<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2182-1372</journal-id>
<journal-title><![CDATA[Da Investigação às Práticas]]></journal-title>
<abbrev-journal-title><![CDATA[Invest. Práticas]]></abbrev-journal-title>
<issn>2182-1372</issn>
<publisher>
<publisher-name><![CDATA[Instituto Politécnico de Lisboa - Escola Superior de Educação]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2182-13722024000200216</article-id>
<article-id pub-id-type="doi">10.25757/invep.v14i2.368</article-id>
<title-group>
<article-title xml:lang="fr"><![CDATA[Analyser l&#8217;adaptabilité des médiateurs culturels dans un contexte de changement face à l&#8217;essor des pratiques numériques]]></article-title>
<article-title xml:lang="pt"><![CDATA[Analisar a adaptabilidade dos mediadores culturais num contexto de mudança face à ascensão das práticas digitais]]></article-title>
<article-title xml:lang="en"><![CDATA[Analyze the adaptability of cultural mediators in a context of change faced with the rise of digital practices]]></article-title>
<article-title xml:lang="es"><![CDATA[Analizar la adaptabilidad de los mediadores culturales en un contexto de cambio ante el auge de las prácticas digitales]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Montero]]></surname>
<given-names><![CDATA[Sarah]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Bideran]]></surname>
<given-names><![CDATA[Jessica de]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,IUT Université Bordeaux Montaigne  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>France</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,ISIC Bordeaux Montaigne - MICA  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2024</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2024</year>
</pub-date>
<volume>14</volume>
<numero>2</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2182-13722024000200216&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2182-13722024000200216&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2182-13722024000200216&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="fr"><p><![CDATA[Résumé Cet article s&#8217;inscrit dans le cadre d&#8217;une recherche triennale (2021-2024) financée par la Région Nouvelle Aquitaine portant sur l&#8217;analyse de l&#8217;impact de la crise sanitaire sur le secteur professionnel de la culture de ce territoire. Avec la fermeture des lieux culturels, les médiatrices et médiateurs culturels souvent confrontés au manque de reconnaissance de leur travail ont pu trouver là une nouvelle légitimité : seuls en mesure de maintenir le lien avec les publics, ils ont expérimenté de nouvelles pratiques de transmission et de partage, via notamment l&#8217;espace numérique devenu, le temps du confinement et des contraintes de distanciation physique, l&#8217;espace privilégié de nos échanges. Notre enquête interroge la manière dont ces professionnels se sont saisis des dispositifs et outils numériques durant cette période. Elle permet ainsi de repérer les évolutions de pratiques mais aussi les interrogations en cours au sein de ce secteur d&#8217;activité.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Este artigo faz parte de uma investigação de três anos (2021-2024) financiada pela Região da Nova Aquitânia relativa à análise do impacto da crise sanitária no setor cultural profissional deste território. Com o encerramento dos espaços culturais, os mediadores culturais, muitas vezes confrontados com a falta de reconhecimento do seu trabalho, conseguiram aí encontrar uma nova legitimidade: os únicos capazes de manter a ligação com o público, experimentaram novas práticas de transmissão e partilha, nomeadamente através do espaço digital que se tornou, durante o tempo de confinamento e as restrições do distanciamento físico, o espaço privilegiado das nossas trocas. Nossa pesquisa questiona a forma como esses profissionais utilizaram dispositivos e ferramentas digitais nesse período. Permite assim identificar mudanças nas práticas, mas também questões atuais neste setor de atividade.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article is part of three-year research (2021-2024) funded by the Nouvelle Aquitaine Region relating to the analysis of the impact of the health crisis on the professional cultural sector of this territory. With the closure of cultural places, cultural mediators, often faced with a lack of recognition for their work, were able to find new legitimacy there: the only ones able to maintain the link with the public, they experimented with new practices of transmission and sharing, in particular via the digital space which has become, during the time of confinement and the constraints of physical distancing, the privileged space of our exchanges. Our survey questions the way in which these professionals used digital devices and tools during this period. It thus makes it possible to identify changes in practices but also current questions within this sector of activity.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Este artículo forma parte de una investigación de tres años (2021-2024) financiada por la Región de Nueva Aquitania relacionada con el análisis del impacto de la crisis sanitaria en el sector cultural profesional de este territorio. Con el cierre de los lugares culturales, los mediadores culturales, a menudo enfrentados a la falta de reconocimiento de su trabajo, pudieron encontrar allí una nueva legitimidad: los únicos capaces de mantener el vínculo con el público, experimentaron nuevas prácticas de transmisión y comunicación. Compartir, en particular a través del espacio digital que se ha convertido, durante el tiempo de confinamiento y las limitaciones del distanciamiento físico, en el espacio privilegiado de nuestros intercambios. Nuestra encuesta cuestiona la forma en que estos profesionales utilizaron los dispositivos y herramientas digitales durante este período. Permite así identificar cambios en las prácticas pero también cuestiones actuales en este sector de actividad.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[crise sanitária]]></kwd>
<kwd lng="pt"><![CDATA[mediação cultural]]></kwd>
<kwd lng="pt"><![CDATA[digital]]></kwd>
<kwd lng="pt"><![CDATA[performance]]></kwd>
<kwd lng="en"><![CDATA[health crisis]]></kwd>
<kwd lng="en"><![CDATA[cultural mediation]]></kwd>
<kwd lng="en"><![CDATA[digital]]></kwd>
<kwd lng="en"><![CDATA[performance]]></kwd>
<kwd lng="es"><![CDATA[crisis sanitaria]]></kwd>
<kwd lng="es"><![CDATA[mediación cultural]]></kwd>
<kwd lng="es"><![CDATA[digital]]></kwd>
<kwd lng="es"><![CDATA[performance]]></kwd>
<kwd lng="fr"><![CDATA[crise sanitaire]]></kwd>
<kwd lng="fr"><![CDATA[médiation culturelle]]></kwd>
<kwd lng="fr"><![CDATA[numérique]]></kwd>
<kwd lng="fr"><![CDATA[spectacle vivant]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Andreacola]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Musées et mondes numériques]]></article-title>
<source><![CDATA[Culture &amp; Musées]]></source>
<year>2020</year>
<volume>35</volume>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Azam]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La pluralité des rapports à l&#8217;art. Être plus ou moins public]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Ancel]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[Les NON-PUBLICS les arts en réception]]></source>
<year>2004</year>
<page-range>67-83</page-range></nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Badulescu]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[La Ville]]></surname>
<given-names><![CDATA[V.-I.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La médiation muséale au prisme du numérique]]></article-title>
<source><![CDATA[Revue Française des Sciences de l&#8217;information et de la communication]]></source>
<year>2019</year>
<volume>16</volume>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bideran]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Wenz.]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Enseigner la diffusion du patrimoine des bibliothèques sur Wikipédia : retour sur une expérimentation]]></source>
<year>2020</year>
<publisher-name><![CDATA[Bulletin des bibliothèques de France (BBF)]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bordeaux]]></surname>
<given-names><![CDATA[M.-C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La médiation culturelles dans les arts de la scène : avancées et résistances]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Caillet]]></surname>
<given-names><![CDATA[E]]></given-names>
</name>
<name>
<surname><![CDATA[Chazottes]]></surname>
<given-names><![CDATA[P]]></given-names>
</name>
<name>
<surname><![CDATA[Serein]]></surname>
<given-names><![CDATA[F]]></given-names>
</name>
</person-group>
<source><![CDATA[La médiation culturelle : cinquième roue du carrosse ?]]></source>
<year>2016</year>
<page-range>131-8</page-range><publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[L&#8217;Harmattan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Boulaire]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Carabelli]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Du digital naive au bricoleur numérique : les images et le logiciel Omeka]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Étienne]]></surname>
<given-names><![CDATA[Cavalié]]></given-names>
</name>
<name>
<surname><![CDATA[Frédéric]]></surname>
<given-names><![CDATA[Clavert]]></given-names>
</name>
<name>
<surname><![CDATA[Olivier]]></surname>
<given-names><![CDATA[Legendre]]></given-names>
</name>
<name>
<surname><![CDATA[Dana]]></surname>
<given-names><![CDATA[Martin]]></given-names>
</name>
</person-group>
<source><![CDATA[Expérimenter les humanités numériques. Des outils individuels aux projets collectifs]]></source>
<year>2017</year>
<page-range>81-103</page-range><publisher-loc><![CDATA[Montréal ]]></publisher-loc>
<publisher-name><![CDATA[Les Presses de l&#8217;Université de Montréal]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Caillet]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Chazottes]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Serein]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Vaysse]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<source><![CDATA[La médiation culturelle : cinquième roue du carrosse ?]]></source>
<year>2016</year>
<publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[L&#8217;Harmattan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cardon]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Culture numérique]]></source>
<year>2019</year>
<publisher-name><![CDATA[Presses de Sciences Po]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Caune]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La médiation culturelle : une notion mana ou l&#8217;usure du sens ?]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Camart]]></surname>
<given-names><![CDATA[C]]></given-names>
</name>
<name>
<surname><![CDATA[Mairesse]]></surname>
<given-names><![CDATA[F]]></given-names>
</name>
<name>
<surname><![CDATA[Prévost-Thomas]]></surname>
<given-names><![CDATA[C]]></given-names>
</name>
<name>
<surname><![CDATA[Vessely]]></surname>
<given-names><![CDATA[P]]></given-names>
</name>
</person-group>
<source><![CDATA[Les mondes de la médiation culturelle]]></source>
<year>2015</year>
<volume>1</volume>
<page-range>29-38</page-range><publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[L&#8217;Harmattan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chaumier]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Mairesse]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<source><![CDATA[La médiation culturelle]]></source>
<year>2017</year>
<publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[Armand colin]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Citton]]></surname>
<given-names><![CDATA[Y.]]></given-names>
</name>
</person-group>
<source><![CDATA[Pour une écologie de l&#8217;attention]]></source>
<year>2014</year>
<publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[Seuil]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Denizot]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Petr]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Le numérique dans les théâtres en France. États de lieux]]></source>
<year>2016</year>
<publisher-name><![CDATA[Ministère de la Culture et de la Communication]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Donnat]]></surname>
<given-names><![CDATA[O.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Pratiques culturelles et usages d'internet]]></article-title>
<source><![CDATA[Culture études]]></source>
<year>2007</year>
<volume>3</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>1-12</page-range></nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dufrêne]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
<name>
<surname><![CDATA[Gellereau]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La médiation culturelle : enjeux professionnels et politiques]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Liquète]]></surname>
<given-names><![CDATA[V]]></given-names>
</name>
</person-group>
<source><![CDATA[Médiations]]></source>
<year>2010</year>
<publisher-name><![CDATA[CNRS Éditions]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Flichy]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[Le Sacre de l&#8217;amateur. Sociologie des passions ordinaires à l&#8217;ère numérique]]></source>
<year>2010</year>
<publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[Le Seuil]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Germain-Thomas]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Pagès]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Médiation et médiatisation en danse contemporaine : quand la profusion opacifie le sens d&#8217;un art sans texte]]></article-title>
<source><![CDATA[Quaderni]]></source>
<year>2013</year>
<volume>83</volume>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gonzalez]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Landau]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<source><![CDATA[Le Théâtre à l&#8217;ère du numérique : Convergences et paradoxes]]></source>
<year>2022</year>
<publisher-loc><![CDATA[Avignon ]]></publisher-loc>
<publisher-name><![CDATA[Éditions Universitaires d&#8217;Avignon]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Glevarec]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<source><![CDATA[L'expérience culturelle : catégories, caractéristiques et conditions des pratiques en régime d'abondance culturelle]]></source>
<year>2021</year>
<publisher-loc><![CDATA[Lormont ]]></publisher-loc>
<publisher-name><![CDATA[Le Bord de l&#8217;eau]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Goetschel]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Décors parisiens dans Au théâtre ce soir : rituel et stéréotypes]]></article-title>
<source><![CDATA[Sociétés &amp; Représentations]]></source>
<year>2004</year>
<volume>17</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>247-72</page-range></nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Istasse]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La participation dans la création d&#8217;un dispositif numérique relatif au patrimoine culturel]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Deramond]]></surname>
<given-names><![CDATA[Julie]]></given-names>
</name>
</person-group>
<source><![CDATA[Scénographies numériques du patrimoine : Expérimentations, recherches et médiations]]></source>
<year>2020</year>
<page-range>193-223</page-range><publisher-loc><![CDATA[Avignon ]]></publisher-loc>
<publisher-name><![CDATA[Éditions Universitaires d&#8217;Avignon]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jeanneret]]></surname>
<given-names><![CDATA[Y.]]></given-names>
</name>
</person-group>
<source><![CDATA[Critique de la trivialité. Les médiations de la communication, enjeu de pouvoir]]></source>
<year>2014</year>
<publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[Éd. Non Standard]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jonchery]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Lombardo]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[Pratiques culturelles en temps de confinement », Culture Etudes]]></source>
<year>2020</year>
<volume>6</volume>
<publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[Ministère de la Culture et de la Communication, Département des études, de la Prospective et des Statistiques]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pagès]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La démocratisation culturelle et les promesses des médiations culturelles numériques : mirage ou tournant ?]]></article-title>
<source><![CDATA[Quaderni]]></source>
<year>2020</year>
<volume>99-100</volume>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pérez Lagos]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La place des publics au sein des sites internet des Théâtres nationaux français]]></article-title>
<source><![CDATA[Études de communication]]></source>
<year>2019</year>
<volume>52</volume>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sandri]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Les Imaginaires numériques au musée ? Débats sur les injonctions à l&#8217;innovation]]></source>
<year>2020</year>
<publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[MkF éditions]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Six]]></surname>
<given-names><![CDATA[J.-F.]]></given-names>
</name>
</person-group>
<source><![CDATA[Médiation]]></source>
<year>2002</year>
<publisher-loc><![CDATA[Paris ]]></publisher-loc>
<publisher-name><![CDATA[Seuil]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Tardy]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Renaud]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Pratiques d&#8217;espace. Les médiations des patrimoines vers la culture numérique ?]]></article-title>
<source><![CDATA[Études de communication]]></source>
<year>2015</year>
<volume>1</volume>
<numero>45</numero>
<issue>45</issue>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vidal]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[La Médiation numérique muséale. Un renouvellement de la diffusion culturelle]]></source>
<year>2018</year>
<publisher-loc><![CDATA[Bordeaux ]]></publisher-loc>
<publisher-name><![CDATA[Presses universitaires de Bordeaux (Labyrinthes)]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
