Do traditional knowledge holders need AI? AI is becoming part of everyday life. But how can it affect the preservation and transmission of traditional knowledge? Can knowledge holders themselves help determine how their heritage is used in digital systems? To explore these questions in practice, Aigine CRC this week has begun preparing a practical seminar within the “Traditional Communities and AI” project. The seminar will bring together traditional knowledge holders, representatives of different generations, and AI specialists. Participants will learn about the possibilities of AI and jointly discuss responsible approaches to using traditional knowledge in digital environments.

From researchers’ diary: Research on traditional Kyrgyz women’s horse tack used in the bride send-off ceremony continued in Naryn Region. The research team examined women’s saddles and related equipment preserved in the collections of the Naryn Regional Museum of History and Ethnography. The documented objects included silver-adorned bridles, breastplates, stirrups, decorative fittings from saddle pads, and woven horse covers. Particular attention was paid to ornamental designs, metalworking techniques, and decorative leather craftsmanship. Today, such objects survive mainly in museum collections. The documented materials will provide a scientific basis for the future reconstruction of traditional women’s saddles and horse tack associated with the Kyrgyz bride send-off ceremony. The project is implemented with the support of the Pawanka Fund.

Immersive exhibition dedicated to the petroglyphs of Central Asia: Aigine CRC continues its work on developing an immersive exhibition dedicated to the petroglyphs of Central Asia. At this stage, the exhibition script has been completed, bringing together archaeological research, traditional interpretations, local knowledge, and artistic storytelling within a unified narrative. The Aigine team is now working with project partners to develop the storyboard and visual concept of the exhibition. Specialists are shaping the artistic direction of each scene, the sequence of the narrative, the characters’ visual identities, and the ways in which petroglyphs will be presented through contemporary digital technologies. The exhibition will take the form of a journey through major rock art sites in Kyrgyzstan, Kazakhstan, Uzbekistan, Tajikistan, and Turkmenistan. Through the story of the main character, visitors will encounter not only ancient images, but also the knowledge, legends, and meanings preserved by local communities around these sites. The project is implemented with the support of ALIPH and the European Union.