The documentation of electroacoustic and mixed musical works typically relies on a posteriori data collection. In this article, we argue that the preservation of musical works having technological components should be grounded in a thorough documentation of the creative process that accounts for both human and nonhuman agents of creation. The present research aims at providing a ground for documentation policies that account for the creative process and provide relevant information for performance, migration, and analysis. To do so, we analyzed secondary ethnographic data from a two-year creation and production process of a musical work having a focus on gesture following. Using grounded theory, we developed a conceptual framework with different levels of abstraction and consequent levels of transferability to other creative contexts. Finally, we propose several paths for grounding a subsequent documentation framework in this conceptual framework.
This paper builds on the investigation of data reuse in creative processes to discuss 'epistemic pluralism' and data 'alter-value' in research data management. Focussing on a specific non-designated community, we conducted semi-structured interviews with five artists in relation to five works. Data reuse is a critical component of all these works. The qualitative content analysis brings to light agonistic-antagonistic practices in data reuse and shows multiple deconstructions of the notion of data value as it is portrayed in the data reuse literature. Finally, the paper brings to light the benefits of including such practices in the conceptualization of data curation.
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