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                <text>Extrait de l'argument de la journée d'étude : "Plus que tout autre créateur du XXème siècle, Iannis Xenakis incarne cette double capacité créative de musicien et d’architecte. Après son texte fondateur Notes vers un geste électronique (1958), ses Polytopes, grands précurseurs du New Media Art, sont la preuve de sa vision décloisonnée avant l’heure.&#13;
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                <text>Centre Iannis Xenakis. Archive numérique uniquement.</text>
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                <text>Université de Rouen</text>
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                <text>CDMC</text>
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          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="42410">
                <text>&lt;a href="http://creativecommons.org/licenses/by-sa/4.0/" rel="license"&gt;&lt;img style="border-width: 0;" src="https://i.creativecommons.org/l/by-sa/4.0/88x31.png" alt="Licence Creative Commons" /&gt;&lt;/a&gt;&lt;br /&gt;Ce(tte) &amp;oelig;uvre est mise &amp;agrave; disposition selon les termes de la &lt;a href="http://creativecommons.org/licenses/by-sa/4.0/" rel="license"&gt;Licence Creative Commons Attribution - Partage dans les M&amp;ecirc;mes Conditions 4.0 International&lt;/a&gt;</text>
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          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="42411">
                <text>Un fichier numérique au format Pdf</text>
              </elementText>
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            <description>A language of the resource</description>
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                <text>fr</text>
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            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="42413">
                <text>text</text>
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          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)</text>
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                <text>Rouen, France</text>
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          <element elementId="43">
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            <description>An unambiguous reference to the resource within a given context</description>
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        <name>Polytope de Cluny</name>
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        <name>Polytope de Montréal</name>
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      <tag tagId="56">
        <name>Polytope de Persepolis</name>
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        <name>Polytope of Mycenae</name>
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        <name>Polytopes</name>
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              <description>A name given to the resource</description>
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              <description>An account of the resource</description>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1777">
                  <text>Tous droits réservés.</text>
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            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
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      <name>notated music</name>
      <description>Ressources telles que des partitions musicales (éditées ou non) manuscrites, ou tapuscrites mais aussi les partitions graphiques (telles que les pages UPIC).</description>
      <elementContainer>
        <element elementId="163">
          <name>Form</name>
          <description>Champ Form du portail de la musique contemporaine</description>
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              <text>document imprimé</text>
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        <element elementId="116">
          <name>Notes</name>
          <description>Outre correspondre à la zone 7 du pavé ISBD (zone de note) ce champ intègre toute information supplémentaire qui apporte des précisions de catalogage. Les notes servent à préciser les informations entre crochets dans les autres champs :&#13;
ex : La date est déduite d'après le contenu du document.</description>
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            <elementText elementTextId="42384">
              <text>La date et le titre du document ont été précisés par l'auteure dans un échange de courriels du 17 juillet 2017.</text>
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          </elementTextContainer>
        </element>
        <element elementId="164">
          <name>genre</name>
          <description>La liste des valeurs légales du conteneur &lt;genre&gt; reconnues par le Portail est la suivante. Les termes doivent être mentionnés à l'identique (casse, espaces, langue). Aucune sous-chaîne n'est légale. Les caractères doivent se conformer à l'ASCII et ne pas comprendre les caractères accolés (à la place d'"œ" il faut utiliser "oe") ou d'apostrophe à la française (utiliser l'apostrophe droite).</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="42365">
                <text>Kosc, Christelle. Compositeure</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Musique -- 1945-.... </text>
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              <elementText elementTextId="42367">
                <text>Musique électroacoustique </text>
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              <elementText elementTextId="42368">
                <text>Composition musicale assistée par ordinateur</text>
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              <elementText elementTextId="42369">
                <text>Synthèse sonore</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="42370">
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            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="42371">
                <text>Centre Iannis Xenakis</text>
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          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="42372">
                <text>1987</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="42373">
                <text>Les Ateliers UPIC</text>
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                <text>Université de Lille 3</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="42375">
                <text>&lt;a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"&gt;&lt;img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licence Creative Commons" /&gt;&lt;/a&gt;&lt;br /&gt;Ce(tte) &amp;oelig;uvre est mise &amp;agrave; disposition selon les termes de la &lt;a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"&gt;Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="42376">
                <text>A4. 5 p.</text>
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              <elementText elementTextId="42377">
                <text>Un fichier numérique au format pdf. </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="42378">
                <text>Fr</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>notated music</text>
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            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="42380">
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              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="42381">
                <text>Paris</text>
              </elementText>
              <elementText elementTextId="42382">
                <text>Lille</text>
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        </elementContainer>
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        <name>Pages UPIC</name>
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      <tag tagId="213">
        <name>Partition graphique</name>
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      <tag tagId="86">
        <name>UPIC</name>
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          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="1498">
                  <text>Manuscrits, tapuscrits, ébauches, brouillons</text>
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            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>Ebauches, brouillons, notes dactylographiées qui participent des processus de création d'une oeuvre ou d'un projet. Ces archives peuvent être de la main de Xenakis, ou de tout autre compositeur ayant collaboré avec les Ateliers UPIC, le CCMIX ou le CIX. Ces documents n'englobent pas la correspondance.</text>
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              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
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                  <text>http://www.nakala.fr/collection/11280/6d79de81</text>
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                  <text>http://www.nakala.fr/collection/11280/113a5596</text>
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                  <text>http://www.nakala.fr/collection/11280/2db521a0</text>
                </elementText>
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      <description>Une ressource qui est principalement constituée de mots destinés à être lus : livres, lettres, journaux, pièce d'archives, tapuscrits, fax, mail, manuscrits.</description>
      <elementContainer>
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          <name>Form</name>
          <description>Champ Form du portail de la musique contemporaine</description>
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              <text>document imprimé</text>
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        </element>
        <element elementId="164">
          <name>genre</name>
          <description>La liste des valeurs légales du conteneur &lt;genre&gt; reconnues par le Portail est la suivante. Les termes doivent être mentionnés à l'identique (casse, espaces, langue). Aucune sous-chaîne n'est légale. Les caractères doivent se conformer à l'ASCII et ne pas comprendre les caractères accolés (à la place d'"œ" il faut utiliser "oe") ou d'apostrophe à la française (utiliser l'apostrophe droite).</description>
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        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>[Bilan de la tournée 1988 des Ateliers UPIC : Californie, Mexique, Canada]</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="42172">
                <text>Després, Alain</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="42173">
                <text>Nelson, Peter</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="42174">
                <text>Composition musicale assistée par ordinateur</text>
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                <text>Tournées (arts du spectacle)</text>
              </elementText>
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                <text>Concerts</text>
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                <text>Ateliers d'artistes</text>
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                <text>Synthèse sonore</text>
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          <element elementId="41">
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                <text>Dossier documentaire reprenant les étapes de la tournée américaine des Ateliers UPIC : la réception très favorable des Ateliers à Mexico (p. 2-5) qui donnera lieu à l'installation d'une UPIC permanente à l'IFAL (institut Français d'Amérique latine) ; Les programmes des concerts et ateliers organisés à l'université de San Diego (Californie, 10-21 octobre 1988), de Banff (7-18 novembre 1988), de Montréal (21-26 novembre 1988), de York (28 novembre - 2 décembre 1988), de Toronto (5-11 décembre 1988) ainsi que des extraits de presse. </text>
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                <text>Centre Iannis Xenakis 2651, Cote 200</text>
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            <name>Date</name>
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              <elementText elementTextId="42183">
                <text>Les Ateliers UPIC</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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          <name>Form</name>
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          <name>genre</name>
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          <description>Outre correspondre à la zone 7 du pavé ISBD (zone de note) ce champ intègre toute information supplémentaire qui apporte des précisions de catalogage. Les notes servent à préciser les informations entre crochets dans les autres champs :&#13;
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              <text>[La date est déduite à partir des éléments de la préface écrite par Iannis Xenakis]</text>
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                <text>Les Cahiers de l'arm n°4 : Informatique musicale et pédagogie autour de l'UPIC</text>
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                <text>Després, Alain</text>
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          <element elementId="37">
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            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="42005">
                <text>Xenakis, Iannis (1922-2001). Préfacier</text>
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              <elementText elementTextId="42006">
                <text>Lonchampt, Jacques (1925-2014). Critique musical.</text>
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              <elementText elementTextId="42007">
                <text>Fulin, Angélique</text>
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              <elementText elementTextId="42008">
                <text>Estrada, Julio (1943-....). Compositeur</text>
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              <elementText elementTextId="42009">
                <text>Eloy, Jean-Claude. Compositeur</text>
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              <elementText elementTextId="42010">
                <text>Bernard, Pierre. Compositeur</text>
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          <element elementId="49">
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            <description>The topic of the resource</description>
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                <text>Composition musicale assistée par ordinateur</text>
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              <elementText elementTextId="42012">
                <text>Synthèse sonore</text>
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              <elementText elementTextId="42013">
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                <text>Apprentissage par la découverte</text>
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          <element elementId="41">
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&#13;
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              <elementText elementTextId="42018">
                <text>Centre Iannis Xenakis 2558, cote 200</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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          </element>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="42023">
                <text>1 vol. (35 p. ) ; 21x29,7 cm ; ill. en noir et blanc </text>
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          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="42024">
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              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>http://www.centre-iannis-xenakis.org/items/show/4112</text>
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        <name>Eua-on</name>
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      <tag tagId="197">
        <name>Experimentation Ecole Maternelle</name>
      </tag>
      <tag tagId="203">
        <name>Groupe de non-voyants</name>
      </tag>
      <tag tagId="199">
        <name>lignes</name>
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      <tag tagId="66">
        <name>Mycenae Alpha</name>
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      <tag tagId="200">
        <name>paysages</name>
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      <tag tagId="204">
        <name>pédagogie musicale</name>
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      <tag tagId="198">
        <name>Points</name>
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          <description>Length of time involved (seconds, minutes, hours, days, class periods, etc.)</description>
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            <description>A name given to the resource</description>
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              <elementText elementTextId="41482">
                <text>Accueil à l'ENSA Normandie</text>
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              <elementText elementTextId="41483">
                <text>Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture</text>
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          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="41484">
                <text>Fendrich, Fabienne. Directrice de l'ENSA Normandie</text>
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              <elementText elementTextId="41485">
                <text>École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)</text>
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            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="41486">
                <text>Féménias, Damien. Représentant de 'Université de Rouen</text>
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              <elementText elementTextId="41487">
                <text>Biard, Michel (1957-....). Représentant du GRHis</text>
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              <elementText elementTextId="41488">
                <text>Méfano, Paul (1937-.... ). Président du Centre Iannis Xenakis</text>
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              <elementText elementTextId="41489">
                <text>Villeval, Jean Louis. Vice-président du Centre Iannis Xenakis</text>
              </elementText>
              <elementText elementTextId="41490">
                <text>Kanach, Sharon (1957-...). Vice-présidente du Centre Iannis Xenakis</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Congrès et conférences - Architecture -- 20e siècle</text>
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                <text>Congrès et conférences - Musicologie -- 20e siècle</text>
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              <elementText elementTextId="41493">
                <text>Continu (philosophie) </text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="41494">
                <text>Un fichier numérique uniquement</text>
              </elementText>
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          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="41495">
                <text>2015-11-03</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="41496">
                <text>Centre Iannis Xenakis</text>
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              <elementText elementTextId="41497">
                <text>École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)</text>
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              <elementText elementTextId="41498">
                <text>Université de Rouen</text>
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              <elementText elementTextId="41499">
                <text>European University of Cyprus</text>
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              <elementText elementTextId="41500">
                <text>University of Cyprus</text>
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            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41501">
                <text>&lt;a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"&gt;&lt;img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licence Creative Commons" /&gt;&lt;/a&gt;&lt;br /&gt;Ce(tte) &amp;oelig;uvre est mise &amp;agrave; disposition selon les termes de la &lt;a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"&gt;Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International&lt;/a&gt;</text>
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          <element elementId="44">
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            <description>A language of the resource</description>
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              <elementText elementTextId="41506">
                <text>en</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>[Table ronde de la première journée du colloque]</text>
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              <elementText elementTextId="41459">
                <text>École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41464">
                <text>2015-11-03</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="41465">
                <text>Centre Iannis Xenakis</text>
              </elementText>
              <elementText elementTextId="41466">
                <text>École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)</text>
              </elementText>
              <elementText elementTextId="41467">
                <text>Université de Rouen</text>
              </elementText>
              <elementText elementTextId="41468">
                <text>European University of Cyprus</text>
              </elementText>
              <elementText elementTextId="41469">
                <text>University of Cyprus</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41470">
                <text>&lt;a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"&gt;&lt;img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licence Creative Commons" /&gt;&lt;/a&gt;&lt;br /&gt;Ce(tte) &amp;oelig;uvre est mise &amp;agrave; disposition selon les termes de la &lt;a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"&gt;Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41471">
                <text>Fichier vidéo numérique, .mp4</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41472">
                <text>fr</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41473">
                <text>Castanet, Pierre Albert (1956-....)</text>
              </elementText>
              <elementText elementTextId="41474">
                <text>Vaggione, Horacio (1943-....). Intervenant</text>
              </elementText>
              <elementText elementTextId="41475">
                <text>Lieberman, David. Intervenant</text>
              </elementText>
              <elementText elementTextId="41476">
                <text>Kanach, Sharon (1957-....). Intervenant</text>
              </elementText>
              <elementText elementTextId="41477">
                <text>Estrada, Julio (1943-....). Intervenant</text>
              </elementText>
              <elementText elementTextId="41478">
                <text>Criton, Pascale (1954-....). Intervenant</text>
              </elementText>
              <elementText elementTextId="41479">
                <text>Chatzichristou, Christakis. Intervenant</text>
              </elementText>
              <elementText elementTextId="41480">
                <text>Hollard, Arnaud. Intervenant</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="41517">
                <text>http://www.centre-iannis-xenakis.org/items/show/4091</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="96">
        <name>Architecture</name>
      </tag>
      <tag tagId="95">
        <name>Continuum</name>
      </tag>
      <tag tagId="136">
        <name>Musique</name>
      </tag>
      <tag tagId="100">
        <name>Xenakis</name>
      </tag>
    </tagContainer>
  </item>
  <item itemId="4090" public="1" featured="0">
    <fileContainer>
      <file fileId="1403">
        <src>https://www.centre-iannis-xenakis.org/files/original/0456fd654f7ca30551a3e3e062dbed58.mp4</src>
        <authentication>138cc0fd0ffc18093b325697b99c8c7d</authentication>
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          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1556">
                  <text>Supports vidéos</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1557">
                  <text>Images animées : documentaires vidéo, reportages, témoignages.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="42518">
                  <text>http://www.nakala.fr/collection/11280/c21b4e9f</text>
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              </elementTextContainer>
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    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41436">
                <text>Continuums granulaires</text>
              </elementText>
              <elementText elementTextId="41437">
                <text>Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41438">
                <text>Vaggione, Horacio (1943-....)</text>
              </elementText>
              <elementText elementTextId="41439">
                <text>École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41440">
                <text>Castanet, Pierre Albert (1956-....). Modérateur</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41441">
                <text>Congrès et conférences - Architecture -- 20e siècle</text>
              </elementText>
              <elementText elementTextId="41442">
                <text>Congrès et conférences - Musicologie -- 20e siècle</text>
              </elementText>
              <elementText elementTextId="41443">
                <text>Continu (philosophie) </text>
              </elementText>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41444">
                <text>Dans cette présentation, je vais tâcher de résumer quelques idées développées au fil des&#13;
années, à partir de mon travail en tant que compositeur, concernant une approche multiéchelle&#13;
des organisations musicales, en les considérant en tant qu’ensembles stratifiés,&#13;
fortement imbriqués, composés de multiples niveaux de grandeur temporelle (entre le macro&#13;
et le microtemps), se manifestant dans une situation d’interaction généralisée. Ces niveaux,&#13;
ces échelles temporelles ne se présentent pas comme des instances d’une hiérarchie prédéfinie&#13;
dont on pourrait relever avec pertinence une cartographie : bien au contraire, leur définition&#13;
fait partie de ce qui est à composer.&#13;
Il sera question ensuite de dégager un concept d’émergence (de singularité, de saillance) qui&#13;
se trouverait en phase avec une perspective multi-échelle. J’avancerai alors l’idée qu’une&#13;
approche granulaire (approche que je considère comme étant à la fois une « thèse » et une&#13;
« sensibilité ») est fertile dans le domaine musical non seulement parce qu’elle postule un&#13;
nouveau paradigme de description du signal sonore, mais parce que cette description peut être&#13;
traitée dans le cadre d’un transfert catégoriel du niveau du signal vers le niveau&#13;
symbolique/opératoire, ce dernier étant identifié comme celui propre à la composition&#13;
musicale (domaine qui ne saurait être naturalisé, c’est-à-dire réduit à une dimension purement&#13;
acoustique).&#13;
Cela étant le cas, il s’agira aussi de veiller à ne pas donner à une échelle temporelle&#13;
quelconque un statut ontologique fondateur (ou même privilégié) qui ne serait que la&#13;
manifestation d’un réductionnisme qui viendrait aplatir ou homogénéiser la richesse des&#13;
significations (morphologiques) musicales. C’est cette « absence positive de fondement » qui&#13;
signale, précisément, le caractère opératoire des catégories dont il sera ici question (en incluant&#13;
le thème crucial de la dualité discret-continu).</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="41445">
                <text>Un fichier numérique uniquement</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41446">
                <text>2015-11-03</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="41447">
                <text>Centre Iannis Xenakis</text>
              </elementText>
              <elementText elementTextId="41448">
                <text>École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)</text>
              </elementText>
              <elementText elementTextId="41449">
                <text>Université de Rouen</text>
              </elementText>
              <elementText elementTextId="41450">
                <text>European University of Cyprus</text>
              </elementText>
              <elementText elementTextId="41451">
                <text>University of Cyprus</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41452">
                <text>&lt;a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"&gt;&lt;img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licence Creative Commons" /&gt;&lt;/a&gt;&lt;br /&gt;Ce(tte) &amp;oelig;uvre est mise &amp;agrave; disposition selon les termes de la &lt;a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"&gt;Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41453">
                <text>Fichier vidéo numérique, .mp4</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41454">
                <text>fr</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41455">
                <text>moving image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="41516">
                <text>http://www.centre-iannis-xenakis.org/items/show/4090</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="135">
        <name>Discret-continu</name>
      </tag>
      <tag tagId="132">
        <name>Échelles</name>
      </tag>
      <tag tagId="133">
        <name>Émergence</name>
      </tag>
      <tag tagId="134">
        <name>Granularité</name>
      </tag>
      <tag tagId="113">
        <name>Morphologie</name>
      </tag>
    </tagContainer>
  </item>
  <item itemId="4089" public="1" featured="0">
    <fileContainer>
      <file fileId="1404">
        <src>https://www.centre-iannis-xenakis.org/files/original/18dc2fb2616ef38e1a774feb1db66c10.mp4</src>
        <authentication>c0337e4ab90005a8683f88151c3c13b9</authentication>
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    </fileContainer>
    <collection collectionId="29">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1556">
                  <text>Supports vidéos</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1557">
                  <text>Images animées : documentaires vidéo, reportages, témoignages.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="43">
              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
              <elementTextContainer>
                <elementText elementTextId="42518">
                  <text>http://www.nakala.fr/collection/11280/c21b4e9f</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="20">
      <name>Moving Image</name>
      <description>Toutes images de type vidéos, animations, reportages.</description>
      <elementContainer>
        <element elementId="11">
          <name>Duration</name>
          <description>Length of time involved (seconds, minutes, hours, days, class periods, etc.)</description>
          <elementTextContainer>
            <elementText elementTextId="41431">
              <text>59 minutes 19 seconds</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="116">
          <name>Notes</name>
          <description>Outre correspondre à la zone 7 du pavé ISBD (zone de note) ce champ intègre toute information supplémentaire qui apporte des précisions de catalogage. Les notes servent à préciser les informations entre crochets dans les autres champs :&#13;
ex : La date est déduite d'après le contenu du document.</description>
          <elementTextContainer>
            <elementText elementTextId="41507">
              <text>Précédé d'extraits musicaux de « Trans » et de « Objectiles » (2 guitaristes)</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41409">
                <text>Continuums, espaces-temps, transitivité &#13;
</text>
              </elementText>
              <elementText elementTextId="41410">
                <text>Colloque International : De Xenakis à nos jours : Le Continuum et son développement en musique et en architecture</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41411">
                <text>Criton, Pascale (1954-....). Conférencière</text>
              </elementText>
              <elementText elementTextId="41412">
                <text>École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41413">
                <text>Castanet, Pierre Albert (1956-....). Modérateur</text>
              </elementText>
              <elementText elementTextId="41414">
                <text>Lallement, Estelle. Guitariste</text>
              </elementText>
              <elementText elementTextId="41415">
                <text>Marques, Filipe. Guitariste</text>
              </elementText>
              <elementText elementTextId="41432">
                <text>Delhaye, Cyrille. Intervenant</text>
              </elementText>
              <elementText elementTextId="41433">
                <text>Ioakeim, Nikos. Intervenant</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41416">
                <text>Congrès et conférences - Architecture -- 20e siècle</text>
              </elementText>
              <elementText elementTextId="41417">
                <text>Congrès et conférences - Musicologie -- 20e siècle</text>
              </elementText>
              <elementText elementTextId="41418">
                <text>Continu (philosophie) </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41419">
                <text>Que le son résulte de sources matérielles ou qu’il soit généré par des machines, Xenakis met en valeur « l’engendrement de l’inengendré » et les potentialités transformatives à l’œuvre dans la musique. Le son est événement, énergie, matière en devenir. Le propre d’un espace-temps musical sera de donner consistance à des individuations sonores inouies (sans identité). A cet effet, diagrammes spatio-temporels, cribles et schèmes permettront de déterminer les modifications d’ensembles de variables et modeler les événements d’une plasticité dynamique. Au sein de cette physis active, loin de s’exclure, les pôles complémentaires du continu et du discontinu ne cessent de s’échanger, de varier leur mesure et leur distribution, renouvellant la composition des rapports selon des densités variables, transformations graduelles et imperceptibles, vitesses de modification.&#13;
Davantage que des continuités stables, c’est la transitivité que notre intérêt retient ici, la mise en contiguité de dimensions différentes, leurs zones d’indiscernabilité et les couplages fulgurants qui permettent de sortir des modèles linéaires, exclusifs ou limitatifs pour passer d’un milieu à un autre.&#13;
Nous distinguerons les continuums d’ordre (paramètres du son, qualités identifiées) et les continuums transitifs qui chevauchent les catégories et permettent des mises en relation non préétablies. En prenant appui sur mes travaux de recherche et des extraits d’œuvres, j’exposerai quelques situations de continuités transitives : sensorielles, gestuelles, spatiales.&#13;
</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="41420">
                <text>Un fichier numérique uniquement</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41421">
                <text>2015-11-03</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="41422">
                <text>Centre Iannis Xenakis</text>
              </elementText>
              <elementText elementTextId="41423">
                <text>École nationale supérieure d'architecture de Normandie (Darnétal, Seine-Maritime)</text>
              </elementText>
              <elementText elementTextId="41424">
                <text>Université de Rouen</text>
              </elementText>
              <elementText elementTextId="41425">
                <text>European University of Cyprus</text>
              </elementText>
              <elementText elementTextId="41426">
                <text>University of Cyprus</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41427">
                <text>&lt;a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"&gt;&lt;img style="border-width: 0;" src="https://i.creativecommons.org/l/by-nc-nd/4.0/88x31.png" alt="Licence Creative Commons" /&gt;&lt;/a&gt;&lt;br /&gt;Ce(tte) &amp;oelig;uvre est mise &amp;agrave; disposition selon les termes de la &lt;a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" rel="license"&gt;Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41428">
                <text>fr</text>
              </elementText>
              <elementText elementTextId="41429">
                <text>en</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41430">
                <text>moving image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41435">
                <text>Fichier vidéo numérique, .mp4</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
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&#13;
La recherche de nouvelles reponses théoriques implique ici une exigence : laisser en déhors les langages musicaux – ainsi que leurs codifications – pour nous rapprocher d’une substance essentielle en création musicale, la perception des fantasmes libres de l’imaginaire creatif. Ce domaine encourage l’interpretation des signaux envoyées par les sens, une expérience privée qui, dans le contexte présent, demande de ne pas aborder les aspects émmotionels et affectifs. Il est charactéristique du phénomène de perception que ses signaux ne soient seulement auditives mais qui se manifestent dans la mixture propre de la synesthésie, un aspect à prendre en considération si l’on accepte que la pauvreté qui charactérise nos descriptions auditives ne cesse de s’appuyer dans d’autres sens – clair, sombre,… lise, rugueux,… doux, picant… –. Pour mieux se rapprocher de l’imaginaire musical il faut, d’abord, saisir la façon de se mouvoir de sa matière – information essentielle qui permet l’adoption des rythmes de la synesthésie, puis, que même étant irréel l’imaginaire ses représentations sensorielles maintiennent une étroite relation avec la réalité par leur référence aux états physiques de la matière – gaz, liquide, magma, solide –. Mouvement et état matériel hypothétique deviennent un référant physique pour que l’interprétation sensorielle des fantasmes puisse mieux les convertir à la réalité. La conversión a par but que toute donnée sensorielle, auditive ou pas, trouve une équivalence arbitraire aussi bien que approximative à des données musicales. La saisie de l’information physique contenue dans les fantasmes peut provenir, parmis d’autres, de la narration verbale ou de l’enregistrement graphique de la vitesse de changement de chaque aspect dynamique décélé dans l’imaginaire. Ces données servent de base pour reussir leur conversion dans un macro-timbre vocal ou instrumental, équivalent à la synthèse de l’ensemble des composantes chrono-acoustiques de la matière de la musique – rythme, son et espace – dans des structures de type continu ou discontinu. Le macro-timbre est un corps musical simple ou riche en information qui réponds à la nécessité de rivaliser avec les synthèses produites par les technologies musicales modernes. </text>
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the space of exhibition&#13;
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edited and reduced to accomodate fine art&#13;
&#13;
Black Box&#13;
the space to facilitate&#13;
the space to make possible&#13;
expanded and diffused with performance&#13;
&#13;
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&#13;
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&#13;
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&#13;
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&#13;
&#13;
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La présente communication s’attache à établir une série de correspondances entre la façon dont Xenakis envisage la relation continu/ discontinu et certaines idées ou théories philosophiques, scientifiques et esthétiques qui ont marqué les années 1950-1980. Je commencerai par discuter les analogies qui existent entre la dualité continu-discontinu telle que la conçoit Xenakis et d’autres dualités : onde-corpuscule, saillance-prégnance (au sens de la théorie des catastrophes de René Thom), lisse-strié, Un-Multiple. Après avoir évoqué différents aspects d’une esthétique de la continuité, je conclurai en proposant de considérer la relation continu-discontinu comme une relation dissymétrique.  &#13;
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                <text>Le mot continuum est apparu régulièrement dans les travaux scientifiques au début des années 1920 (notamment dans le langage des physiciens) en tant qu’ensemble d’éléments disposés de telle manière que l’on puisse passer de l’un à l’autre de façon continue. D’où cette récupération par les théories relativistes de l’expression continuum espace-temps comme espace à quatre dimensions, dont la quatrième est le Temps. Depuis les recherches d’Edgar Varèse portant sur la dimension spatiale de l’art sonore, un pan de la musique savante du vingtième siècle a versé dans la conduite majeure de flux spatio-temporels pertinents. Dans ce sillage, chacun à leur manière et parmi tant d’autres compositeurs, Giacinto Scelsi ou Iannis Xenakis, György Ligeti ou Gérard Grisey… ont su mettre en œuvre cette idée d’immanence et de permanence d’état qui a légitimé la notion de continuité dans le repère de l’espace-temps. Dès lors, attachée à l’exemplification du système de connexité légué par Hugo Riemann, la musicologie, de déformations en métaphores poétiques, de métamorphoses en formalismes déduits, de contradictions en approximations feintes, a pu parler de continuums de hauteurs, d’intensités, de dynamiques, de durées, de tempi, de timbres, d’espaces… Appliquée principalement à la musique orchestrale « contemporaine », la communication du Professeur Pierre Albert Castanet portera sur les différents réseaux de ce concept connectif.</text>
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                <text>Parmi les nombreuses voies explorées par Xenakis, tant en musique qu’en architecture, la notion de continuum est centrale, liée aux sources de sa pensée autant qu’à sa recherche formelle – sans négliger, bien entendu, les nombreuses rencontres qui ont jalonné son parcours.&#13;
Dans le cadre de cette communication, nous nous intéresserons plus particulièrement aux continuités qu’il a cherché à établir de manière constante entre ses œuvres et les formes de la nature, tant sur le plan des idées (la mathématique étant leur terme commun) que sur le plan de la « création », afin, notamment, de mettre en évidence la place importante qu’occupent certaines de ses œuvres et autres travaux dans une compréhension renouvelée de l’environnement sonore au sens large.&#13;
Que ce soit à travers la référence constante aux forces de la terre et du ciel, dans son goût pour la création de ses œuvres en plein air, depuis le Parthénon jusqu’au parvis de Beaubourg, mêlant sons artificiels et sons naturels. ou encore au fil de sa recherche sur la synthèse granulaire, la recherche par Xenakis d’une continuité essentielle entre l’environnement et l’œuvre sonore renverse les catégories traditionnelles du son, du bruit et de la musique, et participe, au même titre qu’un Luigi Russolo, qu’un Olivier Messiaen ou qu’un Murray Schaffer, à une évolution de la pensée musicale, et, à un niveau plus général,  de sa place dans le monde des phénomènes sonores.&#13;
&#13;
Cette évolution nous semble aujourd’hui porter un certain nombre de fruits, qui déborde le domaine strict de l’œuvre musicale et de sa création « publique », à travers des travaux de mise en valeur sonore de territoires où se croisent de multiples approches, esthétique, écologique, sociale, dans des processus qui mêlent composition, participation, éducation, sensibilisation, expérimentation.&#13;
Nous prolongerons donc la mise en perspective historique et musicologique de la continuité entre l’œuvre sonore et le territoire sonore, par la présentation de travaux réalisés dans le cadre d’une recherche personnelle, largement nourrie des travaux de Xenakis, sur les multiples dimensions du sonore et du musical, qui sortent des auditoriums pour investir les territoires métropolitains, pour dialoguer avec leurs paysages, pour réactiver leurs mémoires, pour rééquilibrer leur environnement. Deux travaux seront plus particulièrement convoqués à titre d’illustration : tout d’abord, la création d’une installation sonore au Parco d’Arte Vivente, situé dans le quartier Mirafiori à Turin, cœur - en friche - de l’industrie italienne et de la culture ouvrière locale. ; puis dans le cadre de la conception d’un projet de revitalisation centre historique de Goussainville, village figé depuis quarante ans, quasi à l’abandon, car situé dans le périmètre des « nuisances fortes » de l’aéroport Roissy Charles de Gaulle. &#13;
Ces deux cas d’étude seront l’occasion de questionner ensemble la place du musical (symbolique, figuratif, mimétique, naturaliste, abstrait) dans la création des dispositifs sonores,  d’interroger leur statut (œuvre ? scénographie ? aménagement ?), leurs relations avec l’environnement, avec leur(s) public(s), et les conditions sociales, techniques, politiques de leur mise en œuvre. &#13;
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                <text>Congrès et conférences </text>
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                <text>Rouen (Seine-Maritime)</text>
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                <text>Le continuum traverse toutes sortes de disciplines et concerne de nombreux champs de r&amp;eacute;flexion. En plus des conqu&amp;ecirc;tes auxquelles on a pu assister dans les domaines du continuum de hauteurs, de rythme ou de timbre, ce concept peut aussi &amp;eacute;voquer tour &amp;agrave; tour : l&amp;rsquo;hybridation de plusieurs mat&amp;eacute;riaux ou techniques (image, instrument, paysage sonore, synth&amp;egrave;se analogique, num&amp;eacute;rique&amp;hellip;), de nouvelles lutheries, continuum des approches stylistiques, sociales&amp;hellip;). &lt;br /&gt;Pour les concerts &amp;eacute;lectroacoustiques pr&amp;eacute;vus lors du colloque &amp;agrave; Rouen, un appel d'oeuvres musicales a &amp;eacute;t&amp;eacute; r&amp;eacute;alis&amp;eacute;. Les cr&amp;eacute;ations s&amp;eacute;l&amp;eacute;ctionn&amp;eacute;es cotoient d'autres oeuvres de compositeurs s'inscrivant dans cette esth&amp;eacute;tique.</text>
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                <text>Estrada, Julio (1943-....)</text>
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                <text>Roads, Curtis</text>
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                <text>Centre Iannis Xenakis</text>
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                <text>Bourotte, Rodolphe. Responsable de programmation</text>
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                <text>Université de Rouen</text>
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                <text>Conservatoire à Rayonnement Régional de Rouen</text>
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                <text>http://www.centre-iannis-xenakis.org/items/show/4075</text>
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          </element>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41114">
                <text>&lt;a href="http://creativecommons.org/licenses/by-sa/4.0/" rel="license"&gt;&lt;img style="border-width: 0;" src="https://i.creativecommons.org/l/by-sa/4.0/88x31.png" alt="Licence Creative Commons" /&gt;&lt;/a&gt;&lt;br /&gt;Ce(tte) &amp;oelig;uvre est mise &amp;agrave; disposition selon les termes de la &lt;a href="http://creativecommons.org/licenses/by-sa/4.0/" rel="license"&gt;Licence Creative Commons Attribution - Partage dans les M&amp;ecirc;mes Conditions 4.0 International&lt;/a&gt;</text>
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        <name>Continuum</name>
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              <description>An account of the resource</description>
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                  <text>Toutes publications éphémères destinées à annoncer un évènement (affiches, programmes, notes de concert)</text>
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              <name>Identifier</name>
              <description>An unambiguous reference to the resource within a given context</description>
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                  <text>http://www.nakala.fr/collection/11280/21c9021a</text>
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              <text>conférence</text>
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                <text>Programme du colloque : Le continuum &amp; son développement en musique et en architecture</text>
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                <text>Congrès et conférences </text>
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                <text>Rouen (Seine-Maritime)</text>
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                <text>Chypre</text>
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            <description>An account of the resource</description>
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                <text>Depuis l’Antiquité et le Moyen Âge, transversalement à travers toutes les civilisations et les religions, la notion du continuum préoccupe les penseurs. Au début du XX° siècle, la théorie de la relativité a bouleversé notre vision du monde et le discours artistique.&#13;
Ce bouleversement correspond aussi aux avancées technologiques et à l’épuisement du modèle romantique. C’est vers le milieu du siècle dernier que les artistes se sont emparés à leur tour de ces nouvelles notions physiques et métaphysiques pour en faire un outil de création. Iannis Xenakis donne l’exemple, en musique (structures hors-temps/en- temps, granularité du son...) comme en architecture (surfaces réglées et architecture volumétrique, polytopes...).&#13;
Le continuum se trouve toujours, et plus que jamais aujourd’hui, au cœur de la pensée créatrice, donc des arts du XXI° siècle.&#13;
Ce colloque international se tiendra en deux étapes distinctes : en novembre 2015 en France et en juin 2016 à Chypre.&#13;
Pour cette partie en France, notre comité scientifique regroupe des représentants éminents de huit pays ; les intervenants choisis, originaires de douze pays, ouvriront assurément nos perspectives sur le sujet.&#13;
La publication des actes du colloque est prévue après le second volet chypriote de 2016.</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Centre Iannis Xenakis</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Centre Iannis Xenakis</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Université de Rouen</text>
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                <text>GRHis</text>
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                <text>Université de Chypre</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41078">
                <text>Fichier numérique, pdf.</text>
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            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
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                <text>fr</text>
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              <elementText elementTextId="41080">
                <text>en</text>
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            <description>The nature or genre of the resource</description>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="41113">
                <text>&lt;a href="http://creativecommons.org/licenses/by-sa/4.0/" rel="license"&gt;&lt;img style="border-width: 0;" src="https://i.creativecommons.org/l/by-sa/4.0/88x31.png" alt="Licence Creative Commons" /&gt;&lt;/a&gt;&lt;br /&gt;Ce(tte) &amp;oelig;uvre est mise &amp;agrave; disposition selon les termes de la &lt;a href="http://creativecommons.org/licenses/by-sa/4.0/" rel="license"&gt;Licence Creative Commons Attribution - Partage dans les M&amp;ecirc;mes Conditions 4.0 International&lt;/a&gt;</text>
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          <description>La liste des valeurs légales du conteneur &lt;genre&gt; reconnues par le Portail est la suivante. Les termes doivent être mentionnés à l'identique (casse, espaces, langue). Aucune sous-chaîne n'est légale. Les caractères doivent se conformer à l'ASCII et ne pas comprendre les caractères accolés (à la place d'"œ" il faut utiliser "oe") ou d'apostrophe à la française (utiliser l'apostrophe droite).</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Inventaire général des archives du Centre Iannis Xenakis</text>
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                <text>&lt;em&gt;General inventory of Centre Iannis Xenakis's collections&lt;/em&gt;</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Catalogues de bibliothèques</text>
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                <text>Musique -- 1945-....</text>
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                <text>Composition musicale assistée par ordinateur</text>
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                <text>Université de Rouen</text>
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                <text>Liste, class&amp;eacute;e par ordre alphab&amp;eacute;tique d'auteurs, des contenus disponibles dans les archives du CIX. L'inventaire fait &amp;agrave; la fois apparaitre les contenus catalogu&amp;eacute;s, num&amp;eacute;ris&amp;eacute;s et mis en ligne sur le site du CIX, les contenus uniquement num&amp;eacute;ris&amp;eacute;s, et les archives physiques (non catalogu&amp;eacute;es et non num&amp;eacute;ris&amp;eacute;es), class&amp;eacute;es dans le SCD des Lettres et Sciences Humaines de l'Universit&amp;eacute; de Rouen. Le degr&amp;eacute; de description n'atteint pas celui d'un catalogage fin : plusieurs items peuvent &amp;ecirc;tre regroup&amp;eacute;s dans une unit&amp;eacute; de documentaire. Cet inventaire permet de naviguer dans les collections physiques du fonds d'archive en facilitant le butinage.&lt;br /&gt;Les items dont les noms d'auteurs sont signal&amp;eacute;s en casse haute (Majuscules) ne sont pas catalogu&amp;eacute;s et sont hors ligne.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;</text>
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          <description>Nombre d'unités physiques de l'item conservées dans les archives du CIX</description>
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                <text>Enregistrement de l'oeuvre de musique &amp;eacute;lectroacoustique mixte &lt;em&gt;Le Fleuve du D&amp;eacute;sir III&lt;/em&gt;, compos&amp;eacute;e par Gerard Pape en 1994, pour bande UPIC et quatuor &amp;agrave; cordes (2 violons, alto et violoncelle).&lt;br /&gt;&lt;br /&gt;"&lt;em&gt;Le Fleuve&lt;/em&gt;, a &amp;eacute;t&amp;eacute; inspir&amp;eacute; par l'observation de diverses sortes de fluides qui am&amp;egrave;nent un imaginaire sonore : rivi&amp;egrave;res, eau qui bout dans une casserole ainsi que par un fluide mythologique utilis&amp;eacute; pour d&amp;eacute;crire la mont&amp;eacute;e et la descente du d&amp;eacute;sir humain. [...] La restitution de ce fleuve dans mon imaginaire musical se rapproche plut&amp;ocirc;t d'une "rivi&amp;egrave;re au son". [...]&lt;br /&gt;Cette pi&amp;egrave;ce est con&amp;ccedil;ue comme une &amp;eacute;volution dans le temps de diff&amp;eacute;rentes structures sonores. Elle est compos&amp;eacute;e par de multiples niveaux de perception structurelle. [...]&lt;br /&gt;Au niveau formel, la pi&amp;egrave;ce &amp;eacute;volue de l'ordre vers le d&amp;eacute;sordre, puis revient &amp;agrave; l'ordre." (Pape, Gerard.&amp;nbsp;&lt;em&gt;Xenakis, UPIC, Continuum Electroacoustic &amp;amp; Instrumental works from CCMIX Paris&lt;/em&gt;&lt;span&gt;, Mode Records,&amp;nbsp;&lt;/span&gt;&lt;span&gt;livret&amp;nbsp;p.53-54)&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;</text>
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                <text>"This inspiration for &lt;em&gt;Le Fleuve&lt;/em&gt; began with the observation of various kinds of fluids : rivers, water boiloing in a pan, and fluid of a different sort, what Freud called "libido", which is the mythological fluid that he used to describe the ebb and flow of human desire. My "river of desire" was [...] a river of sound that would flow as my musical imagination would require. [...]&lt;br /&gt;Thi spiece involves the evolution in time of diffrent sound structures. It is concieved on multiple levels of the perception of structure. [...]&lt;br /&gt;The macro-level of the piece is the level of order and disorder, but here I concieved the structure perceptually, not mathematically. On a formal level, the piece moves from order to disorder and back to order."&amp;nbsp;(Pape, Gerard. &lt;em&gt;Xenakis, UPIC, Continuum Electroacoustic &amp;amp; Instrumental works from CCMIX Paris&lt;/em&gt;, Mode Records, livret p.50-51)</text>
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                <text>The Arditti Quartet. Interprète</text>
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                <text>Terrugi, Daniel. Compositeur</text>
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                <text>Tous droits réservés.piste CD audio (00:09:54)</text>
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                <text>Enregistrement de l'oeuvre &amp;eacute;lectroacoustique&amp;nbsp;&lt;em&gt;Gestes de l'&amp;eacute;crit&lt;/em&gt;, compos&amp;eacute;e&amp;nbsp;par Daniel Terrugi en 1994 sur l'UPIC.&lt;br /&gt;&lt;br /&gt;"L'&amp;eacute;criture est un geste de communication, int&amp;eacute;rieure dans certains cas, superflue dans d'autres. L'outil dessine laborieusement les signes qui nou semm&amp;egrave;nent vers l'abstrait, prenant des formes et des chemins divers pour y parvenir.&amp;nbsp;&lt;br /&gt;Des gestes propres &amp;agrave; l'outil (UPIC) conditionnent la pens&amp;eacute;e entre l'intention et les phon&amp;egrave;mes. J'appelle phon&amp;egrave;mes les quelques 12 dessinns effectu&amp;eacute;s sur l'&amp;eacute;cran que j'ai ensuite d&amp;eacute;form&amp;eacute;s et modifi&amp;eacute;s pour les combiner dans les mots ; pr&amp;eacute;alable &amp;agrave; la musique. [...]&lt;br /&gt;Cette oeuvre est d&amp;eacute;di&amp;eacute;e &amp;agrave; tous ceux qu iont pass&amp;eacute; des heures, des jours et des semaines &amp;agrave; extraire de la musique de quelques lignes jet&amp;eacute;es sur un cadre. Ils auront r&amp;eacute;ussi ou pas, en tout cas je me suis &amp;eacute;norm&amp;eacute;ment amus&amp;eacute;." (Teruggi, Daniel&lt;span&gt;.&amp;nbsp;&lt;/span&gt;&lt;em&gt;Xenakis, UPIC, Continuum Electroacoustic &amp;amp; Instrumental works from CCMIX Paris&lt;/em&gt;&lt;span&gt;, Mode Records,&amp;nbsp;&lt;/span&gt;&lt;span&gt;livret&amp;nbsp;p.38)&lt;/span&gt;</text>
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                <text>"Writing is a gesture of communication, interior in certain cases, superfluous in others. The tool laboriously draws signs that lead towards the abstract, taking on forms and diverse paths get there.&lt;br /&gt;The gestures proper to the tool (the UPIC) condition thinking which finds an immediacy (relative) between intention an "phonemes" those some 12 drawings made on the screen that I subsequently deformed and modified to combine them into words; prior to music. [...]&lt;br /&gt;This work is dedicated to all those who have passed hours, days and weeks, extracting music from somelines thrown on a frame. They will have succeded or not; in any cas, I greatly enjoyed myself."&amp;nbsp;(Teruggi, Daniel.&amp;nbsp;&lt;em&gt;Xenakis, UPIC, Continuum Electroacoustic &amp;amp; Instrumental works from CCMIX Paris&lt;/em&gt;, Mode Records,&amp;nbsp;livret&amp;nbsp;p.37-38)</text>
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                <text>Musique électroacoustique mixte</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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            <name>Relation</name>
            <description>A related resource</description>
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              <description>A name given to the resource</description>
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    <itemType itemTypeId="18">
      <name>Still image</name>
      <description>Une image statique en deux dimensions : photographie, dessin, peinture, carte, plan, affiche. &#13;
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          <name>Notes</name>
          <description>Outre correspondre à la zone 7 du pavé ISBD (zone de note) ce champ intègre toute information supplémentaire qui apporte des précisions de catalogage. Les notes servent à préciser les informations entre crochets dans les autres champs :&#13;
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          <description>Nombre d'unités physiques de l'item conservées dans les archives du CIX</description>
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                <text>[Diatope 1979, Bonn diapo couleur : affiche en français]</text>
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                <text>Constructions transportables</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
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                <text>Affiche, en français, du spectacle multimédia "Diatope. Geste de son et de lumière", donné à Bonn en 1979, dans le pavillon architectural nomade de Iannis Xenakis installé en face du parvis de la gare. Dessin du Diatope et signature de Iannis Xenakis. Partenaire.</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="7588">
                <text>Rastoin, Bruno (1954-....). Photographe</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Centre Iannis Xenakis 3124, fonds Bruno Rastoin</text>
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                <text>Xenakis, Iannis (1922-2001). Illustrateur et architecte</text>
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                <text>Kulturamt der Stadt Bonn. Maîtrise d'ouvrage</text>
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              <elementText elementTextId="7593">
                <text>Westdeutscher Rundfunk. Partenaire</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>diapositive couleur ; 5x5 cm</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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                <text>fr</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="21557">
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              <description>A name given to the resource</description>
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              <description>An account of the resource</description>
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                <text>bande magnétique 1/4 inch (00:23:13)</text>
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            <description>A name given to the resource</description>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Musique -- 1945-.... -- Bandes audio</text>
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                <text>Musique instrumentale -- Bandes audio</text>
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              <elementText elementTextId="35023">
                <text>Orchestre, Musique d' -- Bandes audio</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="1643">
                <text>Enregistrement de l'oeuvre &lt;em&gt;Simple&lt;/em&gt; en concert.</text>
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Concerts les 5, 7, 8, 10, 18, 19 et 25 mai.&#13;
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Affiche collée au dos du document 2646 : promotion d'un concert la veille, au Centre culturel canadien de Paris.</text>
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