{"id":2774,"date":"2022-03-07T12:03:33","date_gmt":"2022-03-07T11:03:33","guid":{"rendered":"https:\/\/cnmlab.fr\/?page_id=2774"},"modified":"2025-12-15T09:30:54","modified_gmt":"2025-12-15T08:30:54","slug":"scientific-committee","status":"publish","type":"page","link":"https:\/\/cnmlab.fr\/en\/scientific-committee\/","title":{"rendered":"Scientific committee"},"content":{"rendered":"\n

The CNMlab\u2019s scientific committee is made up of figures from various domains, such as sociologists, economists, historians, lawyers, musicologists, and philosophers. This advisory think tank, unprecedented in the music world, reinforces the CNMlab\u2019s research programme and fosters greater interaction between the spheres of academia and research. The scientific committee may identify future themes for the CNMlab to set, suggest contributors and monitor research progress.<\/strong><\/h3>\n\n\n
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Laurence Allard<\/h2>\n

Laurence Allard<\/b> is a semiologist and sociologist, lecturer in Communication Sciences, researcher at Paris Sorbonne Nouvelle-IRCAV University, and teacher in the Cultural Studies and Media Department at the University of Lille. She is particularly involved in the relationships between culture, politics, and technology, drawing on gender, cultural, and postcolonial studies. Her research areas range from digital practices to data anthropology and eco-design in the field of audiovisual creation.<\/p>\n

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Alice Aterianus-Owanga<\/h2>\n

Alice Aterianus-Owanga<\/b> is an assistant professor of anthropology in cultural practices and productions in postcolonial societies, at the Institute of Ethnology at the University of Neuch\u00e2tel. She has worked on the relationships between music, power, and identities in contemporary Gabon, then on Senegalese dance circuits between Europe (France and Switzerland) and Senegal, and finally on Afro-Latin dances and the production of gender\/race\/class boundaries in Cape Town, South Africa.<\/p>\n

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Val\u00e9rie-Laure Benabou<\/h2>\n

Val\u00e9rie-Laure Benabou<\/strong> is a professor at the Universit\u00e9 de Paris-Saclay\/UVSQ, is a member of the DANTE laboratory, and a researcher specialising in intellectual property law and digital legal issues. As a qualified specialist on the CSPLA \u2013 the Higher Council for Literary and Artistic Property, she has presided over the drafting of several reports on copyrights, and regularly contributes her expertise to this public forum. She co-wrote with Judith Rochfeld \u00c0 qui profite le clic\u00a0? Le partage de la valeur \u00e0 l\u2019\u00e8re du num\u00e9rique<\/em>\u00a0(Odile Jacob, 2015).<\/p>\n

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Samuel Coavoux<\/h2>\n

Samuel Coavoux<\/strong> is a sociologist and teacher-researcher in the sociology department of the \u00c9cole nationale de la statistique et de l\u2019administration \u00e9conomique and at the Centre for Research in Economics and Statistics (CREST). He specialises in cultural audiences and works in particular on digital music listening practices.<\/p>\n

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Jo\u00eblle Farchy<\/h2>\n

Jo\u00eblle Farchy<\/strong> is a university lecturer in information and communication sciences (Paris 1 Panth\u00e9on-Sorbonne), researcher at the Sorbonne Economics Centre and director of the Cultural Pluralism and Digital Ethics Chair (PcEn).<\/p>\n

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G\u00e9r\u00f4me Guibert<\/h2>\n

G\u00e9r\u00f4me Guibert<\/strong> is lecturer with accreditation to supervise research in sociology at the Universit\u00e9 Sorbonne Nouvelle Paris 3, where he is director of the institute of communication and media. A specialist in popular music, in 2002 he co-founded the research journal Volume!<\/em> and runs the Musiques et soci\u00e9t\u00e9<\/em> collection at \u00c9ditions M\u00e9lanie Seteun publishers (Les Presses du r\u00e9el). He has led several research programmes, including a mapping of contemporary live music for the Department of Studies, Foresight and Statistics (DEPS) of the French Ministry of Culture (2010-2012) and an analysis of the digital transformation of the live music industry for the ICCA laboratory of excellence (2017- 2018). He also heads a team for the French National Research Agency (ANR) programme on cultural scenes (SCANEA, 2019-2023). In 2019, he organised the fourth biennial international conference for the ISMMS \u2013 International Society for Metal Music Studies.<\/p>\n

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Marianne Lumeau<\/h2>\n

Marianne Lumeau is an economist and lecturer at the University of Rennes and the Centre de Recherche en Economie et Management<\/em> (CREM-CNRS). Her research focuses on the intersection between the digital economy and the economy of culture, with an emphasis on the cultural and media industries, using empirical methods (surveys, experiments, analysis of real data). She is currently working on the impact of recommendation algorithms on the discoverability of musical content.<\/p>\n

 <\/p>\n

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St\u00e9phanie Molinero<\/h2>\n

St\u00e9phanie Molinero<\/strong> is a sociologist, in charge of studies at the Deps-Ministry of Culture and associate lecturer in the Department of Cultural Mediation at Sorbonne-Nouvelle University. She has devoted part of her research to rap audiences, since the publication in 2009 of her doctoral thesis, Les publics du rap. Enqu\u00eate sociologique (L’Harmattan)<\/em>. With Yann Nicolas, she coordinated the publication of the collective work 40 ans de musiques hip-hop en France<\/em> (Presses de Sciences Po\/Deps, 2022), edited by Marie Sonnette-Manouguain and Karim Hammou, for which she wrote the preface and co-wrote the chapter “Rap et RnB dans les pratiques culturelles en France” with Karim Hammou.<\/p>\n

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Emmanuel N\u00e9grier<\/h2>\n

Emmanuel N\u00e9grier<\/strong> is director of the Cepel research unit of the CNRS-universit\u00e9 de Montpellier. His work focuses on cultural policies, changes in territorial scales and electoral behaviour. Together with Aur\u00e9lien Djakouane, he co-led a joint study entitled So Fest! L\u2019empreinte sociale et territoriale des festivals<\/em> (coordinated by France Festivals), the results of which were recently published in Festivals, territoire et soci\u00e9t\u00e9\u00a0<\/em>(Paris, Presses de Science Po\/DEPS, 2021).<\/p>\n

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Thomas Paris<\/h2>\n

Thomas Paris <\/strong> is a researcher at the CNRS (GREGHEC) and an associate professor at HEC Paris. He holds a doctorate in management and he specializes in the creative economy and the creative industry. He studies these sectors (along with cinema and audiovisual, music, fashion, publishing, architecture, video games, gastronomy, design) from managerial, organizational, and sector-specific perspectives, in partnership with key players. He also works on innovation management, entrepreneurship, the digital economy, and cultural politics.<\/p>\n

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Myrtille Picaud<\/h2>\n

Myrtille Picaud <\/strong>is a sociologist. Her work focuses on music venues of all music genres and their bookers, examining the links between music scenes and urban change. Her research culminated in the publication of “Mettre la ville en musique (Paris-Berlin)” (Presses universitaires de Vincennes, 2021). She is also a research fellow at the CNRS.<\/p>\n

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Solveig Serre<\/h2>\n

Solveig Serre<\/strong> is a historian and musicologist, an \u00c9cole nationale des chartes alumnus (2001-2005), research fellow with accreditation to supervise research since 2012 at the CNRS (CESR, UMR 7323), and lecturer at \u00c9cole polytechnique. Originally a specialist in Parisian opera institutions under the Ancien R\u00e9gime, since 2014 she has been in charge of PIND (Punk is not dead) with Luc Rob\u00e8ne, a research project devoted to the history of the punk scene in France since 1976, which obtained funding from the ANR (the French National Research Agency) for the period 2016-2020.<\/p>\n

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Marie Sonnette-Manouguian<\/h2>\n

Marie Sonnette-Manouguian<\/strong> is a sociologist and lecturer at the University of Angers and at the ESO laboratory (CNRS, UMR 6590). She specialises in hip-hop genres and is currently working in collaboration with the Department of Studies, Forecasting and Statistics (DEPS) of the French Ministry of Culture to delve deeper into their understanding. She is particularly drawn to understanding the economic evolution of this sector of the recording industry, its audiences and the processes of its media, professional and political (il)legitimisation.<\/p>\n

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Emmanuel Verg\u00e8s<\/h2>\n

Emmanuel Verg\u00e8s<\/strong> is an engineer, author and doctor of information-communication. He co-directs the Observatoire des politiques culturelles and is a cultural facilitator at L’office, a collaborative cultural engineering organisation. He teaches at various universities (Aix Marseille, Bordeaux Montaigne, Lyon 2). His work focuses cultural and digital cooperation and looks at new forms of governance with public and private organisations, citizens and artistic collectives. He founded and directed ZINC, a centre for digital arts and cultures, at the Friche la Belle de Mai between the end of the 1990s and the early 2000s.<\/p>\n

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