Is there a digital archivist in the room? : the preservation of musique mixte

Over the past decade, the field of musique mixte/mixed music preservation grew separate from the digital preservation research (and practice) community. This paper presents potential preservation directions for this repertoire, based on current preservation frameworks, in relation to collaboration at the bit-level, logical-level, and conceptual-level of preservation. It emphasizes the link to practice in a postdigital (i.e. after the ‘digital revolution’) preservation and curation perspective, institutional policies, the implication and redefinition of all stakeholders, and the use of documentation as mediation

Preservation strategies for mixed music : the long tail and the short tail

I have recently argued (Boutard 201 9)that preservation of digital technologyin mixed music should build upon thework done for the past ten years indigital preservation in relation tocultural heritage institutions, namelylibraries, archives and museums(LAMs). From this premise, I havediscussed several hypotheticaldirections based on a broad and wide-ly discussed distinction between threelevels of preservation: bit-level preser-vation; logical-level preservation; andconceptual-level preservation. Thegoal of such a paper was to emphasizethe similarities in the management ofdigital objects among various culturalheritage institutions at each one ofthese levels, whether these institu-tions manage complex objects (e.g.museums), research data (e.g. aca-demic libraries), or more generic dig-ital artefacts (e.g. archives).The promotion of Findability, Acces-sibility, Interoperability, and Reusabil-ity (FAIR) as well as Transparency, Responsibility, User focus, Sustainabil-ity and Technology (TRUST) is now afairly widespread theme in researchdata management and digital archiv-ing (Wilkinson et al. 201 6; Lin et al.2020). These notions provide an over-arching frame for best practices ineach domain.Discussing these notions may entailshifting the discussion from similar-ities to differences between thepreservation of mixed music and thepreservation of digital collections,archives and new media art pieces. Inthis paper, I would like to point atthese differences and to continue thediscussion about the conceptual levelof preservation in relation to docu-mentation methods

Alter-value in data reuse : non-designated communities and creative processes

This paper builds on the investigation of data reuse in creative processes to discuss ‘epistemic pluralism’ and data ‘alter-value’ in research data management. Focussing on a specific non-designated community, we conducted semi-structured interviews with five artists in relation to five works. Data reuse is a critical component of all these works. The qualitative content analysis brings to light agonistic-antagonistic practices in data reuse and shows multiple deconstructions of the notion of data value as it is portrayed in the data reuse literature. Finally, the paper brings to light the benefits of including such practices in the conceptualization of data curation

Documenting acousmatic music interpretation : a developmental framework based on cross self-confrontations

The investigation of acousmatic music interpretation as a distinct activity from composition calls for the investigation of appropriate documentation frameworks. This paper investigates the relevance of cross self-confrontations to capture all dimensions of interpretation of acousmatic music from a dialogical and developmental perspective. This study is the second phase of the project Interpretation Spatiale des Musiques Electroacoustiques (ISME), following a theoretical investigation of acousmatic music interpretation. It is based on the automated re-enactment of several performances conducted during an acousmatic interpretation workshop and masterclass at LaBRISCRIME in 2015. The analysis presents the practical and theoretical relevance of the framework in relation to the dimensions of acousmatic interpretations conceptualized during the first phase of the project based on semi-structured interviews

Documenting acousmatic music interpretation : profiles of discourse across multiple dimensions

Purpose : Extending documentation and analysis frameworks for acousmatic music to performance/interpretation, from an information science point of view, will benefit the transmission and preservation of a repertoire with an idiosyncratic relation to performance and technology. This paper presents the outcome of a qualitative research aiming at providing a conceptual model theorizing the intricate relationships between the multiple dimensions of acousmatic music interpretation. • Design/methodology/approach : The methodology relies on grounded theory. 12 Interviews were conducted over a period of 3 years in France, Québec and Belgium, grounded in theoretical sampling. • Findings : The analysis outcome describes eight dimensions in acousmatic performance, namely: musical; technical; anthropological; psychological; social; cultural; linguistic; and ontological. Discourse profiles are provided in relation to each participant. Theory development led to the distinction between documentation of interpretation as an expertise and as a profession. • Research limitations/implications : Data collection is limited to French-speaking experts, for historical and methodological reasons. • Practical implications : The model stemming from the analysis provides a framework for documentation which will benefit practitioners and organizations dedicated to the dissemination of acousmatic music. The model also provides this community with a tool for characterizing expert discourses about acousmatic performance and identifying content areas to further investigate. From a research point of view, the theorization leads to the specification of new directions and the identification of relevant epistemological frameworks. • Originality/value : This research brings a new vision of acousmatic interpretation, extending the literature on this repertoire’s performance with a more holistic perspective

Sine wave in music and sound art : a typology of artistic approaches

Project : Towards an Aesthetics of the Sine Wave Chercheur.e.s : Nicolas Bernier, Guillaume Boutard, Caroline TraubeDespite the sine wave’s close links to the birth of electronic music in the mid-twentieth century, it has been little studied aesthetically, and no systematic review of its artistic usages exists. This article presents a brief literature review, followed by the results of a survey on the principles guiding sine wave-based works. This allows to put forward a typological framework contributing to an understanding of the application of the sine wave in music

Review of contemporary sound installation practices in Québec

Continuing a trend of publications investigating sound art within a specific geographical context, this paper proposes an original view of the sound installation practice in Que´bec. This study is part of a research project aiming at building new theoretical and practical tools for the documentation of such artworks. In this paper we present the outcomes of the first phase and its connection with the bigger picture of the project, which is the questioning of the relevance of spatial audio recordings with six degrees of freedom (6DoF) for mediating the capture of knowledge relating to the sensory experience of a work. During the first phase, we developed a conceptual descriptive framework based on a mixed-methods approach, top-down and bottom-up, consisting in a systematic review of literature paralleled with a categorization of contemporary sound art production in Que´bec based on publicly available documentation. This process led to a formal and quantitative depiction of the Que´bec scene, which aims to guide both the selection of case studies for the next phases but also to be part of the conceptual tools for investigating the sensory experience of these works. This quantitative depiction of the scene will thus foster a qualitative investigation of the sensory experience of sound art installations and the knowledge that may be lost in standard written documentation practice with an original methodological framework

Viral to metazoan marine plankton nucleotide sequences from the Tara Oceans expedition

A unique collection of oceanic samples was gathered by the Tara Oceans expeditions (2009-2013), targeting plankton organisms ranging from viruses to metazoans, and providing rich environmental context measurements. Thanks to recent advances in the field of genomics, extensive sequencing has been performed for a deep genomic analysis of this huge collection of samples. A strategy based on different approaches, such as metabarcoding, metagenomics, single-cell genomics and metatranscriptomics, has been chosen for analysis of size-fractionated plankton communities. Here, we provide detailed procedures applied for genomic data generation, from nucleic acids extraction to sequence production, and we describe registries of genomics datasets available at the European Nucleotide Archive (ENA, www.ebi.ac.uk/ena). The association of these metadata to the experimental procedures applied for their generation will help the scientific community to access these data and facilitate their analysis. This paper complements other efforts to provide a full description of experiments and open science resources generated from the Tara Oceans project, further extending their value for the study of the world's planktonic ecosystems

Derrière les potentiomètres, les musiciens de l’Experimentalstudio : entretien avec André Richard

Dans cet entretien, André Richard, ancien directeur de l’Experimentalstudio de Fribourg-en-Brisgau, nous propose sa vision des enjeux de la transmission du répertoire des musiques mixtes au travers de son parcours au sein de l’institution et des nombreuses collaborations artistiques qu’il y a instaurées. André Richard aborde ainsi des questions aussi diverses que le passage de l’analogique au numérique, les compétences nécessaires dans le cadre de la production des oeuvres, le statut des musiciens du studio, et les enjeux pédagogiques et éditoriaux.In this conversation André Richard, former director of Freiburg’s Experimentalstudio, describes his vision of the challenges facing the dissemination of the mixed work repertoire, through his own experiences at that institution and the many artistic collaborations he helped build. André Richard addresses a range of issues including the transition from analogue to digital, the skills needed to produce these works, the status of studio musicians, and pedagogical and editorial challenges

À propos du Centre interdisciplinaire de recherche en musique, médias et technologie (cirmmt) : entretien avec Marcelo Wanderley

Le Centre interdisciplinaire de recherche en musique, médias et technologie (cirmmt) a été créé en 2000. Marcelo Wanderley, son directeur actuel, nous présente les enjeux de cette institution. À travers différents projets, il nous décrit les différents axes de recherche du cirmmt, et sa structure en adaptation constante aux évolutions des domaines et des structures académiques. Dans un contexte foncièrement interdisciplinaire soutenu par cette mobilité et ce dynamisme, les projets évoqués nous entraînent vers les terrains des nouveaux instruments, de la recherche d’information musicale, de la cognition et de la perception, de la pédagogie et des pratiques musicales étendues.The Centre for Interdisciplinary Research in Music Media and Technology (cirmmt) was founded in 2000. Its current director Marcelo Wanderley discusses the challenges facing this institution. Through a survey of various projects, he describes the different areas of research at cirmmt and how its structure constantly adapts to the ever-evolving academic disciplines and structures. In a markedly interdisciplinary context, underpinned by this flexibility and dynamism, the projects he describes lead us to new instruments, research into musical information, cognition and perception, pedagogy, and extended musical practices