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Journal articles on the topic 'Documentalità'

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Author: Grafiati
Published: 14 March 2023

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1

Ferraris, Maurizio. "Ontologia sociale e documentalità." Rivista di estetica, no. 36 (December 1, 2007): 113–29. http://dx.doi.org/10.4000/estetica.2366.

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2

Ferraris, Maurizio. "3.1. Intenzionalità e documentalità." Rivista di estetica, no. 49 (April 1, 2012): 161–82. http://dx.doi.org/10.4000/estetica.1706.

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3

Ferraris, Maurizio. "Documentalità e ontologia sociale." Quaestio 9 (January 2009): 389–406. http://dx.doi.org/10.1484/j.quaestio.1.100714.

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4

Casetta, Elena, Pietro Kobau, and Ivan Mosca. "Dalla documentalità al nuovo realismo." Rivista di estetica, no. 50 (July 1, 2012): 3–7. http://dx.doi.org/10.4000/estetica.2137.

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5

Mosca, Ivan. "Dalla documentalità alla ludicità. Un trialogo." Rivista di estetica, no. 60 (December 1, 2015): 99–106. http://dx.doi.org/10.4000/estetica.584.

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6

La Rocca, Claudio. "Traccia e registrazione. Sui fondamenti di Documentalità." Rivista di estetica, no. 50 (July 1, 2012): 319–29. http://dx.doi.org/10.4000/estetica.1502.

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7

Berto, Francesco. "Buone scartoffie, cattive intenzioni: una piccola nota su Documentalità." Rivista di estetica, no. 50 (July 1, 2012): 29–35. http://dx.doi.org/10.4000/estetica.1463.

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8

Raspa, Venanzio. "Descrizione e critica del mondo sociale: due compiti della Documentalità." Rivista di estetica, no. 50 (July 1, 2012): 143–62. http://dx.doi.org/10.4000/estetica.1477.

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9

Torrengo, Giuliano. "Documenti e intenzioni. La documentalità nel dibattito contemporaneo sull’ontologia sociale." Rivista di estetica, no. 42 (October 1, 2009): 157–88. http://dx.doi.org/10.4000/estetica.1851.

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10

Illetterati, Luca. "Due problemi (e due questioni di contorno) a proposito di Documentalità." Rivista di estetica, no. 50 (July 1, 2012): 297–307. http://dx.doi.org/10.4000/estetica.1499.

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11

Angelone, Luca. "La nave di Teseo, la metafisica degli artefatti e la documentalità." Rivista di estetica, no. 60 (December 1, 2015): 13–20. http://dx.doi.org/10.4000/estetica.540.

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12

D’Angelo, Paolo. "Il ritorno del trattato filosofico. Qualche osservazione sulla forma letteraria di Documentalità." Rivista di estetica, no. 50 (July 1, 2012): 245–53. http://dx.doi.org/10.4000/estetica.1488.

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13

Vitale, Francesco. "Documentalità o della grammatologia quale scienza positiva. Ferraris e l’eredità di Derrida." Rivista di estetica, no. 50 (July 1, 2012): 365–76. http://dx.doi.org/10.4000/estetica.1512.

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14

Seddone, Guido. "Documentalità ed esternalismo: perché i fatti sociali non possono dipendere solo dai documenti." Rivista di estetica, no. 50 (July 1, 2012): 357–63. http://dx.doi.org/10.4000/estetica.1510.

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15

Vaselli, Stefano. "Due ontologie della realtà storica. Documentalità e intenzionalità collettiva alla prova della storicizzazione." Rivista di estetica, no. 50 (July 1, 2012): 211–33. http://dx.doi.org/10.4000/estetica.2136.

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16

Ocone, Corrado. "Il recupero del “principio di realtà” come “realtà storica”. Integrazione dell’idealismo e dello storicismo nella teoria della Documentalità." Rivista di estetica, no. 50 (July 1, 2012): 123–42. http://dx.doi.org/10.4000/estetica.1475.

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17

Ferraris, Maurizio. "Documentality, or Europe." Monist 92, no. 2 (2009): 286–314. http://dx.doi.org/10.5840/monist200992216.

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18

Buckland, Michael. "Documentality Beyond Documents." Monist 97, no. 2 (2014): 179–86. http://dx.doi.org/10.5840/monist201497212.

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19

Perret, Emmanuelle, Mireille Louys, Mihaela Buga, and Soizick Lesteven. "Shared nomenclature and identifiers for telescopes and instruments." EPJ Web of Conferences 186 (2018): 04002. http://dx.doi.org/10.1051/epjconf/201818604002.

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In the context of sharing public data, science results are expected to be reproducible and therefore we need full traceability of the origin of the data. On the documentalist side, there is a need to relate instrumental origins to the published data. We propose to define a shared nomenclature to index each publication with unique designations for facilities, telescopes and instruments which could benefit from the Virtual Observatory work on semantics. This would help the documentalists to check the consistency of the instrument description in publications or make it more explicit. Observation period, data quality and spectral coverage, for instance, may be checked by referencing a global instrumentation service which gathers the nominal observation parameters for the telescope/facility/instrument involved. Based on this indexation mechanism, then the bibliographic metrics for telescope /instrument usage would be easy to compute, and tracking services like the ESO telescope bibliography database (TelBib) or others would be easier to feed. This paper traces the existing initiatives and gives the example of a facility description framework reusing Virtual Observatory metadata which could be fed by the community.
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20

Ferraris, Maurizio. "Collective intentionality or documentality?" Philosophy & Social Criticism 41, no. 4-5 (April 9, 2015): 423–33. http://dx.doi.org/10.1177/0191453715577741.

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In this article I defend two theses. The first is that the centrality of recording in the social world is manifested through the production of documents, a phenomenon which has been present since the earliest phases of society and which has undergone an exponential growth through the technological developments of the last decades (computers, tablets, smartphones). The second is that the centrality of documents leads to a view of normativity according to which human beings are primarily passive receptors of rules manifested through documents. We are not intentional producers of values. The latter, as I shall suggest in my conclusion, should be viewed as being ‘socially dependent’ rather than ‘socially constructed’.
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21

Pariente-Butterlin, Isabelle. "La création d’un nouvel espace social: Internet et la documentalité / Internet comme documentalité." Rivista di estetica, no. 57 (November 1, 2014): 87–99. http://dx.doi.org/10.4000/estetica.698.

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22

Besson, Stéphane. "Aberrations du documentaliste." Coulisses, no. 19 (January 1, 1999): 20. http://dx.doi.org/10.4000/coulisses.5431.

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23

Bailac, Montserrat, and Montserrat Català. "El documentalista audiovisual." El Profesional de la Informacion 12, no. 6 (November 1, 2003): 486–88. http://dx.doi.org/10.1076/epri.12.6.486.19787.

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24

Caridad, Mercedes, and Paloma Portela. "The documentalist in Spain." Education for Information 7, no. 3 (July 1, 1989): 273–80. http://dx.doi.org/10.3233/efi-1989-7304.

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25

Currás, Emilia. "El documentalista en crisis." El Profesional de la Informacion 18, no. 4 (July 1, 2009): 421–23. http://dx.doi.org/10.3145/epi.2009.jul.09.

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26

Lajeunesse, Marcel. "Documentaliste: Sciences de l'information." Information Processing & Management 27, no. 5 (January 1991): 591–92. http://dx.doi.org/10.1016/0306-4573(91)90072-t.

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27

Pleshkevich, E. A. "Documentality as a document’s attribute feature." Scientific and Technical Information Processing 40, no. 3 (July 2013): 146–51. http://dx.doi.org/10.3103/s014768821303009x.

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28

Ferraris, Maurizio, and Giuliano Torrengo. "Documentality: A Theory of Social Reality." Rivista di estetica, no. 57 (November 1, 2014): 11–27. http://dx.doi.org/10.4000/estetica.629.

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29

Ben Ali, Sonia, and Nina Hatte. "Le documentaliste de presse, aujourd’hui." I2D - Information, données & documents 53, no. 2 (2016): 11. http://dx.doi.org/10.3917/i2d.162.0011.

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30

Wert, Concha. "c de c: documentalista inconsciente." Documentación de las Ciencias de la Información 44, no. 2 (June 11, 2021): 315–16. http://dx.doi.org/10.5209/dcin.76535.

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El Club de Creativos (c de c) ha cumplido recientemente 21 años. Nació a instancias de un grupo de creativos publicitarios que buscaban crear una entidad que les uniera y representará. Se trataba de una asociación de personas, de creativos, lo que se entendía más como sustantivo para designar a los autores de las creaciones publicitarios que como adjetivo. Entre los objetivos fundacionales del c de c se citaba la búsqueda de herramientas que ayudasen a la mejora del trabajo que hacen los creativos en España. Y la primera herramienta en la que se pensó fue un Anuario de Creatividad que debía recoger lo más sobresaliente de la producción publicitaria que se hacía cada año. Este anuario serviría para fijar estándares de calidad, para aprender de los pares y para reconocer e incentivar el trabajo bien hecho. Nótese que en el año 2000 no existía Google, ni Youtube, ni Facebook, ni IG, ni ninguna red que facilitase el contacto entre profesionales y el conocimiento del trabajo de los colegas, y, algo que hoy resulta inimaginable, para conocer el trabajo de la competencia era necesario contratar un servicio ex profeso, consumir medios compulsivamente o esperar pacientemente a que se celebrase un festival o similar.
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31

Pleshkevich, Evgeny A. "Documents and Documentality in the Space of Culture." Observatory of Culture, no. 2 (April 28, 2014): 118–23. http://dx.doi.org/10.25281/2072-3156-2014-0-2-118-123.

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32

Sherrer, Dina, and Danielle Dufour-Coppolani. "On n’est pas documentaliste par hasard !" I2D - Information, données & documents 54, no. 4 (2017): 32. http://dx.doi.org/10.3917/i2d.174.0032.

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33

RAMAZASHVILI, GEORGII. "War Literature: Documentalists Need Not Apply." Russian Studies in Literature 42, no. 2 (April 2006): 7–23. http://dx.doi.org/10.2753/rsl1061-1975420201.

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34

Amat, Nuria. "El documentalista. Un científico de científicos." Revista española de Documentación Científica 14, no. 2 (July 16, 2020): 179. http://dx.doi.org/10.3989/redc.1991.v14.i2.179.

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La formación del documentalista debe contemplar tanto las técnicas para poseer y difundir información como los medios y la metodología científica para mejorar la calidad de la misma. El documentalista ha ido dejando su función exclusiva de intermediario entre el texto y la comunidad científica para transformarse en una especie de colega del usuario. Las escuelas de formación de bibliotecarios han de tener en cuenta esa evolución de sus profesionales: de ser mero espectador de los conocimientos científicos, el documentalista pasa a convertirse en un protagonista esencial del orden y concierto de los mismos. La importancia que en su día tuvieron en los programas docentes materias humanistas hoy la han adquirido las de reflexión y erudición científica. Un aspecto esencial de la tecnología aplicada a la documentación es que ésta libera al profesional del trabajo rutinario para que pueda recuperar su antigua función de mago de la cultura.
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35

KUKULIN, ILYA. "Documentalist Strategies in Contemporary Russian Poetry." Russian Review 69, no. 4 (September 16, 2010): 585–614. http://dx.doi.org/10.1111/j.1467-9434.2010.00583.x.

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36

RAMAZASHVILI, GEORGII. "War Literature - Documentalists Need Not Apply." Russian Social Science Review 47, no. 3 (June 2006): 47–63. http://dx.doi.org/10.1080/10611428.2006.11065215.

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37

Buga, M., P. Fernique, C. Bot, M. G. Allen, F. Bonnarel, and M. Brouty. "Bibliography, catalogs, pixel data: Management of heterogeneous Big Data at CDS by the documentalists." EPJ Web of Conferences 186 (2018): 02001. http://dx.doi.org/10.1051/epjconf/201818602001.

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High speed Internet and the evolution of data storage space in terms of cost-effectiveness has changed the way data are managed today. Large amounts of heterogeneous data can now be visualized easily and rapidly using interactive applications such as “Google Maps”. In this respect, the Hierarchical Progressive Survey (HiPS) method has been developed by the Centre de Données astronomiques de Strasbourg (CDS) since 2009. HiPS uses the hierarchical sky tessellation called HEALPix to describe and organize images, data cubes or source catalogs. These HiPS can be accessed and visualized using applications such as Aladin. We show that structuring the data using HiPS enables easy and quick access to large and complex sets of astronomical data. As with bibliographic and catalog data, full documentation and comprehensive metadata are absolutely required for pertinent usage of these data. Hence the role of documentalists in the process of producing HiPS is essential. We present the interaction between documentalists and other specialists who are all part of the CDS team and support this process. More precisely, we describe the tools used by the documentalists to generate HiPS or to update the Virtual Observatory standardized descriptive information (the “metadata”). We also present the challenges faced by the documentalists processing such heterogeneous data on the scales of megabytes up to petabytes. On one hand, documentalists at CDS manage small size textual or numerical data for one or few astronomical objects. On the other hand, they process large data sets such as big catalogs containing heterogeneous data like spectra, images or data cubes, for millions of astronomical objects. Finally, by participating in the development of an interactive visualization of images or three-dimensional data cubes using the HiPS method, documentalists contribute to a long-term management of complex, large astronomical data.
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38

Mustafa-Elhadi, Widad. "La contribution de la terminologie à la conception théorique des langages documentaires et à l’indexation de documents." Meta 37, no. 3 (September 30, 2002): 465–73. http://dx.doi.org/10.7202/002699ar.

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Abstract This paper attempts to show the contribution of certain linguistic phenomena, and reciprocally, the contribution of linguistics to the analysis of semantic relationships used by the documentalists in conceiving thesauri. Abstract representation of extra-linguistic reality involves understanding of certain designation processes which are useful for linguistic research. Taking into account these elements would help achieving a better collaboration between linguists, documentalists and information systems designers.
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39

Caruana, Hélène, and Céline Roulx. "L’archiviste-documentaliste en France, une bête curieuse ?" La Gazette des archives 222, no. 2 (2011): 95–100. http://dx.doi.org/10.3406/gazar.2011.4814.

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40

Wolters, E. "A Curriculum for Documentalists in the Biosciences." Methods of Information in Medicine 26, no. 02 (April 1987): 93–96. http://dx.doi.org/10.1055/s-0038-1635486.

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SummaryAt the Hannover Polytechnic (Fachhochschule Hannover, Fachbereich BID) curricula for documentalists and librarians have been established in 1980. The main goal of the course “Bioscientific Documentation” has been the integration of traditional document handling techniques with modern information management in the biosciences, so creating a new type of profession.After graduation of the first classes of students, fine tuning of the curricula took place according to the experience gained.
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41

Lillo, Sonia, and Javier Guallar. "El documentalista researcher en un programa de televisión especializado. Proceso de trabajo y gestión de fuentes en ‘This is Art’." Cuadernos de Documentación Multimedia 30 (June 17, 2019): 229–45. http://dx.doi.org/10.5209/cdmu.64655.

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Se presenta el perfil profesional del documentalista researcher en producciones de televisión a partir del estudio de caso de su participación en el programa de televisión This is art. Se analiza el trabajo del documentalista en cada una de las fases de trabajo del programa, siguiendo un orden cronológico de actuación y se estudian aspectos fundamentales del trabajo del researcher como son el uso de fuentes de información y la gestión de los derechos de uso.
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42

Lillo, Sonia, and Javier Guallar. "El documentalista researcher y la gestión de derechos de obras musicales en una serie de ficción. El caso de ‘Foodie Love’." Cuadernos de Documentación Multimedia 31 (November 19, 2020): e72590. http://dx.doi.org/10.5209/cdmu.72590.

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Se presenta el estudio de caso de las funciones profesionales del documentalista researcher en la serie de televisión de ficción, Foodie Love. A partir de este caso, se describe el trabajo del documentalista en cada una de las fases de producción de la serie, y se analiza con detalle todo lo relacionado con la gestión de los derechos de autor de las obras musicales, como los tipos de derechos -editoriales y fonográficos- y las principales fuentes de información para esta actividad profesional
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43

Nachtergael, Magali. "Art contemporain et littérature : post-conceptualisme, « documentalité » et greffes créatives." Critique d’art, no. 54 (June 4, 2020): 22–33. http://dx.doi.org/10.4000/critiquedart.61982.

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44

Nachtergael, Magali. "Contemporary Art and Literature: Post-conceptualism, “documentality” and creative grafts." Critique d’art, no. 54 (June 4, 2020): 22–33. http://dx.doi.org/10.4000/critiquedart.61997.

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45

Fortier, Alexandre, and Elaine Ménard. "Inked in Time and Space: Exploring the Documentality of Tattoos." KNOWLEDGE ORGANIZATION 45, no. 4 (2018): 292–96. http://dx.doi.org/10.5771/0943-7444-2018-4-292.

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46

Vega, Lasso de La, and Lygia N. Fernandes. "Bibliotecário e documentalista — uma divergência e um problema." Revista do Serviço Público 86, no. 3 (January 24, 2019): 137–55. http://dx.doi.org/10.21874/rsp.v86i3.3652.

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Para distinguir claramente o bibliotecário do documentalista, convém acompanhar através da história, ainda que muito esquematicamente, o processo pelo qual se chegaram a positivar os traços de uma e de outra profissão, não impedindo isso que intentemos, depois, fixar seus limites, características, analogias e diferenças
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47

Roumieux, Olivier. "Que pensez-vous de Documentaliste ? Sciences de l'information?" Documentaliste-Sciences de l'Information 49, no. 1 (2012): 70. http://dx.doi.org/10.3917/docsi.491.0070.

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48

Ripoll-Mont, Silvia, and Luisa Tolosa-Robledo. "El documentalista de programas de televisión: horizontes profesionales." El Profesional de la Informacion 18, no. 3 (November 1, 2008): 341–48. http://dx.doi.org/10.3145/epi.2009.may.13.

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49

Berryman, Jim. "Human remains as documents: implications for repatriation." Journal of Documentation 76, no. 1 (August 29, 2019): 258–70. http://dx.doi.org/10.1108/jd-04-2019-0060.

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Purpose The purpose of this paper is twofold. First, to investigate the documentality of human remains in museum and research collections. Second, to provide a rationale for a processual model of documentation, which can account for their repatriation and eventual burial. Design/methodology/approach This paper uses a multidisciplinary approach to examine the repatriation issue. It considers an ethical argument developed to support claims for repatriation: the nominal identification of a body as a universal criterion for its burial. Based on Igor Kopytoff’s processual model of commoditisation, it looks to cultural anthropology to help explain how objects can move between a document and non-document state. Findings Human remains can be understood as examples of information-as-thing. However, while document theory can readily account for the expanding realm of documentation, it cannot adequately accommodate instances where documentality is revoked, and when something ceases to be a document. When a human biological specimen is returned, the process that made it serve as a document is effectively reversed. When remains are interred, they revert to their primary standing, as people. The process of becoming a document is therefore not unidirectional, and document status not permanent. Research limitations/implications The implications of a processual model of documentation are discussed. Such a model must be able to account for things as they move into and out of the document state, and where the characteristics of documentality change through time. Originality/value This paper explores problematic material not usually discussed in relation to document theory. The repatriation movement poses a challenge to a discourse predicated on documentation as a progressively expanding field.
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50

Bell, Vikki. "Between documentality and imagination: Five theses on curating the violent past." Memory Studies 11, no. 2 (October 26, 2016): 137–55. http://dx.doi.org/10.1177/1750698016673238.

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This article considers the notion that to document or inscribe our lives not only leaves a trace of our creaturely presence, but may also become a form of juris-writing, a writing that concerns and aims at Justice. Employing an expanded notion of Justice that takes it beyond the institutions of law, therefore, it asks about forms of documentality (Ferraris) that put us ‘before memory’ in Derrida’s sense. How is it possible to think curation in relation to a violent past in such a way that neither attempts to deny the lacunae nor surrenders in the face of the difficulties of such attempts? How should we consider the relation between the delimited encounter with an ‘invitation to imagine’ (Didi-Huberman) and processes of institutionalisation that build a society? What about those things that it is not possible to show, including relations of power, that arise analytically? Reflecting on current memory spaces, especially within ex-clandestine centres for detention, torture and extermination (ex-ccdtyes) in Argentina, the article offers five theses in order to consider what is at stake in the encounters staged at these sites.
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