Pigments empoisonnés. Les verts arsenicaux.

Cet article a été réimprimé avec l’autorisation de Bloomsbury Publishing. Il s’agit d’une version légèrement révisée et traduite d’un chapitre intitulé « Poisonous Pigments: Arsenical Greens », in Fashion Victims. The Dangers of Dress Past and Present, Alison MATTHEWS DAVID, Bloomsbury Publishing, 2015, pp. 74-101.International audienc

Virage : Une réflexion pluridisciplinaire autour du temps dans la création numérique

We present in this article the development of the Virage project. This project aims to create a platform software for writting time and interaction in the context of digital stage management for living art. This project tries to answer some questions risen by a work group of AFIM (the french association for computer music). The project intends to produce a state of the art of the digital stage management, and to use this state to develop a prototype sotware. This propotype will be used in real conditions of stage management to get manager's points of view about our choices

Graphical Temporal Structured Programming for Interactive Music

International audienceThe development and authoring of interactive music or applications , such as user interfaces for arts & exhibitions has traditionally been done with tools that pertain to two broad metaphors. Cue-based environments work by making groups of parameters and sending them to remote devices , while more interactive applications are generally written in generic art-oriented programming environments, such as Max/MSP, Processing or openFrameworks. In this paper, we present the current version of the i-score se-quencer. It is an extensive graphical software that bridges the gap between time-based, logic-based and flow-based interactive application authoring tools. Built upon a few simple and novel primitives that give to the composer the expressive power of structured programming, i-score provides a time line adapted to the notation of parameter-oriented interactive music, and allows temporal scripting using JavaScript. We present the usage of these primitives, as well as an i-score example of work inspired from music based on polyvalent structure

Rethinking the audio workstation: tree-based sequencing with i-score and the LibAudioStream

International audienceThe field of digital music authoring provides a wealth of creative environments in which music can be created and authored: patchers, programming languages, and multi-track sequencers. By combining the i-score interactive sequencer to the LibAudioStream audio engine, a new music software able to represent and play rich interactive audio sequences is introduced. We present new stream expressions compatible with the LibAudioStream, and use them to create an interactive audio graph: hierarchical stream and send-return streams. This allows to create branching and arbitrarily nested musical scores, in an OSC-centric environment. Three examples of interactive musical scores are presented: the recreation of a traditional multi-track sequencer, an interactive musical score, and a temporal effect graph

OSSIA: Towards a unified interface for scoring time and interaction

International audienceThe theory of interactive scores addresses the writing and execution of temporal constraints between musical objects, with the ability to describe the use of interactivity in the scores. In this paper, a notation for the use of conditional branching in interactive scores will be introduced. It is based on a high level formalism for the authoring of interactive scores developed during the course of the OS-SIA research project. This formalism is meant to be at the same time easily manipulated by composers, and translat-able to multiple formal methods used in interactive scores like Petri nets and timed automaton. An application programming interface that allows the interactive scores to be embedded in other software and the authoring software, I-SCORE, will be presented

Reading Fashion in the Corporate Archive: The Communication, Promotion and Collection of Dress at Eaton’s

The T. Eaton Co. (Eaton’s) department store operated in Canada between 1869 and 1999. A leading retailer for much of the twentieth century, it played a crucial role in the translation and dissemination of styles from abroad. This project investigates Canada’s early- to mid-twentieth-century fashion history using a selection of objects and media from the Eaton’s corporate archive, now held at the Archives of Ontario and the City of Toronto Museum Services. Through an interdisciplinary examination of these artifacts, this dissertation positions the corporate archive as a fashion collection with its own historical value: one that reveals the multiple processes of documentation, promotion, and interpretation that are central to fashion production. Based on a material analysis of garments and accessories, and a close reading of fashion documents and images produced and assembled by Eaton’s, it highlights various intersections of fashion, commerce, and communication within the department store. These corporate artifacts offer concrete evidence of how a prominent Canadian retailer shaped consumption in the country and attempted to define itself as a fashion authority and resource. The garments and accessories collected by Eaton’s—which range from the high-end to the ordinary—contain traces of their often-anonymous former owners and point to everyday forms of fashion consumption that have not been the subject of detailed academic study. A hybrid journal and catalogue published by the company in the 1920s and 30s borrowed the language of middlebrow fashion magazines to sell high-end European designs and their more affordable adaptations, while also deliberately positioning Eaton’s as a cosmopolitan destination in Toronto. Various office files, reports, and clippings illustrate how fashion was promoted and defined by the store, a process that involved multiple behind-the-scenes agents both within and outside the company. Fashion films produced by Eaton’s in the 1950s and 60s employed a visual style that combined the languages of high fashion photography and the department store display window, using specific selling narratives to train its staff and appeal to middle-class female consumers. Studied together, these archival fragments offer a unique perspective on historical fashion production and consumption in a Canadian context—located between the material and the discursive, the aspirational and the everyday.</p

Pigments empoisonnés. Les verts arsenicaux.

Cet article a été réimprimé avec l’autorisation de Bloomsbury Publishing. Il s’agit d’une version légèrement révisée et traduite d’un chapitre intitulé « Poisonous Pigments: Arsenical Greens », in Fashion Victims. The Dangers of Dress Past and Present, Alison MATTHEWS DAVID, Bloomsbury Publishing, 2015, pp. 74-101.International audienc

Giulio Coscia, Sainte Marie Madeleine de Pazzi

Viene presentata una terracotta preparatoria per una delle statue del Colonnato di Piazza San Pietro e riferibile allo scultore Giulio Cosci

Outils d'écriture spatiale pour les partitions interactives

National audienceL'écriture de partitions interactives évolue pour inclure du contenu spatial. En effet, dans de nombreuses pratiques de création, musicales ou scénographiques, un travail sur des paramètres à plusieurs dimensions apparaît nécessaire. Cela peut être dû à de la spatialisation du son ou à la nécessité de répondre à des contraintes physiques sur une scène. Il est possible de définir des sous-espaces utiles pour la définition de ces paramètres en tant que zones d'espace : les courbes de trajectoires paramétriques en sont un exemple. Nous présentons les modèles possibles pour l'écriture de contenu spatial. Un modèle mixte est choisi pour l'implémentation dans le séquenceur i-score. Il offre des moyens d'écriture très généraux ainsi que la possibilité de spécialiser et d'optimiser certains cas lorsque cela s'avère nécessaire. Cette implémentation comporte des outils d'édition, de visualisation, ainsi que deux possibles sémantiques d'exécution offrant une forte interopérabilité avec les scénarios interactifs

Exécution répartie de scénarios interactifs

International audienc