IAML IMS 2015 : Cyrille Delhaye, 20th Century composers session.
The Centre Iannis Xenakis’s archives
from the inventory to online publication: when constraints are structuring tools for project management
IAML IMS 2015 : Cyrille Delhaye, 20th Century composers session.
The Centre Iannis Xenakis’s archives
from the inventory to online publication: when constraints are structuring tools for project management
Archiving and disseminating sound archives – 1. Processes and procedures in...Phonothèque MMSH
This document discusses processes and procedures for digitizing sound archives. It begins with introductions from Alexandre Abergel of Radio France and Véronique Ginouvès of the Maison Méditerranéenne des Sciences de l'Homme (MMSH). The MMSH has a sound archive of 7,500 hours that is being digitized. The document then discusses definitions of sound archives, their history linked to recording technology developments, common file formats, and ethical issues around managing them. It provides an overview of the MMSH's training program on collecting, preserving, analyzing, and disseminating sound data.
Artistic Creation and Scientific Research (in english)Nicola Bernardini
The document discusses the relationship between music and technological innovation. It provides examples of how musicians have influenced technological development through their artistic goals and requests, such as Berio's request for a synthesizer with 1000 oscillators which led to the development of the 4X synthesizer. The document also examines open problems in music that could benefit from further scientific research, such as developing techniques for timbral morphing and analyzing composers' work tapes. Challenges to collaborations between music and science are discussed, along with potential solutions like living labs that bring musicians and researchers together.
Life on the other side of the pond: VRA Activity in Europe, The American Acad...FutureLearn
The document discusses the procedures used by the American Academy in Rome Photographic Archive to acquire historical photograph collections and make them accessible online. It describes the archive's process for evaluating potential donations, organizing the workflow to catalog and digitize collections, conserving photographic materials, and making the collections searchable through an online database while protecting copyrights. The archive aims to integrate analog and digital formats to properly preserve the photographic heritage.
Archives of the Columbia-Princeton Electronic Music CenterNick Patterson
An overview of materials in the archives of the former Columbia-Princeton Electronic Music Center (now the Computer Music Center at Columbia).
Sorry, audio examples not included in this version. Please feel free to contact me with any questions or comments. /Nick Patterson
The document discusses Pinterest, describing it as a content curation and bookmarking platform where users can organize and share images, videos, and websites by pinning them to boards on different topics. It provides some examples of boards on art history, urban art, reading promotion, and visual design communication. The document notes that Pinterest allows finding new people to follow with similar interests and can be used to collect resources for subjects like graphic design, architecture, and data visualization.
This document provides links and information related to new media art. It begins with a list of links for the Whitney Biennial, TEDx talks, and a video of sounds recorded on Jupiter. It then provides historical context on early computers and computer art. It discusses tools and precedents of new media art, including influences from Dada, Duchamp, and other artists. It also discusses qualities of digital media and provides examples of new media artworks and artists.
Finding audio visual resources in Goldsmiths Librarykevinwilsongold
This presentation covers why and how students use Audio-visual information, what collections Goldsmiths has and subscribes to, as well as information about various public archives of AV material. There's also information about citing this material.
IAML IMS 2015 : Cyrille Delhaye, 20th Century composers session.
The Centre Iannis Xenakis’s archives
from the inventory to online publication: when constraints are structuring tools for project management
Archiving and disseminating sound archives – 1. Processes and procedures in...Phonothèque MMSH
This document discusses processes and procedures for digitizing sound archives. It begins with introductions from Alexandre Abergel of Radio France and Véronique Ginouvès of the Maison Méditerranéenne des Sciences de l'Homme (MMSH). The MMSH has a sound archive of 7,500 hours that is being digitized. The document then discusses definitions of sound archives, their history linked to recording technology developments, common file formats, and ethical issues around managing them. It provides an overview of the MMSH's training program on collecting, preserving, analyzing, and disseminating sound data.
Artistic Creation and Scientific Research (in english)Nicola Bernardini
The document discusses the relationship between music and technological innovation. It provides examples of how musicians have influenced technological development through their artistic goals and requests, such as Berio's request for a synthesizer with 1000 oscillators which led to the development of the 4X synthesizer. The document also examines open problems in music that could benefit from further scientific research, such as developing techniques for timbral morphing and analyzing composers' work tapes. Challenges to collaborations between music and science are discussed, along with potential solutions like living labs that bring musicians and researchers together.
Life on the other side of the pond: VRA Activity in Europe, The American Acad...FutureLearn
The document discusses the procedures used by the American Academy in Rome Photographic Archive to acquire historical photograph collections and make them accessible online. It describes the archive's process for evaluating potential donations, organizing the workflow to catalog and digitize collections, conserving photographic materials, and making the collections searchable through an online database while protecting copyrights. The archive aims to integrate analog and digital formats to properly preserve the photographic heritage.
Archives of the Columbia-Princeton Electronic Music CenterNick Patterson
An overview of materials in the archives of the former Columbia-Princeton Electronic Music Center (now the Computer Music Center at Columbia).
Sorry, audio examples not included in this version. Please feel free to contact me with any questions or comments. /Nick Patterson
The document discusses Pinterest, describing it as a content curation and bookmarking platform where users can organize and share images, videos, and websites by pinning them to boards on different topics. It provides some examples of boards on art history, urban art, reading promotion, and visual design communication. The document notes that Pinterest allows finding new people to follow with similar interests and can be used to collect resources for subjects like graphic design, architecture, and data visualization.
This document provides links and information related to new media art. It begins with a list of links for the Whitney Biennial, TEDx talks, and a video of sounds recorded on Jupiter. It then provides historical context on early computers and computer art. It discusses tools and precedents of new media art, including influences from Dada, Duchamp, and other artists. It also discusses qualities of digital media and provides examples of new media artworks and artists.
Finding audio visual resources in Goldsmiths Librarykevinwilsongold
This presentation covers why and how students use Audio-visual information, what collections Goldsmiths has and subscribes to, as well as information about various public archives of AV material. There's also information about citing this material.
Linked data for knowledge curation in humanities researchEnrico Daga
The identification and cataloguing of documentary evidence is an important part of empirical research in the humanities.
An increasing number of recent initiatives in the digital humanities have as a primary objective the curation of collections of digital artefacts augmented with fine-grained metadata, for example, mentioning the entities and their relations, often adopting the "Linked Data" paradigm. This talk is focused on exploring the potential of Linked Data to support humanities scholars in identifying, collecting, and curating documentary evidence. First, I will introduce the basic notions around Linked Data and place its emergence in the tradition of Knowledge Representation, an area of Artificial Intelligence (AI). Second, I will show how Linked Data and AI techniques have been successfully applied in the Listening Experience Database project to support the retrieval and curation of documentary evidence. Finally, I will conclude the presentation by discussing the potential (and challenges) of adopting a "knowledge extraction" paradigm to automate the identification and cataloguing of metadata about documentary evidence in texts.
This document discusses challenges libraries face in providing digital music access to patrons. It outlines the history of music formats from phonographs to MP3s and issues with digital rights management. Case studies show libraries experimenting with streaming reserves and playlists, but popular digital music coverage remains limited. Going forward, libraries will likely rely more on subscription services for access over ownership, while also digitizing existing collections, with vinyl record sales increasing in recent years despite declines in CDs.
This document outlines a digital campaign created for the reopening of the Jean-Jacques Henner museum in France. The campaign had several steps: creating a blog and social media profiles to promote the museum and artist; generating exclusive online content to engage different audiences; organizing online and real-world events to build buzz; and launching collaborative initiatives like a Twitter campaign to further connect the museum to its online community. A similar multifaceted strategy was then employed for the museum's involvement in the annual European Night of Museums event.
Caroline Ardrey (University of Birmingham)Renata Brandão
This document describes Dr. Caroline Ardrey's research projects involving the digital analysis of poetry performance through audio recordings. The main projects are the Baudelaire Song Project, which analyzes over 1100 songs set to the poetry of Charles Baudelaire, and Visualising Voice, which develops tools for visually representing linguistic features in audio recordings of poetry performances. The goals are to map the historical reception of Baudelaire in song and engage non-specialist audiences with open-access audio archives through a web-based interface showing analysis of poetic form, stress patterns, and other linguistic elements. Challenges include standardizing the methodology across languages, obtaining a sufficient range of recordings, and addressing copyright and storage issues that arise
CollectiveAccess is an open source collections management software that can be used to manage physical, digital, or intellectual collections. It has been deployed in over 300 institutions worldwide, including archives, museums, and libraries. The software project began in 2003 and the first public release was in 2007 under the name "OpenCollection". Idéesculture is one of the main developers of CollectiveAccess and has translated parts of the documentation into French. The presentation demonstrated CollectiveAccess by reviewing some public institution websites built with the software and accessing a test database to show CollectiveAccess' functionality. Resources for learning more about CollectiveAccess and Idéesculture were provided at the end.
Presented in the panel, "Jewish Music Online: Analog Repositories, Digital Fieldwork, and the Web of Collaborative Tools," at the 42nd Annual Conference of the Association for Jewish Studies, Boston (Mass.), December 20, 2010.
Treasuring the sound heritage: the Europeana Sounds projectEuropeana_Sounds
This document summarizes the Europeana Sounds project, which aims to aggregate audio and related collections across Europe. It provides details on:
1) The Europeana platform which aggregates over 53 million digitized items from 3,500 organizations across Europe.
2) The Europeana Sounds project specifically, which has brought together 24 organizations from 12 countries to contribute over 282,000 audio records so far.
3) Events held to promote participation in the project, including "re-discovery" events in various countries and edit-a-thons to improve metadata.
Scala Archives is a collection of over 400,000 images from museums, artists, and historic photographs around the world. It provides images for both commercial and academic uses. Scala has professional image researchers and maintains high-resolution digital files. It offers benefits to both image buyers and sellers such as cost savings, competitive rates, and increased sales and profits. Scala continuously expands its collection through new acquisitions and photographic campaigns.
Publishing Museum-Object-Information: It's not always easy ...museum-digital
The document discusses the experiences of museums in Saxony-Anhalt, Germany collaborating to make their collections available online. Six museums created a website called Museum-Digital to publish information on their objects. Over time, more museums participated and the site grew to include over 13,000 objects. Publishing objects online provides benefits like increasing visibility, encouraging cooperation among museums, and engaging with the public. However, it also requires resources like time, expertise and staff that many museums lack. Overall, the collaboration has helped advertise the participating museums and their collections.
The document summarizes the creation of "The CD-ROM Cabinet", a project to document and preserve CD-ROM artworks from the 1990s and early 2000s. It describes collecting 82 CD-ROM artworks over 6 months, documenting them through disk images, photos, and video. It notes efforts to make some works accessible online and a hackathon to experiment with obsolete formats. It recommends a distributed and sustainable approach to ongoing documentation and accessibility of the artworks.
Charting the museum's adoption of media in the gallery and beyond. Slides for paper given at the Museum Ethnographers Conference in Brighton, April 2013
Plenary talk delivered at the Rare Books & Manuscripts Preconference, American Library Association and Association of College & Research Libraries, Oakland, California, June 26, 2015
The Europeana Music Collections presented at EVA/MINERVA 2015 http://www.digital-heritage.org.il/program2015.html on 2015-11-09
These slides supported a presentation of the Europeana Music Collections, built on the Europeana platform, as part of a session on making audio-visual collections from libraries, archives and museums more available online.
The document introduces the Europeana Music Collections, which is a thematic collection within Europeana Collections focused on music-related content. It will include music recordings, sheet music, images of musical instruments and performers, and other texts about music history. The presentation provides an overview of Europeana Collections and thematic collections, previews the music collection content and demo site, and outlines the launch timeline and opportunities to get involved by sharing or curating music-related data and collections.
The document discusses the launch of the Europeana Music Collections, which will showcase music-related collections from across Europe. It provides an overview of the thematic collection capabilities being added to Europeana, with music being the first theme. The music collections will include recordings, sheet music, images related to music history, and other materials. The presentation demonstrates the music collections website, outlines the launch timeline, and discusses future developments and how people can get involved.
This document discusses digital media libraries and archives. It provides examples of different types of media collections at ZHdK, including the IDEAMA archive of electroacoustic music, the IMEB archive of the Bourges festival, and the MIZ collection of television recordings. It also discusses challenges for archiving and preserving digital media, such as long-term storage, metadata standards, and ensuring access over time.
Capturing the semantics of documentary evidence for humanities researchEnrico Daga
Identifying and curating documentary evidence from textual corpora is an essential part of empirical research in the humanities.
Initially, we discuss "themed" evidence - traces of a fact or situation relevant to a theme of interest and focus on the problem of identifying them in texts. To that end, we combine statistical NLP, background knowledge, and Semantic Web technologies in a hybrid approach. We illustrate the method's effectiveness in a case study of a database of evidence of experiences of listening to music. We also evidence its generality by testing it on a different use case in the digital humanities.
Finally, we ponder the applicability of knowledge extraction techniques to automatically populate a database of documentary evidence and discuss the challenges from the point of view of scientific knowledge acquisition.
Personal Audiovisual Archives, Richard Wright, Hermann Lewetz, Cecilia Paglia...FIAT/IFTA
The document summarizes a workshop on personal audiovisual archives. It discusses collecting amateur content to build formal archives, how professional archives can acquire personal archives, maintaining a personal collection, and working with personal archives. The workshop also included presentations on collecting amateur content, acquiring personal archives, maintaining personal collections, dealing with technical issues in archiving, and a clinic to discuss problems with archiving personal collections.
• For a full set of 530+ questions. Go to
https://skillcertpro.com/product/servicenow-cis-itsm-exam-questions/
• SkillCertPro offers detailed explanations to each question which helps to understand the concepts better.
• It is recommended to score above 85% in SkillCertPro exams before attempting a real exam.
• SkillCertPro updates exam questions every 2 weeks.
• You will get life time access and life time free updates
• SkillCertPro assures 100% pass guarantee in first attempt.
The importance of sustainable and efficient computational practices in artificial intelligence (AI) and deep learning has become increasingly critical. This webinar focuses on the intersection of sustainability and AI, highlighting the significance of energy-efficient deep learning, innovative randomization techniques in neural networks, the potential of reservoir computing, and the cutting-edge realm of neuromorphic computing. This webinar aims to connect theoretical knowledge with practical applications and provide insights into how these innovative approaches can lead to more robust, efficient, and environmentally conscious AI systems.
Webinar Speaker: Prof. Claudio Gallicchio, Assistant Professor, University of Pisa
Claudio Gallicchio is an Assistant Professor at the Department of Computer Science of the University of Pisa, Italy. His research involves merging concepts from Deep Learning, Dynamical Systems, and Randomized Neural Systems, and he has co-authored over 100 scientific publications on the subject. He is the founder of the IEEE CIS Task Force on Reservoir Computing, and the co-founder and chair of the IEEE Task Force on Randomization-based Neural Networks and Learning Systems. He is an associate editor of IEEE Transactions on Neural Networks and Learning Systems (TNNLS).
Linked data for knowledge curation in humanities researchEnrico Daga
The identification and cataloguing of documentary evidence is an important part of empirical research in the humanities.
An increasing number of recent initiatives in the digital humanities have as a primary objective the curation of collections of digital artefacts augmented with fine-grained metadata, for example, mentioning the entities and their relations, often adopting the "Linked Data" paradigm. This talk is focused on exploring the potential of Linked Data to support humanities scholars in identifying, collecting, and curating documentary evidence. First, I will introduce the basic notions around Linked Data and place its emergence in the tradition of Knowledge Representation, an area of Artificial Intelligence (AI). Second, I will show how Linked Data and AI techniques have been successfully applied in the Listening Experience Database project to support the retrieval and curation of documentary evidence. Finally, I will conclude the presentation by discussing the potential (and challenges) of adopting a "knowledge extraction" paradigm to automate the identification and cataloguing of metadata about documentary evidence in texts.
This document discusses challenges libraries face in providing digital music access to patrons. It outlines the history of music formats from phonographs to MP3s and issues with digital rights management. Case studies show libraries experimenting with streaming reserves and playlists, but popular digital music coverage remains limited. Going forward, libraries will likely rely more on subscription services for access over ownership, while also digitizing existing collections, with vinyl record sales increasing in recent years despite declines in CDs.
This document outlines a digital campaign created for the reopening of the Jean-Jacques Henner museum in France. The campaign had several steps: creating a blog and social media profiles to promote the museum and artist; generating exclusive online content to engage different audiences; organizing online and real-world events to build buzz; and launching collaborative initiatives like a Twitter campaign to further connect the museum to its online community. A similar multifaceted strategy was then employed for the museum's involvement in the annual European Night of Museums event.
Caroline Ardrey (University of Birmingham)Renata Brandão
This document describes Dr. Caroline Ardrey's research projects involving the digital analysis of poetry performance through audio recordings. The main projects are the Baudelaire Song Project, which analyzes over 1100 songs set to the poetry of Charles Baudelaire, and Visualising Voice, which develops tools for visually representing linguistic features in audio recordings of poetry performances. The goals are to map the historical reception of Baudelaire in song and engage non-specialist audiences with open-access audio archives through a web-based interface showing analysis of poetic form, stress patterns, and other linguistic elements. Challenges include standardizing the methodology across languages, obtaining a sufficient range of recordings, and addressing copyright and storage issues that arise
CollectiveAccess is an open source collections management software that can be used to manage physical, digital, or intellectual collections. It has been deployed in over 300 institutions worldwide, including archives, museums, and libraries. The software project began in 2003 and the first public release was in 2007 under the name "OpenCollection". Idéesculture is one of the main developers of CollectiveAccess and has translated parts of the documentation into French. The presentation demonstrated CollectiveAccess by reviewing some public institution websites built with the software and accessing a test database to show CollectiveAccess' functionality. Resources for learning more about CollectiveAccess and Idéesculture were provided at the end.
Presented in the panel, "Jewish Music Online: Analog Repositories, Digital Fieldwork, and the Web of Collaborative Tools," at the 42nd Annual Conference of the Association for Jewish Studies, Boston (Mass.), December 20, 2010.
Treasuring the sound heritage: the Europeana Sounds projectEuropeana_Sounds
This document summarizes the Europeana Sounds project, which aims to aggregate audio and related collections across Europe. It provides details on:
1) The Europeana platform which aggregates over 53 million digitized items from 3,500 organizations across Europe.
2) The Europeana Sounds project specifically, which has brought together 24 organizations from 12 countries to contribute over 282,000 audio records so far.
3) Events held to promote participation in the project, including "re-discovery" events in various countries and edit-a-thons to improve metadata.
Scala Archives is a collection of over 400,000 images from museums, artists, and historic photographs around the world. It provides images for both commercial and academic uses. Scala has professional image researchers and maintains high-resolution digital files. It offers benefits to both image buyers and sellers such as cost savings, competitive rates, and increased sales and profits. Scala continuously expands its collection through new acquisitions and photographic campaigns.
Publishing Museum-Object-Information: It's not always easy ...museum-digital
The document discusses the experiences of museums in Saxony-Anhalt, Germany collaborating to make their collections available online. Six museums created a website called Museum-Digital to publish information on their objects. Over time, more museums participated and the site grew to include over 13,000 objects. Publishing objects online provides benefits like increasing visibility, encouraging cooperation among museums, and engaging with the public. However, it also requires resources like time, expertise and staff that many museums lack. Overall, the collaboration has helped advertise the participating museums and their collections.
The document summarizes the creation of "The CD-ROM Cabinet", a project to document and preserve CD-ROM artworks from the 1990s and early 2000s. It describes collecting 82 CD-ROM artworks over 6 months, documenting them through disk images, photos, and video. It notes efforts to make some works accessible online and a hackathon to experiment with obsolete formats. It recommends a distributed and sustainable approach to ongoing documentation and accessibility of the artworks.
Charting the museum's adoption of media in the gallery and beyond. Slides for paper given at the Museum Ethnographers Conference in Brighton, April 2013
Plenary talk delivered at the Rare Books & Manuscripts Preconference, American Library Association and Association of College & Research Libraries, Oakland, California, June 26, 2015
The Europeana Music Collections presented at EVA/MINERVA 2015 http://www.digital-heritage.org.il/program2015.html on 2015-11-09
These slides supported a presentation of the Europeana Music Collections, built on the Europeana platform, as part of a session on making audio-visual collections from libraries, archives and museums more available online.
The document introduces the Europeana Music Collections, which is a thematic collection within Europeana Collections focused on music-related content. It will include music recordings, sheet music, images of musical instruments and performers, and other texts about music history. The presentation provides an overview of Europeana Collections and thematic collections, previews the music collection content and demo site, and outlines the launch timeline and opportunities to get involved by sharing or curating music-related data and collections.
The document discusses the launch of the Europeana Music Collections, which will showcase music-related collections from across Europe. It provides an overview of the thematic collection capabilities being added to Europeana, with music being the first theme. The music collections will include recordings, sheet music, images related to music history, and other materials. The presentation demonstrates the music collections website, outlines the launch timeline, and discusses future developments and how people can get involved.
This document discusses digital media libraries and archives. It provides examples of different types of media collections at ZHdK, including the IDEAMA archive of electroacoustic music, the IMEB archive of the Bourges festival, and the MIZ collection of television recordings. It also discusses challenges for archiving and preserving digital media, such as long-term storage, metadata standards, and ensuring access over time.
Capturing the semantics of documentary evidence for humanities researchEnrico Daga
Identifying and curating documentary evidence from textual corpora is an essential part of empirical research in the humanities.
Initially, we discuss "themed" evidence - traces of a fact or situation relevant to a theme of interest and focus on the problem of identifying them in texts. To that end, we combine statistical NLP, background knowledge, and Semantic Web technologies in a hybrid approach. We illustrate the method's effectiveness in a case study of a database of evidence of experiences of listening to music. We also evidence its generality by testing it on a different use case in the digital humanities.
Finally, we ponder the applicability of knowledge extraction techniques to automatically populate a database of documentary evidence and discuss the challenges from the point of view of scientific knowledge acquisition.
Personal Audiovisual Archives, Richard Wright, Hermann Lewetz, Cecilia Paglia...FIAT/IFTA
The document summarizes a workshop on personal audiovisual archives. It discusses collecting amateur content to build formal archives, how professional archives can acquire personal archives, maintaining a personal collection, and working with personal archives. The workshop also included presentations on collecting amateur content, acquiring personal archives, maintaining personal collections, dealing with technical issues in archiving, and a clinic to discuss problems with archiving personal collections.
• For a full set of 530+ questions. Go to
https://skillcertpro.com/product/servicenow-cis-itsm-exam-questions/
• SkillCertPro offers detailed explanations to each question which helps to understand the concepts better.
• It is recommended to score above 85% in SkillCertPro exams before attempting a real exam.
• SkillCertPro updates exam questions every 2 weeks.
• You will get life time access and life time free updates
• SkillCertPro assures 100% pass guarantee in first attempt.
The importance of sustainable and efficient computational practices in artificial intelligence (AI) and deep learning has become increasingly critical. This webinar focuses on the intersection of sustainability and AI, highlighting the significance of energy-efficient deep learning, innovative randomization techniques in neural networks, the potential of reservoir computing, and the cutting-edge realm of neuromorphic computing. This webinar aims to connect theoretical knowledge with practical applications and provide insights into how these innovative approaches can lead to more robust, efficient, and environmentally conscious AI systems.
Webinar Speaker: Prof. Claudio Gallicchio, Assistant Professor, University of Pisa
Claudio Gallicchio is an Assistant Professor at the Department of Computer Science of the University of Pisa, Italy. His research involves merging concepts from Deep Learning, Dynamical Systems, and Randomized Neural Systems, and he has co-authored over 100 scientific publications on the subject. He is the founder of the IEEE CIS Task Force on Reservoir Computing, and the co-founder and chair of the IEEE Task Force on Randomization-based Neural Networks and Learning Systems. He is an associate editor of IEEE Transactions on Neural Networks and Learning Systems (TNNLS).
1.) Introduction
Our Movement is not new; it is the same as it was for Freedom, Justice, and Equality since we were labeled as slaves. However, this movement at its core must entail economics.
2.) Historical Context
This is the same movement because none of the previous movements, such as boycotts, were ever completed. For some, maybe, but for the most part, it’s just a place to keep your stable until you’re ready to assimilate them into your system. The rest of the crabs are left in the world’s worst parts, begging for scraps.
3.) Economic Empowerment
Our Movement aims to show that it is indeed possible for the less fortunate to establish their economic system. Everyone else – Caucasian, Asian, Mexican, Israeli, Jews, etc. – has their systems, and they all set up and usurp money from the less fortunate. So, the less fortunate buy from every one of them, yet none of them buy from the less fortunate. Moreover, the less fortunate really don’t have anything to sell.
4.) Collaboration with Organizations
Our Movement will demonstrate how organizations such as the National Association for the Advancement of Colored People, National Urban League, Black Lives Matter, and others can assist in creating a much more indestructible Black Wall Street.
5.) Vision for the Future
Our Movement will not settle for less than those who came before us and stopped before the rights were equal. The economy, jobs, healthcare, education, housing, incarceration – everything is unfair, and what isn’t is rigged for the less fortunate to fail, as evidenced in society.
6.) Call to Action
Our movement has started and implemented everything needed for the advancement of the economic system. There are positions for only those who understand the importance of this movement, as failure to address it will continue the degradation of the people deemed less fortunate.
No, this isn’t Noah’s Ark, nor am I a Prophet. I’m just a man who wrote a couple of books, created a magnificent website: http://www.thearkproject.llc, and who truly hopes to try and initiate a truly sustainable economic system for deprived people. We may not all have the same beliefs, but if our methods are tried, tested, and proven, we can come together and help others. My website: http://www.thearkproject.llc is very informative and considerably controversial. Please check it out, and if you are afraid, leave immediately; it’s no place for cowards. The last Prophet said: “Whoever among you sees an evil action, then let him change it with his hand [by taking action]; if he cannot, then with his tongue [by speaking out]; and if he cannot, then, with his heart – and that is the weakest of faith.” [Sahih Muslim] If we all, or even some of us, did this, there would be significant change. We are able to witness it on small and grand scales, for example, from climate control to business partnerships. I encourage, invite, and challenge you all to support me by visiting my website.
This presentation by Katharine Kemp, Associate Professor at the Faculty of Law & Justice at UNSW Sydney, was made during the discussion “The Intersection between Competition and Data Privacy” held at the 143rd meeting of the OECD Competition Committee on 13 June 2024. More papers and presentations on the topic can be found at oe.cd/ibcdp.
This presentation was uploaded with the author’s consent.
This presentation by Professor Giuseppe Colangelo, Jean Monnet Professor of European Innovation Policy, was made during the discussion “The Intersection between Competition and Data Privacy” held at the 143rd meeting of the OECD Competition Committee on 13 June 2024. More papers and presentations on the topic can be found at oe.cd/ibcdp.
This presentation was uploaded with the author’s consent.
11June 2024. An online pre-engagement session was organized on Tuesday June 11 to introduce the Science Policy Lab approach and the main components of the conceptual framework.
About 40 experts from around the globe gathered online for a pre-engagement session, paving the way for the first SASi-SPi Science Policy Lab event scheduled for June 18-19, 2024 in Malmö. The session presented the objectives for the upcoming Science Policy Lab (S-PoL), which featured a role-playing game designed to simulate stakeholder interactions and policy interventions for food systems transitions. Participants called for the sharing of meeting materials and continued collaboration, reflecting a strong commitment to advancing towards sustainable agrifood systems.
This presentation by OECD, OECD Secretariat, was made during the discussion “The Intersection between Competition and Data Privacy” held at the 143rd meeting of the OECD Competition Committee on 13 June 2024. More papers and presentations on the topic can be found at oe.cd/ibcdp.
This presentation was uploaded with the author’s consent.
1. IAML/IMS New York 2015 "Music Research in the Digital Age”
Centre Iannis Xenakis: C. Delhaye
1
The Centre Iannis Xenakis’s archives
from the inventory to online publication: when constraints are
structuring tools for project management
! " # !"# $ !%&' " !( ) *+ &*' , # &$ *$%&' ( ' )
C. DELHAYE, musicologist
2. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
Iannis Xenakis : C. Delhaye
2
The Centre Iannis Xenakis is a continuation of Les Ateliers UPIC, later
named CCMIX, the association founded in 1985 by Iannis Xenakis and
Maurice Fleuret, to promote the machine for composing music by
drawing, invented by Xenakis in 1977, called UPIC (Unité Polyagogique
Informatique du CEMAMu).
UPIX 2014-15 softwareUPIC hardware version ca 1986
3. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
Iannis Xenakis : C. Delhaye 3
Since December 2010, the
Université de Rouen (France)
welcomes the Centre Iannis Xenakis
(CIX) on its premises.
Under the auspices of the GRHIS
(History Research Lab), the CIX has
placed its archives on the shelves of
the University’s Library and
connected its UPIC machines on the
premises of the Maison de
l’Université (MDU, Scientific Culture
pole).
CIX’s outdoor concert on 29 April 2013, MDU, University of
Rouen
4. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
Iannis Xenakis : C. Delhaye 4
Classifying the archives (2010) uncovered
traces of work by about 130 composers who
worked at the Ateliers UPIC and with the
UPIC over 25 years of research, such as:
Francois-Bernard Mache, Luc Ferrari, La
Monte Young, Alain Bancquart, Julio Estrada,
Gerard Pape, Jean-Claude Risset, Aphex
Twin, Karlheinz Stockhausen, Horacio
Vaggione, Roger Reynolds, David Revill,
Curtis Roads, Angello Bello, Daniel Teruggi,
Brigitte Robindoré and many others.
CIX’s collections, University library of Rouen
5. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
Iannis Xenakis : C. Delhaye 5
CIX’s collection:
- Main collection: records of Ateliers UPIC, CCMIX and CIX.
- Kanach collection: newspaper clippings, selected drafts
and letters by Iannis Xenakis
- Rastoin collection: images of the Diatope (1978)
- New collections:
- Morisset (LP’s, images, recordings of IX lectures)
- Dick Lucas (Archives of Pavillon Philips creation /
recreation in Eindhoven)
- Robert Dupuy (personal archives of the Polytope
de Cluny)
- Henning Lohner (images, Frank Zappa film with IX,
unpublished footage and photos with IX)
[we’ll know more after the lunch !]
6. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
Iannis Xenakis : C. Delhaye 6
- New collections:
- Morisset (LP’s, images, recordings of IX lectures)
- Dick Lucas (Archives of Pavillon Philips creation /
recreation in Eindhoven)
- Robert Dupuy (personal archives of the Polytope
de Cluny)
- Henning Lohner (images, Frank Zappa film with IX,
unpublished footage and photos with IX)
[we’ll know more after the lunch !]
7. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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The KSYME Center was founded
in Athens in 1979, by Iannis
Xenakis, John G. Papaioannou
and Stephanos Vassileiadis. The
KSYME has acquired one UPIC
since 1986 : teaching programs
started immediately and many
composers have worked with.
Metadata sharing project with KSYME Center
Iannis Xenakis and Manos Hadjisakis (1976).
Athens, KSYME archive.
CIX & KSYME
digitized
archives
OAI-PMH
Metadatas
are shared
on ours
websites
8. Documentary
collection 33
linear meters
Institutional
archives 7
linear meters
Total collection
of Centre Iannis
Xenakis :
40 linear meters
Centre Iannis Xenakis’s collections
IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
Iannis Xenakis : C. Delhaye
8
9. After being inventoried and classified, the archives are now
stored in the Library of Arts and Humanities of the Université
de Rouen (France).
IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
Iannis Xenakis : C. Delhaye
9
After having described the collection as a whole, I will now describe in
detail each original support/medium (before digitization)
10. Paper documents
11 linear meters / ca 60 000 p.
Paper archives:
tapuscrits, manuscripts
Hardware & software
documentation
Newspaper articles
Program notes,
ephemera
Digitized documents
IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
Iannis Xenakis : C. Delhaye
56%
19%
10%
11%
4%
10
11. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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11
The classification of this collection is completed.
- Cataloguing and online publication is in progress: the
priority was placed on already digitized archives (from
Kanach’s collection in particular).
- But, the extensive processing (digitization and
cataloging) of this entire collection requires human
means that we do not yet have.
- Nevertheless, the discovery of some documents to
illustrate, for example, our traveling exhibition on the
UPIC, or while performing research for musicological
papers, has already proven the wealth of these records.
Paper documents
11 linear meters / ca 60 000 p.
12. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
Iannis Xenakis : C. Delhaye 12
CIX’s collection of concert posters
- Digitized urgently, given the fragility of the medium (Arkhênum company)
- Collection is completely catalogued
- The collection is online (see CIX website: www.centre-iannis-xenakis.org)
13. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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Scores
- 450 scores, many unpublished. Most come from the calls for candidates
for courses organized by the CCMIX.
- Large format scores were digitized for preservation purposes (Arkhenum
company).
- CIX is currently tracking down entitled owners of rights to facilitate the
cataloging and authorize online posting of unpublished scores.
Assembled printed material
Books
Scientific review
Posters
Graphic scores (UPIC paperboard)
A4 Scores
Large format scores
16
82
70
68
110
116
226
Scores and printed material
Printed material
Scores
14. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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Printed documents
- Many academic works (Estrada’s PhD, for instance).
- Non-priority documents for digitization (already published)
- Classification and inventory are finished, cataloging has yet to
begin.
Assembled printed material
Books
Scientific review
Posters
Graphic scores (UPIC paperboard)
A4 Scores
Large format scores
16
82
70
68
110
116
226
Scores and printed material
Printed material
Scores
15. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
Iannis Xenakis : C. Delhaye 15
880
500
1130
122
1
174
20
5
6
101
30
3
33
370
130
LP
Audio cassette tapes
Compact discs
Magnetic tapes
Magneto optical disk sony
DAT / DAC
VHS
DVD
ZIP disk or JAZ
Microfloppy disk
Minifloppy disk
Syquest cartridge
Data cartridge tape
Slides
Photography
Typological distribution of multi-media sources (3500 items)
Audio Video Data Iconography
16. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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The DATs, burned CDs, and tapes are unpublished works
(concerts recordings, sound banks, works).
- All unpublished audio documents have been digitized for
purposes of conservations (Daniel Teige, Hammersnail and
« Musiques de la Boulangère » for the tapes).
LP
Audio cassette tapes
Compact discs
Magnetic tapes
Magneto optical disk sony
DAT / DAC
880
500
1130
122
1
174
Audio supports details
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- Burned CDs: only 5 discs out of 1130 are no longer
readable.
They contain sound files, computer files, videos, etc.
because they were widely used by composers as backups.
These supports generate cataloging difficulties but they are
important to inform the creative process.
LP
Audio cassette tapes
Compact discs
Magnetic tapes
Magneto optical disk sony
DAT / DAC
880
500
1130
122
1
174
Audio supports details
18. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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LP
Audio cassette tapes
Compact discs
Magnetic tapes
Magneto optical disk sony
DAT / DAC
880
500
1130
122
1
174
Audio supports details
- All of the 174 DATs have all been successfully digitized.
Most are audio backups (rarely masters), containing: sound
banks, intermediate states of work, or recordings of concerts.
19. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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- The 120 magnetic tapes were all successfully digitized (except for two-
2 inchs tapes). The online posting of audio files (extracts) is hampered
by waiting for authorizations from entitled owners of rights. However
cataloging and on-line records in this collection are completed.
Each catalog entry includes a photograph of the box / container to
encourage crowd-sourcing: writing is sometimes illigible or the
information is not sufficient to precisely catalog the sound file. By doing
so, we can also rely on user feedback to complete our catalog entries.
20. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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Data cartridge
tape (QIC)
Syquest
cartridge Minifloppy disk
Out-dated media carriers – one of our main préoccupations
– how to preserve and maintain contents recorded on
floppy disks, Syquest and QIC data cartridges? Although
classified and inventoried, they remain to be digitized and
catalogued.
Out-dated media carriers (173 items)
6
101
30
3
33
0 20 40 60 80 100 120
ZIP Disk or JAZ
Microfloppy disk
Minifloppy disk
Syquest Cartridge
Data Cartridge Tape
Details of outdated data carriers
21. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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Still images
1. Many images of courses at CCMIX and Ateliers UPIC
2. Rastoin’s collection contributes to the richness of the
collection (images of the Diatopes’s installation in Bonn and
Paris, UPIC sessions at Les Halles in Paris, etc.)
- Collection fully digitized (D. Teige, Hammersnail)
- Cataloguing and current online posting
- Rastoin’s collection is protected under Creative Commons 3
370
130
20
5
0 50 100 150 200 250 300 350 400
Slides
Photography
VHS
DVD
Iconographic collection (525 items)
22. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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Rastoin, Bruno, Photographer. (1978). Images of Iannis Xenakis’s Diatope.
Université de Rouen, Archives of Centre Iannis Xenakis.
22
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Moving pictures
Not a lot of videos, but they are all very relevant because
they show composers in action, or training around the UPIC,
including Xenakis himself promoting the UPIC and
projecting its future.
- All these videos were digitized for preservation purposes.
- This collection is complemented by digital recordings of
concerts and conferences organized by the CIX on the
campus of the Université de Rouen since 2010.
370
130
20
5
0 50 100 150 200 250 300 350 400
Slides
Photography
VHS
DVD
Iconographic collection (525 items)
24. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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How to choose a CMS and a cataloguing protocol under several
strong constraints:
- CIX members are volunteers, musicologists, non-specialists in
library science
- Minimal cost
- Open source CMS
- Basic knowledge in php/mysql
- Interoperability of metadata
- Integration of the old filemaker file (2500 catalogued items)
- OAI-PMH friendly
- Compatible with the Contemporary Music Gateway (MODS modified)
- Third-party developer failed to integrate all of these constraints
25. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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www.omeka.org
25
Constraints
CMS
Omeka
Omeka is :
- Simple but meets the standards
- Used by the Library of Congress and Europeana (for virtual
exhibits)
- Open source
- Adapted for smalls collections (< 100 000 items)
- Natively in Dublin Core
- Interoperability in OAI-PMH with MODS
- Enables collections to be curated in virtual exhibits
26. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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Collection 1
Item 1
Digital file
Dubilin Core
metadata
Additional
metadata
Tags
Item 3
Item 734
Item 2
Digital file
Dublin Core
metadata
Additional
metadata
Tags
Item 76
Item 2354
Principe of data tiering in Omeka
27. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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Why
Dublin
Core ?
Internationally recognized schema of metadata
(ISO 15836)
12 data fields, that can be complemented by
other fields that will not be harversted
Maximum data interoperability
Usable with limited technical knowledge and
library science
Omeka allows to automatically convert the DC in MODS
with the OAI-PMH plugin (based on Library of Congress
fields mapping)
Dublin Core and metadata harvesting
28. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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Harvesting metadata model of CIX (OAI-PMH)
CIX’s metadata in DC
OAI Repository 1
Contemporary Music
Gateway
(MODS modified)
OAI Repository 2
International standards
MODS / METS / DC
29. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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June-September 2014 : IT development
1. Installing Omeka
2. Developing a plugin, automatically generating letters to
request authorization from the entitled copyright owners
3. Development of a connector to convert the old filemaker
database in Dublin Core (fields mapping, concatenating data)
4. Plugin modification of OAI-PMH Omeka to ensure
compatibility with the harvesting protocol Contemporary
Music Gateway
Majid Tasserie & Cyrille Delhaye
30. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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June - September 2014: first cataloguing
campaign
Writing a link document for cataloging in DC and how to
use Omeka
Integration of controlled vocabulary RAMEAU from BNF
(subject field)
Work on international data interoperability (field date
(AAAA-MM-DD) / creator, qualified)
Work on the language field = ISO 639-1
Writing indicative summaries for each item (description
field)
Consideration of the use of tags
Hélène Brière & Cyrille Delhaye
31. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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Press Articles
Recherche
contemporaine à Metz
Id 2074
Fichier numérique
Dubilin Core +
additionnal metadata
Tags : Fonds Sharon
Kanach
Who is Who in modern
music
Id 1543
Greece, Poland and
new music
Id 136
Fichier numérique
Dubilin Core +
additionnal metadata
Tags = Fonds Sharon
Kanach
Le Fabuleux rendez
vous de Montréal
Id 543
Reflection on the structuring of the database
Example of press articles
Organization of digital archives by their original hardware support: hardware support
each refers to a limb of the collection tree:
32. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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Catalog entries
State of the art, June 2015
3118
catalog
entries
2500 in
raw
inventory
668 in
DC +
digital
files
627 files &
catalog
entries are
Online
33. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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CIX old static
website & old
filemaker database
Transition to
Omeka
data compliance
and redesign of
static website
OPAC &
CIX’s new
website are
born
Omeka allowed to merge in a single interface the various
activities of CIX (UPIC computer development, organization
of seminars, residencies, exhibitions, publications) and
OPAC of digital archives, while not dispersing the digital
presence of the association through multiple domain
names.
34. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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centre-iannis-xenakis.org
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CIX’s exhibit : Iannis Xenakis and UPIC
Available in French
and English, this
interctive exhibition
(via QR codes)
traces the history of
the UPIC based on
documents from
the archives of the
Centre Iannis
Xenakis.
36. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
Iannis Xenakis : C. Delhaye 36
Iannis Xenakis and UPIC : a CIX’s digital exhibit
37. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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Heirs and online
collections: a double
bind
French
ministry of
culture gives
funds if
the archives are
online and
valorised, but
Collective rights
management
companies limit
these practices
38. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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Heirs and online collections : a double bind
For the partners of the Contemporary Music Gateway,
agreements have been concluded:
1. Audio Streaming documents should not exceed 3 minutes
of the total time of the work or 25% of its total time for the
works of more than 12 minutes
2. Printed and iconographic documents will be accessible
only in low resolution
However, the CIX has chosen to request the authorization to
broadcast entire works for all multimedia (sound, still and moving
images) to entitled heirs.
39. IAML/IMS New York 2015 "Music Research in the Digital Age", Centre
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Seeing that this project adheres to the principles of Digital Humanities and Open Archives
(OIA), the data and metadata included in our own digital archives could be harvested via the
OAI-PMH (Open Archives Initiative – Protocol for Metadata Harvesting)1
protocol by other
institutions, always with the goal of increasing the visibility of the content of our digitized col-
lections on the internet and to improve and multiple its accessibility .
- Type of documents (general conditions)
For original documents on paper (program notes, posters, scores, correspondence, sketches,
manuscripts) or photographs: full reproduction, at either low resolution (72 dpi) or medium
resolution (comprised between 640x480 and 800x600 pixels); a higher resolution up to
1600x1200 pixels (but always at 72 dpi) is also acceptable but exclusively for engravings,
printed material and manuscripts.
For sound and video documents (musical works, recorded concert performances, sound ob-
jects), the excerpts will be made available in the MP3 standard, with a maximum duration of
three minutes or 25% of the tot al duration of any given work, which ever is shorter.
It is understood that, on the one hand, the quality of the image, or sound or video will not
enable any type of editorial or commercial exploit ation.
It is understood, on the other hand, that these excerpts are thus made available online entirely
free of charge and royalties.
- Conditions of presentation
The name of the artist as well as the copyright mention will be specified in each work’s indi-
vidual listing, as long as the creator of the work has been duly identified. If the name of the
creator is not known, a technical device such as crowd-sourcing / online commentaries will be
in place to enable users to participate in identifying suc h a temporarily anonymous work.
The present assignment’s only object of contract is to authorize online access of excerpts of
the works listed on the attached annex.
Article 3
a) The original author or legal heir accepts to render accessible to the Centre Iannis Xenakis a
copy of the work(s) as described in Article 2, paragraph 2 according to the terms of the creative com-
mons license n° 3: Attribution-NonCommercial-NoDerivs.
The original author or legal heir authorizes the Centre Iannis Xenakis to share the work (s) listed in the
attached annex according to the following conditions:
Exclusive of commercial or editorial use: the original author or legal heir authorizes the Centre
Iannis Xenakis to reproduce and disseminate the work(s) listed in the attached annex for any
use other than commercial or editorial, unless the CIX previously obtains an authorization.
No modifications: the CIX is not authorized to distribute or disseminate any modification of the
work(s).
b) However, the original author or legal heir can c hoose to render accessible to the Centre Iannis
Xenakis a copy of the work(s) as described in Article 2, paragraph 2 according to the terms of the crea-
tive commons license n° 6, “Attribution-ShareAlike,” which is likely to facilitate its/their access among
certain organizations, in particular private American universities such as MIT, Harvard, Columbia, Prin-
ceton, Yale, etc.
Attribution and share alike in the same conditions: the original author or legal heir authorizes
any use of excerpt of (?) the original work(s) (including commercial purposes) as well as the
1
http://www.openarchives.org/pmh/
Contract which combines French rights and international law (Creative Commons)