly the fact that he was entitled for issuing the licenses for using of water to the private individuals, their biographies, criteria they have to meet to be on that position, their social status and duration of their mandate in this work the actual position of curator aquarum will be presented.

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Stach, Christoph, and Bernhard Mitschang. "Curator --- a secure shared object store." In SAC 2018: Symposium on Applied Computing. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3167132.3167190.

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Kitaya, Koki, Hung-Hsuan Huang, and Kyoji Kawagoe. "Music curator recommendations using linked data." In 2012 Second International Conference on Innovative Computing Technology (INTECH). IEEE, 2012. http://dx.doi.org/10.1109/intech.2012.6457799.

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Sainik, Lavanya, and Dheeraj Khajuria. "Fault tolerant data flow using curator — Storm." In 2014 5th IEEE International Conference on Software Engineering and Service Science (ICSESS). IEEE, 2014. http://dx.doi.org/10.1109/icsess.2014.6933608.

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Rapporti di organizzazioni sul tema "Curator"

Lämmli, Dominique. Review of Marquard Smith (ed.), "Research: Practitioner, Curator, Educator". Jar-online.net, July 2020. http://dx.doi.org/10.22501/jarnet.0028.

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Yonemura, Ann. Art in Context: Aesthetics, Environment and Function in the Arts of Japan. Inter-American Development Bank, March 1995. http://dx.doi.org/10.18235/0007915.

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Hasty, Ashley. From Teacher to Curator: The Power of Intrinsic Motivation in Students. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1526.

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McKittrick, Susan. HiveFire’s Curata Platform for B2B Content Curation. Boston, MA: Patricia Seybold Group, May 2011. http://dx.doi.org/10.1571/pr05-05-11cc.

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Soenen, Karen, Danie Kinkade, Adam Shepherd, Mak A. Saito, Dana Gerlach, Lynne M. Merchant, Sawyer Newman, Shannon Rauch, and Amber York. Fitting square pegs into a round hole. Curating heterogeneous oceanographic data at BCO-DMO. Woods Hole Oceanographic Institution, February 2024. http://dx.doi.org/10.1575/1912/67676.

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BCO-DMO is a domain-specific repository containing 18 years of curated, heterogeneous oceanographic data. Data managers are at the core of the repository, applying the F.A.I.R. principles to every dataset coming in. This talk steers the audience through such a curated dataset, covering the advancements and challenges that comes with domain curation.

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Hudson Vitale, Cynthia, Hannah Hadley, Briana Wham, Susan Borda, Jake Carlson, Jennifer Darragh, David Fearon, et al. CURATE(D) Fundamentals Workshop. University of Minnesota Libraries, October 2024. http://dx.doi.org/10.24926/2024.265916.

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Slides developed for the CURATE(D) Fundamentals workshops. These materials only include the lecture slides and have removed associated exercises and institutional examples used in synchronous trainings. See the CURATE(D) modules [https://datacurationnetwork.github.io/CURATED/] for exercises to work through the CURATE(D) steps or contact the DCN to discuss partnering on a in-person workshop.

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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.

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Cooper, Talya, Greg Janée, Kay P. Maye, Nick Ruhs, and Seth Erickson. Code Curation Curriculum. University of Minnesota Libraries, October 2024. http://dx.doi.org/10.24926/2024.265764.

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A collection of materials used to instruct individuals how to curate code data generated as part of the Data Curation Network Institute of Museum and Library Science (IMLS) grant “Developing Specialized Data Curation Training to Address Needed Expertise in Focused Areas" and taught at a pilot workshop in October 2023. This is primarily targeted towards data stewards, but can be used by any and all when instructing on code data curation concerns. Copies of files are also available in GitHub [https://github.com/DataCurationNetwork/curation-curriculum/tree/main/Specialized%20Data%20Types], which represent the dynamic versions of the curriculum that might be updated and revised as the curriculum is iterated upon.

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Wynholds, L., Heather Shimon, Fernando Rios, Girmaye Misgna, and Wanda Marsolek. Simulations Curation Curriculum. University of Minnesota Libraries, October 2024. http://dx.doi.org/10.24926/2024.265765.

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A collection of materials used to instruct individuals how to curate simulation data. This is primarily targeted towards data stewards, but can be used by any and all when instructing on simulation data curation.

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Gignac, Paul, Sarah Wright, Mariah Kenney, Amy Schuler, and Neggin Keshavarzian. Scientific Images Curation Curriculum. University of Minnesota Libraries, October 2024. http://dx.doi.org/10.24926/2024.265766.

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A collection of materials used to instruct individuals how to curate scientific images. This is primarily targeted towards data stewards, but can be used by any and all when instructing on scientific image curation.

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