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CASPAR A Method to Represent Acousmatic Works Yann geslin Ina-grm Nicolas Esposito CNRS

CASPAR A Method to Represent Acousmatic Works Yann geslin Ina-grm Nicolas Esposito CNRS. CASPAR C ultural, A rtistic and S cientific knowledge for P reservation, A ccess and R etrieval. Areas.

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CASPAR A Method to Represent Acousmatic Works Yann geslin Ina-grm Nicolas Esposito CNRS

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  1. CASPARA Method to Represent Acousmatic WorksYann geslin Ina-grmNicolas Esposito CNRS

  2. CASPARCultural, Artistic and Scientific knowledge for Preservation, Access and Retrieval

  3. Areas CASPARCultural, Artistic and Scientific knowledge for Preservation, Access and Retrieval Performing Art Cultural Heritage Sciences

  4. The Performing Art Area • The example of Contemporary Music :- Persistent Art tape music- Written Art live electronic music (+instrument)- Interdisciplinary Art (opera, danse, video)- Interactive Art (installations, CD-rom games, networking)

  5. Music at INA/GRM: Acousmatic and non written music • Music composed solely by re-shaping sounds coming from other sources: natural sounds, samples, etc. • No scores, no mediations between the composer and her music: composition is based on the aesthetic perception of sounds, and not on a conceptual approach using scores. • Restitutions mix recorded music (and living or interactive performance -> see Ircam).

  6. Some aspects of olds supports : bad state, obsolescence, etc.

  7. Some aspects of olds supports : where do you find it? Is your data base ok?

  8. Original final work

  9. Original final work and declinations

  10. Original final work and declinations Publications(cd, web) concerts

  11. Master and related sources Original final work and declinations Publications(cd, web) concerts

  12. Master and related sources Original final work New versions and declinations Publications(cd, web) concerts

  13. Sketches materials Master and related sources Original final work New versions and declinations Publications(cd, web) concerts

  14. Sketches materials Master and related sources Original final work New versions and declinations documentation Publications(cd, web) concerts

  15. Sketches materials Master and related sources Composer Original final work New versions Musicologist and declinations documentation Producer Publications(cd, web) concerts Publisher

  16. The Method • A file-based method • Because we have files aboutacousmatic works • Not a generic method • Three mains steps • Focus on files • Focus on the production process • Focus on OAIS

  17. Focus on Files • Collecting files • Selecting files • Defining levels of informationand classifying files • Main creation flow • Additional information • Documents • Rights

  18. Focus on the Prod. Process • Modeling the maincreation flow • Adding more information • Adding documents • Adding rights • Collecting informationneeded by an OAIS system

  19. Distance Liquide (Files) • Some documents were producedby Yann • Some documents were missing • It was hard to know the statusof some files • Levels of information • Main creation flow • Additional information • Documents • Rights

  20. Distance Liquide(Prod. Process) • Good CIDOC-CRMrepresentation • Harder using FRBRoo

  21. Future Work • More documents (e.g. reviews) • More work on rights • More precision on versions • More acousmatic works to get ageneric model • Define how it can be handle by an OAIS system and by the Caspar project

  22. Some of the CD products

  23. CASPARCultural, Artistic and Scientific knowledge for Preservation, Access and Retrieval

  24. Some aspects of olds supports : bad state, obsolescence, etc.

  25. Some aspects of olds supports : where do you find it? Is your data base ok?

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