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Faire valoir un patrimoine. Comment une école polytechnique investit la numérisation de la collection audiovisuelle d'un festival musical

Abstract : The Cultural heritage is now considered as a source of added value and, consequently, has become the subject of numerous digitization projects. These projects originate both from public research institutions and from private companies and they explicitly aim at the development of knowledge products for specific markets. However, despite guidelines found here and there, we still know almost nothing of the concrete ways in which what is presented as a new paradigm will be deployed. Does the enactment of techno-patrimonial valuation generate transformations in the definition of what counts as heritage? In the framework of Science and Technology Studies, my analysis is based on ethnographical work in the Montreux Jazz Digital Project led by the Lausanne Federal Institute of Technology (EPFL). This project is truly a laboratory for the enactment of the paradigm of techno-patrimonial valuation; its first aim is to impulse the development of knowledge products through the reformulation of the collection of audio-visual recordings produced in the framework of the Montreux Jazz Festival into a collection of 46 000 musical pieces which are deployed on screens from which their future is oriented. My analysis shows that this digitization process continues the long history of technologies of writing and accumulation. It renews more than it inaugurates the relationship between technology and heritage. The visibility of heritage and its possible transfer to technological realizations become the horizon of collective action. The modalities by which visibility is transferred, among which demonstration is central, act upon all the stages of the digitization process, even before the operations of numerical conservation. Finally, this study shows that patrimonial value may become wholly referred to its potential for innovation and visibility transfer; this development entails changes in our relationship to the past, which is reinterpreted in the light of a continuous technological present in which notions of conservation, transmission and memory are difficult to accommodate.
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Alexandre Camus. Faire valoir un patrimoine. Comment une école polytechnique investit la numérisation de la collection audiovisuelle d'un festival musical. Sociologie. Université Paris sciences et lettres; Université de Lausanne. Faculté des sciences sociales et politiques, 2019. Français. ⟨NNT : 2019PSLEM064⟩. ⟨tel-02518524⟩



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