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The DOREMUS project, on which this paper is based, aims at modelling, converting, and publishing data from the musical archives of three major French institutions in order to share them beyond the professional spheres to which they were initially reserved. The model relies on a documentary ontology that associates various musical moments and elements within a semantic network. This formalization project leads us to address wider issues regarding our documented relationship to the world, that is, the connections between the moments when things happen to us, those when we seize them conceptually, those when we envisage them materially in relation to our practices, and finally those when we name, describe, and link them within documentary devices. In short, how do we put our practices and the things that make them possible, or that they make possible, into documents?