Despite the existence of studies addressing the historical development of digital platforms, none of them has yet drawn a coherent and comprehensive interpretation of the emergence of scientific digital platforms. The previous literature (i) focuses on specific scientific practices; (ii) does not reach far enough back into the past; (iii) does not cover all relevant groups of social actors; (iv) does not propose a taxonomy for scientific digital platforms; and (v) does not provide a definition for scientific digital platforms. We (...) propose in this paper a long-term view (from 1990 onwards), allowing us to identify the participation of distinct groups of social actors—within State, Market and Science subsystems—in the process of science platformization. Dialoguing with the most up-to-date literature, we broaden our understanding of the ongoing process of platformization of the research life cycle, proposing a taxonomy and a definition for scientific digital platforms. The evidence provided throughout the paper unveils that (i) the changes (caused by platformization) in each of the phases of the research cycle are not at all linear and are not happening simultaneously; (ii) actors from different subsystem played important roles in the platformization of science; and, (iii) specific categories of platforms have consolidated themselves as infrastructures and certain scientific infrastructures have been platformed, although this varies by category. (shrink)

This article—part of a Common Knowledge symposium titled “Between Text and Performance”—argues that the publication of a new edition of Il barbiere di Siviglia in Works of Gioachino Rossini (Bärenreiter-Verlag, Kassel) offers an excellent opportunity to reflect upon the written text of an opera and its relationship to the work that performers must do to realize the opera in the theater. Rossini wrote many passages that demand the intervention of performers (performing them “as written” is simply an error), yet (...) this does not mean necessarily that “anything goes.” The new edition not only gives Rossini's own variations for the opera, but also (in an appendix prepared by Will Crutchfield) indicates the nature of ornamentation and variations employed by singers before 1850. Many of the variations still heard today in the opera house reflect practices from the end of the nineteenth and early twentieth centuries. There is no moral obligation to avoid such practices, but one wants singers to be fully aware of what they are doing. This essay provides extensive examples of the kind of autograph notation that signals the obligatory intervention of performers and offers many examples from performers who were contemporaries of Rossini as to how they went about their task of representing the composer's work on stage. (shrink)