Early findings from the Paik Replayed research on digital exhibitions were presented during ISEA 2025 in Seoul, and are now part of the conference proceedings.

The paper Paik Replayed: Non-Digital Art Transformed by Hybrid Exhibition Practices (L. Nolasco-Rószás, E. Marthins, P. Keller) delves into, and assesses the hypothesis that non-digital born art is getting transformed by hybrid exhibitions practices, while Nam June Paik’s Symphony for 20 Rooms serves as a framework for analyzing the integration of temporality, spatiality and audience interaction in hybrid exhibitions.

It also introduces one of our research team’s ongoing endeavors, which involves collecting and establishing a taxonomy of digital and hybrid exhibitions in order to facilitate with the task of analyzing the “transformations” at play.

On the other hand, the second paper Symphony for 20 Rooms (N.J. Paik, 1961), as a Source and Creative Tool for Practice-based Research on Digital and Hybrid exhibitions (E. Marthins, L. Nolasco-Rószás, P. Keller) mainly served as the blueprint for the panel we organized during the special track day on Nam June Paik, organized by the Nam June Paik Art Center (chair: Sooyong Lee) at ISEA. Moderated by Erika Marthins (researcher, interaction designer)—from the Paik Replayed research—the panel gathered Lívía Nolasco-Rószás (researcher, curator), Noori Han (curator), and Patrick Keller (researcher, architect) to discuss the evolution of the research and the use of Paik’s Symphony as a guide for re-thinking digital and hybrid exhibitions.