Working memory is a limited capacity memory system that involves the short-term storage and processing of information. Neuroscientific studies of working memory have mostly focused on the essential roles of neural oscillations during item encoding from single sensory modalities (e.g., visual and auditory). However, the characteristics of neural oscillations during multisensory encoding in working memory are rarely studied. Our study investigated the oscillation characteristics of neural signals in scalp electrodes and mapped functional brain connectivity while participants encoded complex audiovisual (...) objects in a working memory task. Experimental results showed that theta oscillations (4–8 Hz) were prominent and topographically distributed across multiple cortical regions, including prefrontal (e.g., superior frontal gyrus), parietal (e.g., precuneus), temporal (e.g., inferior temporal gyrus), and occipital (e.g., cuneus) cortices. Furthermore, neural connectivity at the theta oscillation frequency was significant in these cortical regions during audiovisual object encoding compared with single modality object encoding. These results suggest that local oscillations and interregional connectivityviatheta activity play an important role during audiovisual object encoding and may contribute to the formation of working memory traces from multisensory items. (shrink)

This contribution focuses on legal issues raised by the audiovisual broadcasting of performing arts, which has significantly increased due to the SARS-CoV-2 pandemic. First, we contextualize this practice and briefly present the emergence and evolution of the practice of “filmed theater”, as well as any other form of performances (e.g., concert, ballet, opera) originally conceived for the stage but subsequently diffused through other channels. Secondly, we address the current legal issues that have arisen because of the increase of such (...) practice due to the containment measures taken by government. Two axes are of particular attention: the matter of copyrights and related rights, on the one hand, and the question of public financing, on the other. Concerning intellectual property, audiovisual broadcasting leads to several legal consequences and issues: effectiveness of related rights, emergence of new modes of exploitation and new authors, recognition of the recording as an original work, etc. This new practice is, moreover, likely to disrupt the categories established by public funding legal mechanisms, which are often poorly adapted to hybrid artistic objects. The objective of this part is therefore to analyze the new legal issues raised by the audiovisual distribution of performances. Finally, we go beyond exclusively legal issues to examine the very specificities of performing arts and, more specifically, the possible loss that would result from a fixation of a production on a reproducible medium, making its diffusion possible beyond the stage. (shrink)

The critical discourse analysis is the tool used in this article, to study how audiovisual media have constructed mental representation about the historical facts occurred in Spain between the final stage of the Spanish Civil War and the late 1980s: the theft of newborn babies. The State has failed in an attempt to establish policies that support truth, justice and reparation as it has been recalled by United Nations experts to the Government of Spain, and the reports and documentaries (...) have become vehicles to capture and recover memories. Our objective is to analyze how this collective awareness has been realized and the contribution of reports and documentaries. Our results show that the Spanish television channels silence the Francoist context to depict the thefts as the product of economical mobs focused on child trafficking. The international channels, however, put the origin of the dictatorship at the center of the discourse. (shrink)

Numerous studies have linked the consumption of violent audiovisual content to the increase of aggressive cognitions and behaviors. This research aims to clarify whether the possible harmful consequences of violent videogames might vary depending on an individual variable such as trait aggressiveness. A correlational study was carried out among 6,130 teenagers from two European countries, in which it became evident, by means of multiple regression analyses, that there was a positive correlation between the use of violent videogames and aggressive (...) behavioral intentions. More relevantly, these correlations were greater amongst those subjects with higher scores on the Aggression Scale. Finally, when analyzing the subjective experiences of users of violent videogames, the more aggressive individuals manifested a greater desire to imitate the characters of the interactive content, admitting that they ended up more agitated even when their initial objective was to relieve tension or relax. Practical and theoretical implications of those results are discussed. (shrink)

This article analyzes the digitization process and the difficulties encountered along the way, as a project that involved audiovisual technicians, academic researchers, and a famous Spanish dancer’s legacy: the audiovisual documents Guillermina Martínez Cabrejas, Mariemma, left to a museum located in her hometown. The specific criteria used to decide on the differences that arose in the process, provides great results and, also, a critical view on the limitations of the international preservation guidelines of digital objects.

Interfaces have partially replaced editors. They now administer and have industrialized the processes of content circulation. Web platforms mediatize cultural memory and one example of this is that of online audiovisual archives which are a paradigmatic case involving interfaces mediating our image of the past. Therefore, their role as an enunciative framework is clearly worthy of thought and study. We will thus use a semiotic approach based on the starting hypothesis that digital interfaces shape our belief systems through a (...) discursive framing of content to which they give access. By analyzing two case studies, we will argue that the transparency of interfaces appears to recall the notion of “mechanical objectivity” and thus refashion the reliability of the archives. However, a final counter-analysis of a document read in the framework of an on-site consultation invites us to reshape our considerations and enlarge the perspective from semiotic visual analysis to include the social processes linked to the publication of digital heritage. (shrink)

In this paper we offer a theory of cross-modal objects. To begin, we discuss two kinds of linkages between vision and audition. The first is a duality. The the visual system detects and identifies surfaces ; the auditory system detects and identifies sources . Surfaces are illuminated by sources of light; sound is reflected off surfaces. However, the visual system discounts sources and the auditory system discounts surfaces. These and similar considerations lead to the Theory of Indispensable Attributes that states (...) the conditions for the formation of gestalts in the two modalities. The second linkage involves the formation of audiovisual objects, integrated cross-modal experiences. We describe research that reveals the role of cross-modal causality in the formation of such objects. These experiments use the canonical example of a causal link between vision and audition: a visible impact that causes a percussive sound. (shrink)

Inspired by Farshad Zahedi’s audiovisual essay The Petrified Object and the Poetics of Time in Cinema, this article briefly presents three philosophical approaches to cinema’s ways of expressing time – as articulated by Bergson, Tarkovsky, and Deleuze – and questions how absolute time and chronological time are brought to a state of crisis by this modern form of art.

This article explores the 2020 Turkish Netflix series Bir Başkadır (Ethos) written and directed by Berkun Oya about contemporary Turkey through its objects. With objects surge memories, which are both personal and collective. From the charged objects that convey private attachments, traumas, and histories to ordinary household trinkets and finally archival audiovisual material, this series assumes the status of museum in its drive to carefully exhibit the material world on screen. As the Turkish title of the series indicates, these (...) objects are “bir başkadır”: one of a kind. Through themes and practices of lost innocence, counter-archives, and archiveology, I sift through the quotidian objects, miniatures, old photos, souvenirs, and analogue film footage re-presented and re-collected in this series with an eye to their new scope and allure. The past and present rest adjacent to one another in the mise-en-scène of this series. In engagement with the philosophical writings of Walter Benjamin on the collector, the archive, and memory, Andreas Huyssen's concept of the “museal gaze,” Jennifer Culbert's “counter-archival sensibility,” and finally Catherine Russell's practice of “archiveology,” this article examines how the objects that fashion the on-screen world acquire depth and meaning and the film as museum comes to form. (shrink)

This article argues that bodily awareness is a basic form of self-consciousness through which perceiving agents are directly conscious of the bodily self. It clarifies the nature of bodily awareness, categorises the different types of body-relative information, and rejects the claim that we can have a sense of ownership of our own bodies. It explores how bodily awareness functions as a form of self-consciousness and highlights the importance of certain forms of bodily awareness that share an important epistemological property with (...) canonical forms of self-consciousness such as introspection. (shrink)

La mondialisation a pour effet de rendre indispensable non seulement le recours à la traduction, mais souvent aussi à l’adaptation. C’est en particulier le cas pour les ressources audiovisuelles numériques et leur republication, dont l’importance ne fait que croître. Le texte audio-visuel est en réalité à considérer comme un objet sémiotique pouvant avoir une extrême complexité, en raison des différentes strates dont il se compose. En particulier, chacun des plans que l’on peut y distinguer peut être l’objet d’une traduction culturelle (...) spécifique, car autrement les informations véhiculées risqueraient d’être mal interprétées par les récepteurs. Pour aborder cette problématique, l’article s’appuie notamment sur les travaux effectués dans le cadre du projet de recherche « Atelier sémiotique audiovisuel » financé par l’Agence nationale de la recherche .One effect of globalisation has been to make not only translation essential, but also adaptation. This is particularly true in the case of digital audiovisual resources and their re-publication, which are greatly increasing in importance. Audiovisual text should in fact be considered as a many-layered semiotic object whose complexity can be extreme. Each of these layers may require a specific cultural translation, failing which the information conveyed can be wrongly interpreted by those receiving it. In addressing this problem, this paper draws in particular on the work carried out under the “Audiovisual Semiotics Workshop” research project financed by the French National Research Agency. (shrink)

Assessing the quality of translation is never straightforward and rarely objective. Context, audience, text type, function and lexis are only some of the criteria that need to be taken into account. In the case of constrained intersemiotic translation, subtitling being a prime example thereof, determining universal criteria for assessment is particularly testing. Often referred to as “necessary evil”, audiovisual translation needs to avoid distracting the audience, while aiding their comprehension of the audiovisual message. This is particularly the case (...) for additive AVT, for instance subtitling, where the translation does not replace the original, but coexists with it. Relevance Theory, a controversial but flexible approach to communication, may provide a viable framework for gauging subtitling quality. The interplay between relevance, communicative intention and processing effort can help explain the rationale behind the process of decision-making in the practice of AVT. This paper provides a theoretical foundation for the application of Sperber and Wilson’s Relevance Theory to interlingual subtitling, followed by an analysis of selected examples from a large corpus of mostly English-language movies, series and documentaries streamed on Netflix with Polish subtitles. Though the corpus is Polish-centred, the research conclusions are intended to be universal enough to apply regardless of the language pair. (shrink)

This study reflects on the ways in which children, during pandemic times, expressed themselves and came into contact with their teachers and classmates through Image-Letters, ways of saying and saying themselves to the world through audiovisual media. Sensible sharing of their daily lives were revealed by these media and made us think about the diverse childhood of this time. The theoretical framework that supported this work had the contribution of De Certeau regarding studies on everyday life, Walter Benjamin with (...) his writings on childhood experience, Sandra Corazza and Walter Kohan with their contributions to studies on contemporary childhoods and Virgínia Kastrup who supported us on to the cartography method, a methodological approach that allowed us to follow the research process. The objective of this work was to observe the ways in which children communicate through verbal-visual media and what type of content and everyday fragments they choose to share their experiences during the pandemic period.with the school institution. It is important to highlight that the dissemination of the images was authorized by the children and their guardians through a free and informed consent term, in compliance with the ethical principles of research with images of children. Furthermore, the images are available through QRcode and can be accessed through a smartphone camera. (shrink)

The main objective of this work was to produce a scientifically reasonable definition of God. The rationale was to generate a definition for filling a small part of the spiritual vacuum of the 21st century and thus initiate a new understanding of the Intelligence that permeates the cosmos with mystery, love, order, direction and morals. This resulted in the following definition: “God may be a-humanly incomprehensible-eternal cosmic existence, intimately related to the endlessness of space, to the nature of the deepest (...) common substance of matter and energy, to this common substance’s unceasing motion responsible for time, and to the basic laws of their allness, letting love transform this allness to an ordered Multiverse with a Soul: the—scientifically approachable—Soul of Multiverse inspired to guard these laws and equip their order with direction and morals while imbuing the cosmos with the potential of lives evolving, at the right spatial and temporal distances, to embrace the sense of the divine, thus justifying the existence of God.” The likely neural circuitry for sensing God in the human brain was identified as a network for spiritual data flow across the conscious and subconscious layers of the association cortical cognitive system exchanging data with the prefrontal cortical Self-Ken and modulated by inputs from the emotional and motivational systems of the brain. To study this mental process, the design of a God-Experience Monitor was also developed: a comfortably wearable combination of EEG and audiovisual-recorders tailored to at least partially capture the individual experiences of God anytime and at the very “genius loci” of such experiences. (shrink)

Reading and writing are increasingly performed with digital, screen-based technologies rather than with analogue technologies such as paper and pen. The current digitization is an occasion to “unpack,” theoretically and conceptually, what is entailed in reading and writing as embodied, multisensory processes involving audiovisual and ergonomic interaction with devices having particular affordances. Highlighting the sensorimotor contingencies of substrates and technologies — how movement and object manipulation affect perception, experience, and sensory “feel” — this article presents an embodied approach (...) to reading, writing, and literacy, using three cases of digitization as illustrations of some educational implications: beginning writing by hand or by keyboard; dialogic reading with iPads and print picture books in kindergarten; and deep reading of long, linear texts on paper and on screens. (shrink)

Apologies have long been considered an important social action in many languages for dealing with frictions of everyday interaction and restoring interpersonal harmony in response to an offense. Although there has been an increasing amount of research on apologies in non-Western languages, little research involves children. Japan is an interesting case in which to examine apologies. In particular, Japan has been called a “culture of apology“ in the sense that speakers often `apologize' (ayamaru) in a wide range of communicative contexts. (...) This article examines children's socialization to a culture of apology as evidenced by a large corpus of audiovisual recordings made over the last decade in households, playgrounds, and a preschool in Japan. In particular, it examines ways Japanese caregivers (e.g. parents, preschool teachers) use the expressions Gomen ne and Gomen-nasai ([I'm/We're] sorry) when addressing third parties, including not only other people (e.g. children's peers) but also a range of entities in the surround (e.g. animals, supernatural objects, objects in the environment such as a stone), and ways they prompt children to say these expressions to such third parties. This analysis suggests that apology situations are an important site through which children are socialized to empathy and relationships in the social world. It also examines ways children use these expressions when addressing peers and inanimate objects, and ways they prompt others including peers and even on occasion adults to say them. These findings suggest that while children deploy strategies in ways that reflect the socialization process, they also deploy them in ways that construct this process in creative ways. (shrink)

Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience, he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society. Kappelhoff applies the Deleuzean practice of "thinking in images" to his analysis of films and incorporates the approaches of Jacques Rancière and Richard Rorty, who see (...) politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience. (shrink)

This collection brings together artists and theoreticians to provide the first anthology of a new field: Practical Aesthetics. A work of art already contains its own criticism, a knowledge of its own which need not be conceptual or propositional. Yet today, there are many approaches to different forms of art that work on the brink between science and art, 'sensible cognition' and proposition, aesthetic knowledge and rational knowledge, while thinking with art (or the artistic material) rather than about it. This (...) volumes presents ways of thinking with different forms of art (film, sound, dance, literature, etc), as well as new forms of aesthetic research and presentation such as Media Philosophy, the audiovisual essay, fictocriticism, the audio paper, and Artistic Research. It reveals how writing about art can become 'artistic' or 'poetic' in its own right: not only writing about artistic effects, but producing them in the first place. This takes art not as an object of (external) analysis, but as a subject with a knowledge in its own right, creating a co-composing 'conceptual interference pattern' between theory and practice. A 'practical aesthetics' thus understood, can be described as thinking with art, in order to find new ways to create worlds and thus to make the world perceivable in different ways. (shrink)

RESUMOA audiodescrição consiste em fornecer a pessoas com cegueira e baixa visão a tradução sonora de processos comunicativos visuais e audiovisuais, como programas de TV, obras de artes plásticas ou ópera. Esta atividade se formalizou na década de 1980, nos Estados Unidos, a partir do modelo "descreva o que você vê". Tal proposição, o audiodescritor, empunhando a controversa bandeira da "objetividade", oferece leitura supostamente isenta - e em certa medida protocolar - sobre aquilo que observa. A escola americana prosperou e (...) se disseminou pelo mundo, tornando-se o padrão da AD realizada, inclusive, no Brasil. Recuperando, contudo, a melhor tradição tupiniquim da "transcriação" ou "recriação", defendida pelos poetas concretos, lançaremos, ao menos para as artes visuais, outra proposta metodológica/experimental: o uso de diagramas poéticos sonoros para a realização da AD, compreendida como tradução intersemiótica. Acredita-se que a camada sensível, tão cara às artes, é muitas vezes perdida no tecnicismo da AD normatizada, e que construções diagramáticas talvez possam recuperar esta dimensão através de signos sonoros inteligíveis mas, sobretudo, sensuais. Há, conforme explicamos, certa articulação estética, ética e semiótica que referenda a proposta aqui apresentada.ABSTRACTAudio description is the act of providing blind and low vision people with a sound translation of visual and audiovisual communication programs, such as TV shows, artworks, or operas. This activity was formalized in the 1980s in the United States, using the model: "describe what you see." In this model, the audio describer, wielding the controversial banner of "objectivity," offers a supposedly impartial - and to some extent protocolized - reading of what he/she observes. The American school prospered and spread around the world, becoming the standard for AD, even in Brazil. However, by recovering the best Tupinikin tradition of "trans-creation" or "re-creation," defended by the concrete poets, we raise, at least for the visual arts, another methodological/experimental proposal: using sound poetry diagrams to perform AD, a process known as intersemiotic translation. It is widely believed that the sensitive layer, which is significant in the arts, is often lost in the technicality of standardized AD, and that diagrammatic constructions, can perhaps recover this dimension through sound signs that are intelligible but, above all, sensual. There is, as we explain, a certain aesthetic, ethical, and semiotic articulation that reinforces the proposal presented here. (shrink)

The core objective of this article is to advocate for the cultivation of philosophical thinking, a pivotal element that fosters a profound understanding of the evolutionary trajectory of the information society and the human role within this paradigm. An examination of the unique attributes of the information-communicative educational space, coupled with the tenets of post-classical knowledge, underscores the imperative for nurturing human capabilities and personality traits essential for efficacious self-identification within the information society. The anthropological nature of philosophy focuses on (...) understanding that rational, abstract-universal, theoretical thinking is fundamentally value-laden, not free from human interests. These interests determine the directions of scientific research and, if necessary, limit freedom of choice. The philosophical perception of communication, seen as a wellspring of new knowledge generation aimed at pragmatic problem-solving and emerging from human solidarity, promotes the cultivation of creativity, an intrinsic quality of the persona. A favorable factor for the successful development of dialogical thinking is the transformation of the previously dominant written culture into an oral one, where natural spoken language plays an increasingly important role. The exigency for a high degree of personal individualization and thought individualization, prerequisites for successful self-identification, calls for the fostering of stereoscopic and pluralistic thinking. Such thinking, inherent to the philosophical discourse, inherently possesses an authorial essence and proffers diverse interpretative responses to identical queries, thereby catalyzing the development of contextual thinking adept at unraveling the meaning of events in situational contexts. Globalization, accompanied by an increase in the world’s diversity, contributes to the development of global thinking – the ability to solve local problems considering global patterns. As a counterbalance to informational pluralism, the visual turn emerges, epitomized by the capacity to encapsulate voluminous data into intricate montaged images and to adeptly interpret such constructs. This paradigm shift necessitates the enhancement of visual thinking, which, as contemporary philosophy posits, is oriented toward assimilating social experience, laying the groundwork for self-identification. The presented arguments substantiate the conviction that the development of philosophical thinking in the educational process is not an auxiliary factor, but an imperative of the modern information society. (shrink)

The use of motion pictures for research has a long history, of course, but beyond documenting a phenomenon and then projecting it for demonstration, scientists using this technology spent much energy figuring out how to extract information from a strip of film. Understanding film (or audiovisual) analysis is therefore necessary to grasping the relationship between an object of study, moving-image technology, and scientific evidence. This article explores one common technique within that history of film analysis: projecting a frame (...) of the motion picture and then tracing the object of study onto paper, which was especially important for behavioral sciences such as developmental psychology or ethology. Behavior became tangible through a variety of means, but for those who relied on film for their observations, such as developmental psychologist Arnold Gesell, behavior took form at least partly through the process of tracing. Gesell's use of this technique reveals the broader functions of tracing as well as the patterns that emerge from its interplay with other inscriptions in the creation of evidence. How does behavior take form? The practice of tracing provides one answer to this larger question. (shrink)

In Brazil, every study involving human beings is required to produce an informed consent form that must be signed by study participants: this is stated in Resolution 196/96. 1 Consent must be obtained through a specific structured process. Objective: To present the opinions of women regarding how the process of obtaining informed consent should be conducted when women are invited to participate in studies on contraceptive methods. Subjects and Methods: Eight focus groups were conducted, involving a total of 51 women (...) living in the metropolitan region of Campinas. The women involved in the study were either participating in a clinical trial in the area of women's health or had participated in such a trial in the previous 12 months. A thematic guide was used to conduct the focus group discussions; the discussions were recorded, transcribed and a thematic analysis performed. Results: In general, the person who invites a woman to participate in a study should be a member of the research team but not the principal investigator. Information relating to the study should be given orally and in writing, both individually and in the group setting. Study volunteers should be informed about, among other things, the risks, possible side effects and discomforts, including long-term effects. The use of audiovisual aids to provide information was suggested. Conclusion: The process for obtaining informed consent was seen as a means of establishing a relationship between the volunteers and the investigator/research team. The information that the study participants expected to be given coincides with the requirements established under Resolution 196/96. The use of audiovisual aids would improve understanding of the information provided. (shrink)

We incorporate social reasoning about groups of informants into a model of word learning, and show that the model accounts for infant looking behavior in tasks of both word learning and recognition. Simulation 1 models an experiment where 16-month-old infants saw familiar objects labeled either correctly or incorrectly, by either adults or audio talkers. Simulation 2 reinterprets puzzling data from the Switch task, an audiovisual habituation procedure wherein infants are tested on familiarized associations between novel objects and labels. Eight-month-olds (...) outperform 14-month-olds on the Switch task when required to distinguish labels that are minimal pairs, but 14-month-olds' performance is improved by habituation stimuli featuring multiple talkers. Our modeling results support the hypothesis that beliefs about knowledgeability and group membership guide infant looking behavior in both tasks. These results show that social and linguistic development interact in non-trivial ways, and that social categorization findings in developmental psychology could have substantial implications for understanding linguistic development in realistic settings where talkers vary according to observable features correlated with social groupings, including linguistic, ethnic, and gendered groups. (shrink)

The article aims at showing how far the technologies of audiovisual registration affect not only the ontology of images but also our sense of realism in politics and history. As argue Jacques Derrida and Bernard Stiegler, historical events have become “tele-events” after the birth of these technologies. Our handling with images has changed accordingly. As argues Pietro Montani, we no longer consider them as “copies” of real objects but rather as “occasions” for initiating processes of “validation” of history. Hannah (...) Arendt’s opposition between the ancient concept of history being based on praxis and the modern concept of history as “fabrication” (poiesis) of the humankind must be therefore reconsidered. History is rather the negotiation between these two attitudes (praxis and poiesis): cinema might be one of the exemplary sources of this negotiation, as epitomized by the documentary work in the audiovisual archives conducted by Esfir Shub (1927) and Harun Farocki (1992). Representation (Louis Martin) becomes thus a dynamical power of imagination dealing with historical and political reality; consequently, the “ideal spectator”, just as the “ideal reader” for novels (Umberto Eco), is charged with a new task of actualizing the sense of images with regard to their historical and political references. (shrink)

Resumen: El artículo a través de un esfuerzo teórico-epistémico e histórico, busca dar cuenta de la relevancia del género documental audiovisual, como referente en la construcción de realidad y memoria social, abocándonos específicamente al desarrollo del documental en Chile. Para ello, se argumenta sobre las problemáticas que acarrea la identificación de este tipo de realizaciones audiovisuales y, una vez zanjada dicha cuestión, se alude a la fuerza revitalizadora que alcanza como reflejo de una sociedad, su reconstrucción del pasado, su (...) valorización del presente y su proyección con visión de futuro. Es decir, el documental como posibilidad de intervenir en lo que percibimos como real, siendo necesario profundizar algunas nociones como verdad; objetividad y subjetividad; realidad y memoria social, entre otras cuestiones de importancia. Todo este recorrido histórico y epistemológico es apoyado en la fenomenología y la hermenéutica, en virtud de indagar en el género documental desde la experiencia chilena.: The article, through a theoretical-epistemic and historical effort, seeks to account for the relevance of the audio-visual documentary genre, as a reference in the construction of reality and social memory, focusing specifically on the development of documentary in Chile. For this, it is argued about the problems that the identification of this type of audio-visual realizations entails, and once this question is settled, it is alluded to the revitalizing force that it achieves as a reflection of a society, its reconstruction of the past, its valorisation of the present and its projection with vision of the future. That is, the documentary as a possibility to intervene in what we perceive as real, being necessary to deepen some notions as truth; objectivity and subjectivity; reality and social memory, among other important issues. All this historical and epistemological journey is supported in phenomenology and hermeneutics, by virtue of investigating the documentary genre from the Chilean experience. (shrink)