ArtDoc - An Experimental Archive and a Tool for Artistic Research

  • Henrik Frisk
Conference paper
Part of the Lecture Notes in Computer Science book series (LNCS, volume 11265)


ArtDoc is an experimental archive primarily for documenting artistic practice. One of the ambitions is to address the question of how artistic practice may be documented in a manner that makes visible the processes in action. ArtDoc has its roots in research and artistic practice that began over ten years ago and preliminary tests shows it to be a useful complement to other means to document musical works and artistic processes. The particular case of open form works, works that in some respect are negotiated between the different agents involved, such as composers, musicians and members of the audience was a point of departure and has guided the development to a significant degree. The underlying structure of documentation classes is presented and some of the design choices are discussed. ArtDoc is still under construction but a working proof of concept will be released in 2018.


Electro acoustic music Artistic research Music representation Cooperative music networks 



With acknowledgments to my colleague Jamie Bullock and the other contributors of the Integra project.


  1. 1.
    About the research catalogue web resource (2017). Accessed 15 May 2017
  2. 2.
    Bachimont, B., et al.: Preserving interactive digital music: a report on the MUSTICA research initiative. In: Proceedings of Third International Conference on Web Delivering of Music. Web Delivering of Music. WEDELMUSIC (2003)Google Scholar
  3. 3.
    Biggs, M., Karlsson, H., (eds).: The Routledge Companion to Research in the Arts. Routledge, London (2010)Google Scholar
  4. 4.
    Bullock, J., Coccioli, C.: Modernising musical works involving yamaha DX-based synthesis: a case study. Organised Sound 11(3), 221–227 (2006)CrossRefGoogle Scholar
  5. 5.
    Bullock, J., Frisk, H.: libIntegra: a system for software-independent multimedia module description and storage. In: Proceedings of the International Computer Music Conference 2007, Copenhagen, Denmark (2007)Google Scholar
  6. 6.
    Bullock, J., Frisk, H.: An object oriented model for the representation of temporal data in the integra framework. In: Proceedings of the International Computer Music Conference 2009. ICMA (2009)Google Scholar
  7. 7.
    Bullock, J., Frisk, H., Coccioli, L.: Sustainability of ‘live electronic’ music in the integra project. In: The 14th IEEE Mediterranean Electrotechnical Conference Proceedings, Ajaccio, Corsica (2008)Google Scholar
  8. 8.
    Cuervo, A.P.: Preserving the electroacoustic music legacy: a case study of the sal-mar construction at the university of illinois. Notes 68(1), 33–47 (2011)CrossRefGoogle Scholar
  9. 9.
    Douglas, J.: General Study 03 Final Report : Preserving Interactive Digital Music. Technical report, The MUSTICA Initiative (2007)Google Scholar
  10. 10.
    Eco, U.: The Open Work. Hutchinson Radius, London (1968). (English translation published in 1989)Google Scholar
  11. 11.
    Folkestad, G., Lindström, B., Hargreaves, D.J.: Young people’s music in the digital age: a study of computer based creative music making. Res. Stud. Music Educ. 9(1), 1–12 (1997)CrossRefGoogle Scholar
  12. 12.
    Frisk, H.: Improvisation, Computers and Interaction: Rethinking Human-Computer Interaction Through Music. Ph.D. thesis, Faculty of Fine and Performing Arts, Lund University (2008)Google Scholar
  13. 13.
    Frisk, H.: The Archive that Writes Itself. SMC (2018, in print)Google Scholar
  14. 14.
    Frisk, H., Östersjö, S.: Negotiating the musical work. an empirical study. In: Proceedings of the International Computer Music Conference 2006, pp. 242–249. ICMA, San Francisco, California. Computer Music Association (2006)Google Scholar
  15. 15.
    Frisk, H., Östersjö, S.: Negotiating the musical work. an empirical study on the inter-relation between composition, interpretation and performance. In: Proceedings of EMS -06, Beijing. Terminology and Translation. Electroacoustic Music Studies, EMS (2006)Google Scholar
  16. 16.
    Frisk, H., Coessens, C., Östersjö, S.: Repetition, resonance and discernment. In: Crispin, D., Gilmore, B. (Eds.) Artistic Experimentation in Music: Orpheus Institute Series, Gent (2014)Google Scholar
  17. 17.
    Östersjö, S.: SHUT UP ‘N’ PLAY! Negotiating the Musical Work. Ph.D. thesis, Malmö Academy of Music, Lund University (2008)Google Scholar
  18. 18.
    Roeder, J.: Authenticity of Digital Music: Key Insights from Interviews in the MUSTICA Project. Technical report, The MUSTICA Initiative (2006)Google Scholar
  19. 19.
  20. 20.

Copyright information

© Springer Nature Switzerland AG 2018

Authors and Affiliations

  1. 1.Royal College of MusicStockholmSweden

Personalised recommendations