From: Thomas Fillon <thomas@parisson.com>
Date: Thu, 11 Sep 2014 19:32:40 +0000 (+0200)
Subject: Update DLFM 2014 slides
X-Git-Url: https://git.parisson.com/?a=commitdiff_plain;h=550bb461994bc9974c51aee1f5d8824b71ba4c6a;p=telemeta-doc.git

Update DLFM 2014 slides
---

diff --git a/Conferences/2014_DLFM/slides/slides_DLFM2014.tex b/Conferences/2014_DLFM/slides/slides_DLFM2014.tex
index 94290ef..fde052b 100644
--- a/Conferences/2014_DLFM/slides/slides_DLFM2014.tex
+++ b/Conferences/2014_DLFM/slides/slides_DLFM2014.tex
@@ -497,30 +497,39 @@ The results of this
 
 \end{frame}
 
-\subsection{ Uses and users of digital sound archives}
-\begin{frame}
-  In the few years since the sound archive platform has been released,
-  it has supported three main activities: archiving, research and
-  education (both academic and non-academic). Primary users of the
-  platform are archivists, researchers (ethnomusicologists,
-  anthropologists and linguists), students and professors of these
-  disciplines. Nonetheless, a qualitative survey showed that other
-  disciplines (such as art history) have used the platform to foster
-  and/or deepen individual research. The unexpectedly broad uses of
-  the sound archives emphasize the necessity and the benefits of such
-  database.  From the standpoint of archive development, the long-term
-  preservation of the archives is ensured while, thanks to the
-  collaborative nature of the platform, users can cooperate to
-  continuously enrich metadata associated with a sound document and
-  submit their own archives to protect them. Furthermore, it
-  facilitates the ethical task of returning the recorded music to the
-  communities who produced it.  Researchers from different
-  institutions can work together on specific audio materials and
-  conduct individual research from both synchronic and diachronic
-  perspectives on their own material, the material of others, or both.
-  When used for education, the platform provides a wide array of
-  teaching materials to illustrate the work of students as well as
-  support teaching curricula.
+\subsection{Uses and users of digital sound archives}
+\begin{frame}{Uses and users of digital sound archives}
+  \begin{itemize}
+
+  \item In the few years since the sound archive platform has been
+    released, it has supported three main activities: archiving,
+    research and education (both academic and non-academic).
+  \item Primary
+    users of the platform are archivists, researchers
+    (ethnomusicologists, anthropologists and linguists), students and
+    professors of these disciplines.
+  \item Nonetheless, a qualitative survey
+    showed that other disciplines (such as art history) have used the
+    platform to foster and/or deepen individual research.
+  \item The unexpectedly broad uses of the sound archives emphasize the
+    necessity and the benefits of such database.
+  \item From the standpoint
+    of archive development, the long-term preservation of the archives
+    is ensured while, thanks to the collaborative nature of the
+    platform, users can cooperate to continuously enrich metadata
+    associated with a sound document and submit their own archives to
+    protect them.
+  \item Furthermore, it facilitates the ethical task of
+    returning the recorded music to the communities who produced it.
+
+  \item Researchers from different institutions can work together on
+    specific audio materials and conduct individual research from both
+    synchronic and diachronic perspectives on their own material, the
+    material of others, or both.
+  \item When used for education, the
+    platform provides a wide array of teaching materials to illustrate
+    the work of students as well as support teaching curricula.
+  \end{itemize}
 \end{frame}
 \section[The DIADEMS project]{The DIADEMS project}\label{sec:Diadems}
 \subsection{Consortium and goals}