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Plans and Performances

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Plans and Performances

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Plans and Performances: Parallels in the Production of Science and Music, by David De Roure, Graham Klyne, Kevin R. Page, John Pybus, David M. Weigl, Matthew Wilcoxson, and Pip Willcox. Presented at IEEE e-Science 2016, Baltimore, 25 October 2016

Plans and Performances: Parallels in the Production of Science and Music, by David De Roure, Graham Klyne, Kevin R. Page, John Pybus, David M. Weigl, Matthew Wilcoxson, and Pip Willcox. Presented at IEEE e-Science 2016, Baltimore, 25 October 2016

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Plans and Performances

  1. 1. David De Roure, Graham Klyne, Kevin R. Page, John Pybus, David M. Weigl, Matthew Wilcoxson, and Pip Willcox OXFORD E-RESEARCH CENTRE AND BODLEIAN LIBRARIES Plans and Performances: Parallels in the Production of Science and Music
  2. 2. Whether in the science lab or the music studio, we go in with a plan, we perform, and we make a record of that performance for distribu8on, consump8on, and reuse.
  3. 3. Capturing the experiment record 2 Cerys Willoughby
  4. 4. Sean Bechhofer
  5. 5. Carolin Rindfleisch
  6. 6. Terhi Nurmikko-Fuller
  7. 7. Solid State Logic “Seamless integra8on with all the benefits of classic SSL analogue console automa8on and DAW based workflow.”
  8. 8. Both domains are increasingly data-intensive, with the adop8on of new technology, and also socially intensive with democra8sed and growing ci8zen engagement.
  9. 9. vimeo.com/98560778 chordify.net The Theory and Prac8ce of Social Machines sociam.org www.zooniverse.org www.music-ir.org/mirex
  10. 10. chemistry lab music studio computa8onal workflow business workflow archaeology early printed works interac8ve tool human completeness of process record machine ci8zen science “Accidents of preserva8on and discovery…”
  11. 11. demeter.oerc.ox.ac.uk/NumbersIntoNotes
  12. 12. The music industry has embraced digital technology throughout the lifecycle from composi8on to consump8on; scien8fic prac8ce, and scholarly communica8on, are also undergoing transforma8on.
  13. 13. Process Process Process Develop Develop Record Record Record Idea Idea Idea Publish Fund Publish Fund Read Read Plan Plan Plan Cameron Neylon
  14. 14. Pre During Post Discovery of music/ar8cle Listening to music Reading ar8cle Buying of music/ar8cle Deciding what to purchase Ra8ng play lists Ci8ng ar8cle Organising library Making recommenda8ons Consumer Ac8vity Cycle 1 2 3 4 5 6 7 8 Reuse of digital content Based on Vandermerwe
  15. 15. Why isn’t it as easy to find and play research as it is music?
  16. 16. Building on the e-Science literature
  17. 17. www.researchobject.org Eamonn Maguire
  18. 18. Our inves8ga8on explores the no8on of the Digital Music Object (DMO), analogous to the Research Object, for rich capture, sharing and reuse of both process and content.
  19. 19. PR, Ticke8ng, Event org Science Museum, PR, percussion spec, s8lls, handouts Tmus materials Ada sketches performance Recording, Video, S8lls Tmus materials DRMN+10 Recording, Video, S8lls Centre for Digital Scholarship Lovelace Symposium Simula8on Band Mesmerism Bags and stems
  20. 20. •  Audio files, including mul8ple STEMS of recorded music •  Other associated media files, especially video •  MIDI and other kinds of directly playable formats •  Algorithms and other kinds of genera8ve music •  Scores and other nota8ons that enable humans to perform the music •  In turn, the metadata might poten8ally describe: •  The provenance of the music generated during its composi8on, produc8on and performance •  Descrip8ons of the instruments, performers, segngs, effects, patches and so forth a •  The structure, form and genre of the music, from official musical forms to more everyday no8ons of style, genre and even mood and emo8on •  The broader history of the music including where it has been played, who has listened to it and who has covered it. From the FAST Manifesto
  21. 21. DMOs in progress 1.  Mutability. Considering “Lazy” ID alloca8on, on access. 2.  Distributed and heterogenous content. DMO as assembly script/Makefile? 3.  Digital Rights Management 4.  Checksums provide useful weak guarantees, but mul8media content and streams are challenging 5.  Pervasive support for provenance 6.  Compliance with industry standards – for content and packaging 7.  Physical manifesta8ons… Steve Benford
  22. 22. Closing thoughts 1.  Our work has emphasized the importance of describing process, both prospec'vely and retrospec'vely –  Workflow representa8ons are well rehearsed –  Early experiments with W3C PROV confirm its u8lity and poten8al –  Need mul8ple interpreta8ons in mul8ple contexts 2.  The digital-social and digital-physical intersec8ons are crucial context, and automa8on is increasing –  Materiality makers 3.  Science/music as performance perspec8ve –  Common theme around the role of crea8vity.
  23. 23. Thanks to Steve Benford and Alan Chamberlain (University of Nogngham), Terhi Nurmikko-Fuller, Carolin Rindfleisch and Ségolène Tarte (University of Oxford), Mark Sandler and Geraint Wiggins (Queen Mary University London), Emily Howard (Royal Northern College of Music), Sean Bechhofer and Carole Goble (University of Manchester), Iris Garrelfs (University of the Arts London), and Jeremy Frey (University of Southampton). david.deroure@oerc.ox.ac.uk www.oerc.ox.ac.uk/people/dder @dder www.semanticaudio.ac.uk www.transforming-musicology.org www.sociam.org www.researchobject.org
  24. 24. www.oerc.ox.ac.uk david.deroure@oerc.ox.ac.uk @dder

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