Research on the curation of digital and media art is scattered across exhibition studies, museum practice, digital heritage, and conservation, and its curatorial questions are seldom treated together. This article reviews that literature to establish what is known about how such art is curated, maintained, and governed. Following PRISMA-ScR guidance, searches of the Web of Science Core Collection and Scopus in February 2026, with citation tracking, were supplemented in October 2026; 64 English-language sources published between 2005 and 2025 were charted and thematically coded. Three domains organise the evidence: infrastructure, organisational protocols, and value governance. Across them, curating appears as sustained work on the conditions that keep unstable works operable and intelligible, carried out through negotiation among curators, conservators, technicians, and artists. Emphasis within the corpus shifts across four publication periods: infrastructure dominates the earliest period, organisational protocols form the largest domain in 2011–2015, and value governance expands last, with cultural identity and technological responsibility emerging mainly after 2020. The article interprets these relations through the idea of curatorial ecology and identifies gaps in post-2020 exhibition evidence, in comparative and longitudinal research, in studies of institutions beyond the major collecting museums, and in non-English and Global South contexts.
This article examines Christianization as a component of the Russification policy pursued by the Russian Empire in the Kazakh steppe during the late nineteenth and early twentieth centuries. Drawing on materials from the Central State Archive of the Republic of Kazakhstan, missionary reports, Kazakh petitions, and statistical records, it reconstructs the mechanisms and outcomes of imperial confessional policy. Russian-Kazakh schools, the Ilminsky system, and the stations of the Kirgiz Mission served as instruments of conversion, reinforced by material incentives. Yet success was limited: the mission’s returns count 1,478 baptisms by 1902, and baptized Kazakhs in its flock fell from 512 in 1901 to 290 in 1907; documented converts came mainly from the impoverished and displaced, and many reverted to Islam after the 1905 Edict of Toleration. We argue that Christianization functioned as an instrument of Russification because conversion, schooling, and sedentarization were designed as a single apparatus of political incorporation, one that recruited precisely the constituency least able to sustain the affiliation. Imperial confessional policy in the nomadic periphery was coercive in intent but sharply constrained in effect. The Kazakh petitions of 1905 further suggest, as an implication requiring separate study, that it politicized Muslim identity rather than eroding it.
Reference books on the history of Spanish journalism tend to ignore female journalists of the 19th century and women who edited periodicals, with a few exceptions. And there were some. The aim of this article is to highlight those names: women who ran Spanish publications between 1850 and 1900. They began to publish their writings and develop professionally in women’s fashion an domestic magazines. Ángela Grassi, Faustina Sáez de Melgar, Emilia Serrano, and Pilar Sinués acted as entrepreneurs who launched publications in line with the very profitable women’s magazines that existed in France and England. Other women, such as Carolina de Soto y Corro, Patrocinio de Biedma, and Concepción Gimeno de Flaquer, launched prestigious cultural papers. These women were and work interconnected, despite living in different cities and beyond the contents of their magazines. Those women who managed publications employed others as contributors and were, in turn, given a job when their own magazine closed. This strategy proved to be crucial in a period such as the second half of the 19th century, when the profession of journalist was still in its first steps, women’s intellectual work was highly restricted, and the chances of achieving economic independence through it were small.
This paper examines how AI artists working with large pre-trained models selectively retrieve materials from cultural heritage as stored memory and reinterpret them in digital-art contexts. Using the framework of Cultural Memory, we argue that generative models enable the selective mobilization of heritage materials within contemporary public discourses. Combining theoretical analysis, case studies, and practice-based research, we first analyze three AI art projects to demonstrate how artists selectively retrieve materials from cultural heritage as stored memory and use them to address contemporary concerns, including cultural invisibility, linguistic authority, human–machine hierarchy, and difficulties experiencing intimacy. Through reinterpretation, stored memory becomes potential functional memory as heritage materials acquire new artistic and discursive uses. We then extend this framework through our project series Fusion: Landscape and Beyond (2022–2023), which reimagines Chinese shan shui painting via dataset curation, model fine-tuning, text-to-image generation, animation, and real-time interactive installation. Transforming urban imagery into shan shui-inspired visuals, the project highlights the ontological gap between idealized ecological aesthetics and ecological anxiety in the urbanized Anthropocene. We suggest that generative AI can assist in reinterpreting heritage materials in response to contemporary issues, inviting further exploration of technology’s role in constructing and evolving human wisdom.
This article examines how Zhenjiang Museum interprets urban culture through 132 online catalogue entries across six object categories. Close reading is supported by reproducible descriptive coding of chronology, source disclosure, dimensions and seven lexical fields. The analysis examines five interpretive layers: object description, production and technique, historical contextualization, place-making, and articulation of public value. Category differences show how bronze narratives emphasize early regional history, ceramic and craft narratives foreground production, and paintings connect people with local landscapes. A contextual audit distinguishes object-specific information from general historical discussion, while dictionary sensitivity checks expose ambiguous keyword matches. Missing information is treated as a feature of the published descriptions, rather than evidence that an object lacks a date, provenance or dimensions. The findings concern the museum’s selected textual representations. They do not establish visitor responses, curatorial intentions, or an enduring character of the city. The study offers a documented case for examining how local relevance is expressed through relationships among physical description, historical context, collecting and institutional valuation.
