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AFRINUM

AFRINUM – Cultures du numérique en Afrique de l’ouest : musique, jeunesse et médiations est un Projet de Recherche Collaborative financé par l’Agence Nationale de la Recherche (ANR).

AFRINUM vise à interroger, au prisme des musiques populaires, ce que les sociétés ouest-africaines font du numérique en termes de : transfert et production de savoirs, reconfigurations des rapports sociaux et médiations culturelles.
L’objectif est de contribuer à l’élaboration d’une réflexion originale sur l’articulation entre musique, technologie numérique et culture, et renouveler ainsi la question des sociétés innovantes dans les pays du Sud. AFRINUM entend ainsi participer au développement d’un nouveau champ de recherche encore faiblement exploré en France et dont la plupart des travaux sur la musique concernent pour l’instant le Nord.
Ce projet de 48 mois (nov. 2019-nov. 2023) rassemble une équipe internationale de 14 chercheurs, 2 post-docs et 10 étudiants (Master et Doctorat) répartis au sein de 3 partenaires : l’EHESS Paris (Centre G. Simmel) ; l’IRD Bamako (LMI MaCoTer) ; l’Université de Lethbridge (Canada).

Plus d’informations sur le carnet Hypothèses du projet : https://afrinum.hypotheses.org

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Liste des programmes

Amandine Pras introduces AFRINUM and the West African Audio Network partnerships. Paul Thompson characterizes three broad forms of learning methods in audio engineering and music production, namely formal, non-formal, and informal. Maël Peneau highlights how in Dakar, the only purpose of owning a mixing board is to give evidence of ...
In this panel, we highlight how the templates within DAWs shape the digital practices of West African studio professionals who have had limited exposure to the culture of analog recording and production. We then question the extent to which formal education institutions can incorporate the informal learning methods of trial-and-error, ...
Issa Traoré also known as Ken Lagare introduces this round table with a presentation of the evolution of his studio setup since he started engineering music productions in Bamako in 2008.
University of Lethbridge students Toby Bol, Kierian Turner, and Leonard Menon play short video montages that they edited from the video data that was collected by Amandine Pras and Emmanuelle Olivier in Bamako recording studios to underline the production processes of Malian audio engineers, beatmakers, arrangers, producers, and studio assistants.
Adam Patrick Bell designed a methodology to compare production process across studios and countries.
Emmanuelle Olivier underlines how the ethnomusicology of recording studios can teach us about musical creation, work sociology, and cultural mediations.
The Audio Recording Engineer Practicum of the Banff Centre mentored by James ClemensSeely hosts up to nine international participants to refine their technical and artistic skills in residencies from four to twelve months long. Dating back to a 1984 Sound Internship program founded by Theresa Leonard, it has evolved since then into ...
The recording studio represents a creative workplace with audio technology that deserves more attention from the Social Sciences and Humanities. Since the beginning of the 21st century, the traditional studio with large console desks and other expensive pieces of analog hardware has been largely replaced by Digital Audio Workstations (DAWs) that only require ...
 
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