dc.contributor.author | Boutard, Guillaume | |
dc.date.accessioned | 2019-06-25T12:36:11Z | |
dc.date.available | NO_RESTRICTION | fr |
dc.date.available | 2019-06-25T12:36:11Z | |
dc.date.issued | 2018 | |
dc.identifier.uri | http://hdl.handle.net/1866/22180 | |
dc.rights | Ce document est mis à disposition selon les termes de la Licence Creative Commons Attribution 3.0 non transposé / This work is licensed under a Creative Commons Attribution 3.0 Unported | |
dc.rights.uri | https://creativecommons.org/licenses/by/3.0/ | |
dc.title | Is there a digital archivist in the room? : the preservation of musique mixte | fr |
dc.type | Contribution à un congrès / Conference object | fr |
dc.contributor.affiliation | Université de Montréal. Faculté des arts et des sciences. École de bibliothéconomie et des sciences de l'information | fr |
dcterms.abstract | Over the past decade, the field of musique mixte/mixed music preservation grew separate from the digital preservation research (and practice) community. This paper presents
potential preservation directions for this repertoire, based
on current preservation frameworks, in relation to collaboration at the bit-level, logical-level, and conceptual-level
of preservation. It emphasizes the link to practice in a postdigital (i.e. after the ‘digital revolution’) preservation and
curation perspective, institutional policies, the implication
and redefinition of all stakeholders, and the use of documentation as mediation. | fr |
dcterms.language | eng | fr |
oaire.citationTitle | International Computer Music Conference (ICMC 2019) | |
oaire.citationConferencePlace | New York (N.Y.) | |
oaire.citationConferenceDate | 2019-06-16 - 2019-06-23 | |