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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
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.
Capturing the experiment record
2
Cerys	Willoughby
Sean	Bechhofer
Carolin	Rindfleisch
Terhi	Nurmikko-Fuller
Plans and Performances
Solid	State	Logic	
“Seamless	integra8on	with	all	the	
benefits	of	classic	SSL	analogue	console	
automa8on	and	DAW	based	workflow.”
Both	domains	are	increasingly	data-intensive,	
with	the	adop8on	of	new	technology,	and	also	
socially	intensive	with	democra8sed	and	
growing	ci8zen	engagement.
Plans and Performances
vimeo.com/98560778	chordify.net	
The	Theory	and	Prac8ce	
of	Social	Machines	
	
sociam.org	
www.zooniverse.org	
www.music-ir.org/mirex
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…”
demeter.oerc.ox.ac.uk/NumbersIntoNotes
The	music	industry	has	embraced	digital	
technology	throughout	the	lifecycle	from	
composi8on	to	consump8on;	scien8fic	prac8ce,	
and	scholarly	communica8on,	are	also	
undergoing	transforma8on.
Process	
Process	
Process	Develop	
Develop	
Record	
Record	Record	
Idea	
Idea	Idea	
Publish	
Fund	 Publish	
Fund	
Read	
Read	
Plan	
Plan	
Plan	
Cameron	Neylon
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
Why	isn’t	it	as	easy	to	find	and	play	research	as	it	is	music?
Building	on	the	
e-Science	literature
www.researchobject.org	
Eamonn	Maguire
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.
Plans and Performances
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
•  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
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
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.
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
Plans and Performances
www.oerc.ox.ac.uk	
david.deroure@oerc.ox.ac.uk	
@dder

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