Auswahl der wissenschaftlichen Literatur zum Thema „Bibliothèque nationale de France – Site François Mitterrand“

Depuis une quinzaine d’années, de grandes bibliothèques publiques se construisent un peu partout dans le monde, particulièrement en Amérique du Nord et en Europe de l’Ouest. Chez nos voisins américains, les villes de Chicago, Denver, New York, Phoenix et San Francisco se sont dotées de bibliothèques modernes et imposantes. Chez nos cousins français, une nouvelle Bibliothèque nationale de France a vu le jour en 1994, et le site François Mitterrand/Tolbiac a ouvert ses portes au public en 1996. Le projet de Grande bibliothèque du Québec (GBQ), qui a vu le jour en 1998 grâce à une loi votée par l’Assemblée nationale, s’inscrit dans ce contexte international. Le Québec, tout comme ces autres grandes villes, avait besoin de se doter d’une nouvelle institution culturelle dans le domaine du livre, de la lecture et de la documentation capable de relever les défis de la société du savoir. La Bibliothèque nationale du Québec (BNQ) et la Bibliothèque centrale de Montréal (BCM) éprouvaient des problèmes d’espace qui empêchaient une diffusion adéquate de la documentation. La Grande bibliothèque du Québec, en réunissant dans un nouvel édifice la collection de diffusion de la BNQ et la collection de la BCM, se voulait une solution à ces problèmes d’espace. Son mandat initial consistait à être une bibliothèque grand public et à fournir une vitrine privilégiée pour l’édition québécoise. En 2001, le projet de Grande bibliothèque du Québec a pris un tout autre tournant lorsque le gouvernement du Québec a décidé de fusionner en une seule et même institution la GBQ et la BNQ pour créer la nouvelle Bibliothèque nationale du Québec (NBNQ) dotée à la fois d’une mission de conservation et de diffusion. Dans ce contexte, quels doivent être le rôle et les priorités de services de cette nouvelle institution à l’égard des bibliothèques publiques du Québec ? Un bref retour sur l’historique du développement des bibliothèques publiques au Québec permettra d’obtenir un portrait de la situation actuelle des bibliothèques publiques québécoises et de constater que le réseau souffre d’un retard important. Pour consolider le réseau des bibliothèques publiques québécoises, la NBNQ doit assumer un rôle de leadership en plus d’offrir un accès le plus large possible à ses collections, de promouvoir la lecture et le livre et de constituer un centre d’expertise.

More than 20 million images are to be found at the Bibliothèque nationale de France (BnF), in the form of book and periodical illustrations, manuscript illuminations, maps and plans, prints, drawings and photographs. The editorial context of these images means they are to be found in all fourteen collections departments of the library. However, it is the department of Prints and Photographs that, thanks to legal deposit for published images instituted in the 17th century, possesses one of the richest iconographic collections in the world: prints, posters, drawings, photographs, postcards, etc. These images have to be consulted in the reading rooms of the library’s different collection departments, which are at five different sites (François-Mitterrand (Tolbiac), Richelieu, Arsenal, Opéra, Avignon - Maison Jean Vilar). The introduction of digitisation should bring many changes to this traditional means of research, although we are still only at the beginning, with a programme that started little more than ten years ago.

Organismes de recherche et journalistes doivent travailler ensemble pour une meilleure représentation des femmes dans les médias. Au-delà de l’équité, cette diversité est garante d’une meilleure science. Après deux reports, la cinquième édition des Journées Sciences et Médias : « Femmes scientifiques à la Une ! Comment améliorer la représentation des femmes scientifiques dans les médias ? » s’est enfin tenue le 29 janvier 2021 à la Bibliothèque nationale de France (BnF, site François Mitterand, Paris 13e). Cette journée était coorganisée par la BnF, l’Association des Journalistes Scientifiques de la Presse d’Information (AJSPI), la Société Française de Physique (SFP), la Société Chimique de France (SCF), la Société Informatique de France (SIF), la Société de Mathématiques Appliquées et Industrielles (SMAI) et la Société Mathématique de France (SMF).

Cet article est un compte-rendu du livre : Exposition Antonin Artaud, Bibliothèque nationale de France, Site François-Mitterrand, quai François Mauriac, du 7 novembre 2006 au 4 février 2007; & Catalogue : Antonin Artaud, sous la direction de Guillaume Fau, Paris, Bibliothèque nationale de France / Gallimard, 2006, 223 p.

Background information Sandscript was programmed with the web application « Tchat-scene », created by Carol-Ann Braun and the computer services company Timsoft (). It organizes a data-base of raw material into compositions and sequences allowing to build larger episodes. Multimedia resources are thus attributed to frames surrounding the chat space or to the chat space itself, thus “augmented” to include pre-written texts and graphics. Sandscript works best on a PC, with Internet Explorer. On Mac, use 0S9 and Internet Explorer. You will have to download a chat application for the site to function. Coded conversation General opinion would have it that chat space is a conversational space, facilitating rather than complicating communication. Writing in a chat space is very much influenced by the current ideological stance which sees collaborative spaces as places to make friends, speak freely, flip from one “channel” to another, link with a simple click into related themes, etc. Moreover, chat users tend to think of the chat screen in terms of a white page, an essentially neutral environment. A quick analysis of chat practices reveals a different scenario: chat spaces are highly coded typographical writing spaces, quick to exclude those who don’t abide by the technical and procedural constraints associated with computer reading/writing tools (Despret-Lonné, Gentès). Chatters seek to belong to a “community;” conversely, every chat has “codes” which restrict its membership to the like-minded. The patterns of exchange characteristic of chats are phatic (Jakobson), and their primary purpose is to get and maintain a social link. It is no surprise then that chatters should emphasize two skills: one related to rhetorical ingenuity, the other to dexterity and speed of writing. To belong, one first has to grasp the banter, then manage very quickly the rules and rituals of the group, then answer by mastering the intricacies of the keyboard and its shortcuts. Speed is compulsory if your answers are to follow the communal chat; as a result, sentences tend to be very short, truncated bits, dispatched in a continuous flow. Sandscript attempts to play with the limits of this often hermetic writing process (and the underlying questions of affinity, participation and reciprocity). It opens up a social space to an artistic and fictional space, each with rules of its own. Hyper-linked dialogue Sandscript is not just about people chatting, it is also about influencing the course of these exchanges. The site weaves pre-scripted poetic content into the spontaneous, real-time dialogue of chatters. Smileys and the plethora of abbreviations, punctuations and icons characteristic of chat rooms are mixed in with typographical games that develop the idea of text as image and text as sound — using Morse Code to make text resonate, CB code to evoke its spoken use, and graphic elements within the chat space itself to oppose keyboard text and handwritten graffiti. The web site encourages chatters to broaden the scope of their “net-speak,” and take a playfully conscious stance towards their own familiar practices. Actually, most of the writing in this web-site is buried in the database. Two hundred or so “key words” — expressions typical of phatic exchanges, in addition to other words linked to the idea of sandstorms and archeology — lie dormant, inactive and unseen until a chatter inadvertently types one in. These keywords bridge the gap between spontaneous exchange and multimedia content: if someone types in “hi,” an image of a face, half buried in sand, pops up in a floating window and welcomes you, silently; if someone types in the word “wind,” a typewritten “wind” floats out into the graphic environment and oscillates between the left and right edges of the frames; typing the word “no” “magically” triggers the intervention of an anarchist who says something provocative*. *Sandscript works like a game of ping-pong among chatters who are intermittently surprised by a comment “out of nowhere.” The chat space, augmented by a database, forms an ever-evolving, fluid “back-bone” around which artistic content is articulated. Present in the form of programs who participate in their stead, artists share the spot light, adding another level of mediation to a collective writing process. Individual and collective identities Not only does Sandscript accentuate the multimedia aspects of typed chat dialogues, it also seeks to give a “ shape” to the community of assembled chatters. This shape is musical: along with typing in a nickname of her choice, each chatter is attributed a sound. Like crickets in a field, each sound adds to the next to create a collective presence, modified with every new arrival and departure. For example, if your nick is “yoyo-mama,” your presence will be associated with a low, electronic purr. When “pillX” shows up, his nick will be associated with a sharp violin chord. When “mojo” pitches in, she adds her sound profile to the lot, and the overall environment changes again. Chatters can’t hear the clatter of each other’s keyboards, but they hear the different rhythms of their musical identities. The repeated pings of people present in the same “scape” reinforce the idea of community in a world where everything typed is swept away by the next bit of text, soon to be pushed off-screen in turn. The nature of this orchestrated collective presence is determined by the artists and their programs, not by the chatters themselves, whose freedom is limited to switching from one nick to another to test the various sounds associated with each. Here, identity is both given and built, both individual and collective, both a matter of choice and pre-defined rules. (Goffman) Real or fictitious characters The authors introduce simulated bits of dialogue within the flow of written conversation. Some of these fake dialogues simply echo whatever keywords chatters might type. Others, however, point else where, suggesting a hyper-link to a more elaborate fictionalized drama among “characters.” Sandscript also hides a plot. Once chatters realize that there are strange goings on in their midst, they become caught in the shifting sands of this web site’s inherent duality. They can completely lose their footing: not only do they have to position themselves in relation to other, real people (however disguised…) but they also have to find their bearings in the midst of a database of fake interlocutors. Not only are they expected to “write” in order to belong, they are also expected to unearth content in order to be “in the know.” A hybridized writing is required to maintain this ambivalence in place. Sandscript’s fake dialogue straddles two worlds: it melds in with the real-time small talk of chatters all while pointing to elements in a fictional narrative. For example, “mojo” will say: “silting up here ”, and “zano” will answer “10-4, what now? ” These two characters could be banal chatters, inviting others to join in their sarcastic banter… But they are also specifically referring to incidents in their fictional world. The “chat code” not only addresses its audience, it implies that something else is going on that merits a “click” or a question. “Clicking” at this juncture means more than just quickly responding to what another chatter might have typed. It implies stopping the banter and delving into the details of a character developed at greater length elsewhere. Indeed, in Sandscript, each fictional dialogue is linked to a blog that reinforces each character’s personality traits and provides insights into the web-site’s wind-swept, self-erasing world. Interestingly enough, Sandscript then reverses this movement towards a closed fictional space by having each character not only write about himself, but relate her immediate preoccupations to the larger world. Each blog entry mentions a character’s favorite URL at that particular moment. One character might evoke a web site about romantic poetry, another one on anarchist political theory, a third a web-site on Morse code, etc… Chatters click on the URL and open up an entirely new web-site, directly related to the questions being discussed in Sandscript. Thus, each character represents himself as well as a point of view on the larger world of the web. Fiction opens onto a “real” slice of cyber-space and the work of other authors and programmers. Sandscript mixes up different types of on-line identities, emphasizing that representations of people on the web are neither “true” nor “false.” They are simply artificial and staged, simple facets of identities which shift in style and rhetoric depending on the platform available to them. Again, identity is both closed by our social integration and opened to singular “play.” Conclusion: looking at and looking through One could argue that since the futurists staged their “electrical theater” in the streets of Turin close to a hundred years ago, artists have worked on the blurry edge between recognizable formal structures and their dissolution into life itself. And after a century of avant-gardes, self-referential appropriations of mass media are also second nature. Juxtaposing one “use” along another reveals how different frames of reference include or exclude each other in unexpected ways. For the past twenty years much artwork has which fallen in between genres, and most recently in the realm of what Nicolas Bourriaud calls “relational aesthetics.” Such work is designed not only to draw attention to itself but also to the spectator’s relation to it and the broader artistic context which infuses the work with additional meaning. By having dialogue serve as a hyper-link to multimedia content, Sandscript, however, does more. Even though some changes in the web site are pre-programmed to occur automatically, not much happens without the chatters, who occupy center-stage and trigger the appearance of a latent content. Chatters are the driving force, they are the ones who make text appear and flow off-screen, who explore links, who exchange information, and who decide what pops up and doesn’t. Here, the art “object” reveals its different facets around a multi-layered, on-going conversation, subjected to the “flux” of an un-formulated present. Secondly, Sandscript demands that we constantly vary our posture towards the work: getting involved in conversation to look through the device, all while taking some distance to consider the object and look at its content and artistic “mediations.” (Bolster and Grusin, Manovitch). This tension is at the heart of Sandscript, which insists on being both a communication device “transparent” to its user, and an artistic device that imposes an opaque and reflexive quality. The former is supposed to disappear behind its task; the latter attracts the viewer’s attention over and over again, ever open to new interpretations. This approach is not without pitfalls. One Sandscript chatter wondered if as the authors of the web-site were not disappointed when conversation took the upper hand, and chatters ignored the graphics. On the other hand, the web site’s explicit status as a chat space was quickly compromised when users stopped being interested in each other and turned to explore the different layers hidden within the interface. In the end, Sandscript chatters are not bound to any single one of these modes. They can experience one and then other, and —why not —both simultaneously. This hybrid posture brings to mind Herman’s metaphor of a door that cannot be closed entirely: “la porte joue” —the door “gives.” It is not perfectly fitted and closed — there is room for “play.” Such openness requires that the artistic device provide two seemingly contradictory ways of relating to it: a desire to communicate seamlessly all while being fascinated by every seam in the representational space projected on-screen. Sandscript is supposed to “run” and “not run” at the same time; it exemplifies the technico-semiotic logic of speed and resists it full stop. Here, openness is not ontological; it is experiential, shifting. About the Authors Carol-Ann Braun is multimedia artist, at the Ecole Nationale Superieure des Telecomunications, Paris, France. EmaiL: carol-ann.braun@wanadoo.fr Annie Gentes is media theorist and professor at the Ecole Nationale Superieure des Telecomunications, Paris, France. Email: Annie.Gentes@enst.fr Works Cited Adamowicz, Elza. Surrealist Collage in Text and Image, Dissecting the Exquisite Corpse. Cambridge: Cambridge University Press, 1998. Augé, Marc. Non-lieux, Introduction à une Anthropologie de la Surmodernité. Paris: Seuil, 1992. Bolter, Jay David and Richard Grusin. Remediation, Understanding New Media. Cambridge: MIT Press, 2000. Bourriaud, Nicholas. Esthétique Relationnelle. Paris: Les Presses du Réel, 1998. Despret-Lonnet, Marie and Annie Gentes, Lire, Ecrire, Réécrire. Paris: Bibliothèque Centre Pompidou, 2003. Goffman, Irving. Interaction Ritual. New York: Pantheon, 1967. Habermas, Jürgen. Théorie de l’Agir Communicationnel, Vol.1. Paris: Fayard, 1987. Herman, Jacques. “Jeux et Rationalité.” Encyclopedia Universalis, 1997. Jakobson, Roman.“Linguistics and Poetics: Closing statements,” in Thomas Sebeok. Style in Language. Cambridge: MIT Press, 1960. Latzko-Toth, Guillaume. “L’Internet Relay Chat, Un Cas Exemplaire de Dispositif Socio-technique,” in Composite. Montreal: Université du Québec à Montréal, 2001. Lyotard, Jean-François. La Condition Post-Moderne. Paris: les Editions de Minuit, 1979. Manovitch, Lev. The Language of New Media. Cambridge: MIT Press, 2001. Michaud, Yves. L’Art à l’Etat Gazeux. Essai sur le Triomphe de l’Esthétique, Les essais. Paris: Stock, 2003. Citation reference for this article MLA Style Braun, Carol-Ann & Gentes, Annie. "Dialogue: a hyper-link to multimedia content." M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0406/05_Braun-Gentes.php>. APA Style Braun, C. & Gentes, A. (2004, Jul1). Dialogue: a hyper-link to multimedia content.. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0406/05_Braun-Gentes.php>

La Bibliothèque nationale de France (BnF) a pour mission de collecter, conserver, enrichir et communiquer le patrimoine documentaire national. Elle conserve près de quarante millions de documents.L'une des missions de la BnF est de maintenir les documents qui composent ses collections en bon état afin d'assurer leur disponibilité auprès des lecteurs.La définition d'une politique de conservation/restauration par les experts suppose l'identification des documents qui sont en mauvais état ; pour cela, l'état physique des documents doit être vérifié régulièrement afin d'identifier ceux qui nécessitent des interventions urgentes. Mais cette tâche très chronophage est impossible en pratique en raison du volume très important de documents.L'objectif de notre travail est de fournir un support aux experts dans la définition de leurs politiques de conservation/restauration, et de fournir un système d'aide à la décision permettant de caractériser l'état physique des documents par l'intégration et l'analyse des données disponibles dans les bases de données des différents départements de la BnF.En considérant que chaque document est décrit par un historique de conservation/restauration qui inclut toutes les informations susceptibles d'avoir un impact sur son état physique, les principales questions auxquelles nous sommes confrontés sont d'un part celle de la représentation de ces historiques et leur comparaison en tenant compte de leur hétérogénéité terminologique, d'autre part la définition d'un processus d'analyse de ces historiques permettant de caractériser l'état des documents et de le prédire.Notre travail vise à proposer des contributions pour un système d'aide à la décision pour des experts en conservation/restauration à la BnF. Nous avons proposé une représentation des historiques de conservation--restauration sous la forme de trajectoires sémantiques et nous avons introduit des mesures de similarité adaptées permettant de résoudre l'hétérogénéité terminologique des données en utilisant une base de connaissance externe, élaborée en collaboration avec les experts. Nous avons également défini un processus d'analyse fondé sur un algorithme de clustering afin de caractériser l'état physique des documents. Enfin, nous avons proposé une méthode originale de pondération des concepts qui permet de définir l'importance de ces derniers en considérant une tâche d'analyse spécifique
The mission of the National Library of France (BnF) is to collect, preserve, enrich and make available the national documentary heritage. Its collections comprise nearly forty million documents.One of the BnF's missions is to maintain the documents of its collections in good condition in order to ensure their availability to readers.The definition of a conservation/restoration policy by the experts requires the identification of the documents in poor condition; to this end, the physical state of the documents must be monitored regularly to identify those requiring urgent interventions. But this time-consuming task is impossible in practice due to the large volume of documents.The objective of our work is to provide a support to the experts in the definition of their conservation/restoration policies and to provide a decision support system allowing the characterization of the physical state of documents by the integration and analysis of the data available in the databases of the various departments of the BnF.Considering that each document is described by a conservation/restoration history, which includes all the information likely to have an impact on its physical state, the main questions we are faced with are, on the one hand, the representation of these histories and their comparison taking into account their terminological heterogeneity, and on the other hand, the definition of an analysis process of these histories enabling to characterize the state of the documents and to predict it.Our work aims to propose some contributions towards a decision support system for conservation/restoration experts at the BnF. We have proposed a representation of conservation/restoration histories as semantic trajectories, and we have proposed appropriate similarity measures to resolve the terminological heterogeneity of the data using an external knowledge base developed in collaboration with experts. We also have defined an analysis process based on a clustering algorithm to predict the documents' physical state. Finally, we have proposed a novel concept weighting approach that allows to define the importance of the concepts considering a specific analysis task