Beyond the patrimonialization of sound archives, let's take a look at a few typologies and possible solutions for conservation that would extend the creative gesture through transmission.
With boxes of magnetic tapes piling up, analog K7s, DATs or Minidisks straddling digital hard disks, our sound archives are trying to escape!
The independent sound, music and radio creation scenes are reaching an honorable age and looking back on their history.
From year to year, from hand to hand, the media have evolved, but have been put aside for another, for the next ear, for a potential rebroadcast or re-creation.
What conservation solutions?
For what purpose should this transmission take place?
Which institutions are capable of responding to this demand?
Making our sound archives heard: an exciting project to tell the story of these materials and keep the creative process going!

Guests
Nicolas Frize artist-composer - Studio du Temps-Maison centrale de Saint-Maur
Marie-Madeleine Mervant-Roux CNRS research director
Bastien Lambert sound designer and specialist in the work of Yann Paranthoën

Léna Rivière animation

5:30 pm - 7:00 pm
Producing radio creation: an impossible equation?

With one foot in artistic creation and the other in the media, radio creation, whose contours remain multiple and shifting, has yet to find an economic model to match its true worth.
Heard from the media, its production could be the prerogative of the public service or the responsibility of the territorial network of associative radio stations.
On the artistic side, institutions are struggling to find a support framework for these expressions of sound whose history and culture are little recognized, even though they have been listened to by millions of ears for decades.
With neither the music nor the cinema economy to draw on, even though their narrative forms can be similar, particularly since the podcast boom and the revival of serial writing, the question of how to produce this rich area of expression remains unresolved.
In France, the essential (but rare) grants or residencies and the recent experimentation of the Ministry of Culture have given rise to a prolific scene, but with a systemic lack of deployment, support and production structures.
Is there a history of radio creation outside Radio France?
What lessons can be drawn from the recent experience of the podcast sector?
What are the examples and experiences of our French-speaking and European neighbors?