I return to the theme of the previous article and works box. While my original intention with that iconic picture was sufficient to produce a coherent, I soon realized my limitations for this task (let's be John Berger to write essays with images only, as it did in Modes see ) and added references to each of the classifications, and then clarification on some of the works that I put at the end of the article.
Now I think that may be more things that deserve clarification. Then start going into detail.
The first row of the table of literary , that of the work The Iliad, remember something that very well known, it is worth saying again if it comes to thinking work within the Information Science: The Iliad was not written was that . Strictly speaking, the epic poems were sung , just as tragedies, so the picture is not totally accurate at this point and should include the musical aspect of this work. Something that will probably never reach known. But what mattered to me here is that some works do not come into the world as documents, but they become over time, as indicates the second row. It's the same process of traditional stories, songs popular in short, any activity "literary" that comes from a culture that has no writing or does not use it for aesthetic purposes. It is also the case of music, as shown in the front rows of box musicals and performing arts . And go into the details of these paintings. But I want to return to literary works and the issue of modes of reception.
There are two aspects, plus the fact not set (yet) a document, which are closely linked to the mediation. On the one hand the property to require mediation implies that the reception of the work necessarily occurs in a social environment. At least they are needed the mediator and the receiver is not possible individual reception of a work that requires an interpreter. Among many other things, this means that the work must be collected at the time, a common time to all listeners, a time that can not go back or forward.
other hand, not being represented in a document, which is a physical object, there is a physical object that point: the words (and music, dance, performance) is carried by the wind.
The following works do not present any particular with respect to the subject of mediation, are already works, while written works have been designed as documents and therefore all have a physical object that supports the work and all can be accessed individually. The only explanation is that the poems, like The Golem Borges' stories, as The beasts Roberto Arlt and journal articles, such as Howell does not have the physical correlate a book but a part of a book: a series of leaves.
In the last rows down some conclusions on the table of literary works. The first is that any literary work can be retrotraíada to the original state of work performed by the reading public. The poem recited The golem we put back into the place of citizens in the agora and again put the work in time. In this case the document is part of the mediation, but as in The Iliad, the reception of the work is an act and that act does not set a document. For this to happen, as shown in the row is required for audio, and here we are definitely engaged in the bourgeois modernity. If there were no differences from the point of view of reception from the reading of an ancient or medieval manuscript and a modern edition, this restoration of auditory reception of the literary work to the limit coincides with the historical divisions tradicionales. Obviamente, el registro sonoro es mucho más importante a la hora de hablar de las obras musicales, pero esto formará parte de otro post. De todos modos, la caracteristica a destacar desde el lugar en que lo estamos analizando, es que la mediación no es más producida por un humano sino por una máquina, lo que permite que esta obra mediada pueda ser accedida individualmente.
Finalmente, vemos que lo que parecía válido para toda obra literaria, no lo es para el caso ya mencionado de Le Livre de Mallarmé, y podría decirse otro tanto de las obras perdidas, pero mentadas, de Sófocles o Esquilo y de tantas otras. Este detalle que parecería sin importancia, no es menor desde point of view of the Cs of the Documentation, on the one hand it makes no sense to classify a work that set up a document. They are works that may have historic, aesthetic, philosophical or scientific, but are outside the documentation. But on the other hand, while establishing relationships between works (being version, to be adapted, quote, etc) are indeed in the discipline may have these types of relationships between works "normal" and these "works no document", then, paradoxically, are also within the discipline. Should we challenge these boundaries?.
The last row of the table, which is common to all the tables indicates that all work-and we saw that there is no universal understand this literally, can be transcribed into digital media. While the scan extends the range of works that can be represented in documents-perhaps all types of works, from the point of view of the reception is a novelty compared to recording sound.
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