{"title":"The Platformization of the Sound Archive","authors":"Miguel A. García","doi":"10.34096/oidopensante.v11n2.13328","DOIUrl":null,"url":null,"abstract":"Sound archives are changing. In fact, they started changing in the decade of the 1980s with the impact that digitalization had on recordings, archiving management, and research. Since then, there has been a progressive digitalization of sound collections housed in institutional, commercial, and personal archives. However, digital inscription of sound does not explain everything, as it does not account by itself for the current modes of storing, distributing, and listening to sound recordings. Digital inscription is only a precondition of a new moment in the transformation of archives: its online access, i.e., entering an environment which is dominated by the use of files, hyperlinks, streaming services, virtual storing, software, tutorials, new listening devices, and many other resources and innovations –among which we can see the emergence of the controversial artificial intelligence.","PeriodicalId":40885,"journal":{"name":"Oido Pensante","volume":"42 1","pages":"0"},"PeriodicalIF":0.3000,"publicationDate":"2023-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Oido Pensante","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.34096/oidopensante.v11n2.13328","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
Sound archives are changing. In fact, they started changing in the decade of the 1980s with the impact that digitalization had on recordings, archiving management, and research. Since then, there has been a progressive digitalization of sound collections housed in institutional, commercial, and personal archives. However, digital inscription of sound does not explain everything, as it does not account by itself for the current modes of storing, distributing, and listening to sound recordings. Digital inscription is only a precondition of a new moment in the transformation of archives: its online access, i.e., entering an environment which is dominated by the use of files, hyperlinks, streaming services, virtual storing, software, tutorials, new listening devices, and many other resources and innovations –among which we can see the emergence of the controversial artificial intelligence.
期刊介绍:
The aim of El oído pensante is to promote the discussion of theoretical, methodological and epistemological dilemmas faced by different kinds of music research. Unpublished articles in Spanish, Portuguese and English dealing with ethnomusicology, anthropology, sociology of music, popular music studies, musicology, and cultural studies, among other disciplines, are received. Papers should be original and those which produce criticism of theoretical paradigms, methodology, transdisciplinarity, knowledge validation, research ideologies, representation resources, narrative strategies, ethic and esthetic research perspectives, relationships during the fieldwork experience, social and political research significance, the researcher’s perceptive and conceptual baggage, new technologies and their ways of spreading and sharing knowledge, etc., will be welcome. Since the intention of the journal is to promote critical thought aimed to dismantle usual concepts and to open new approaches, papers restricted to analyzing particular cases will not be accepted. However, it is expected that authors bring some cases into the text in order to support their main ideas. Articles and reviews are received.