grammar, rhetoric and dialectic MEDIA
This material was produced at the seminar held at the Graduate School IMT - Lucca Institute for Advanced Studies , 28/10/2005 entitled Grammar, Rhetoric and Dialectic Media by Francesco Monico;
Abstract:
The Media Medium
It 's a relationship model of our sensory and active metaphor for power to translate;
is what is in the middle, but things are not the media functions;
is the configuration of the background effects;
affects the body / mind to the specific attitudes.
What then is a medium / media?
Physically is a artifact or a technological device and an object of design;
etymologically a technology for transmitting information;
editorially a mode of organization, distribution and variation of communication.
In this sense any medium / media is one and three.
Size:
1 - Editorial;
2 - technology;
3 - object.
THE GRAMMAR OF MEDIA ****************************** *******
Grammar [sf 'study of the constituent elements of a language' (av. Giamboni 1292) is derived from Lat. rammătica g (m) and grammăticu (m) , transcription of the greek Grammatiko or techne, '(art) script (program)', and Grammatikos , adj. (Who knows the letters)] 1 has as its object the knowledge of the rules that serve to operate in a language and manner broader language.
There are various models of grammar in linguistics: descriptive grammar that describes precisely the state of the language at a given time (the grammar of English by Scott, the grammar of the Florentine of the fourteenth century, the grammar of the Venetian dialect) and therefore does not give value judgments because it relates only to the description of linguistic facts, the historical grammar that studies the origin and history of a language, comparative grammar - or comparative linguistics-branch of linguistics that specifies what are the correspondences between multiple languages, thus creating the genealogical relationships, such as comparative grammar of Indo-European languages. General grammar, which tries to determine which laws are common to all languages. 2
All these applications are part of the broader category of so-called " traditional grammar .
Grammar, depending on the objectives for which it assumes, can follow different routes, the traditional one is understood as the sum of all the rules that govern the use of a language peculiar to a expression technology and / or half and its aim is to provide lists of forms, rules dictate and correct errors. In the popular sense then the grammar is 'the art of organizing the content within the language of a half'.
grammar to which we refer to as the object language has its own electric and electronic media such as audiovisual linear syntagmatic, TV and radio and television programs, documentaries and non-linear audiovisual ipermultimediale, such as Internet domain, Audiovisual and multimedia hypertext.
This is the so-called 'normative grammar of the media' which is a grammar that outlines the shapes you based on the model of audiovisual language that is proposed by the specialists of the sector and educational institutions and specialized research.
Grammar Statement of Media is a new discipline and experimental and at the Nuova Accademia di Belle Arti di Milano, Department of Media Design is developing a research and coding of this discipline.
studies on grammar media are in their infancy, the academic institutionalization is still young, and empirical research has not yet found an appropriate methodological framework and therefore are not automatically combined contributions from across disciplines.
This assumes that there is a grammar of the media that determines with consistency of assumptions and linearity of method, its foundations.
would be desirable to have a general idea of \u200b\u200bgrammar media that put order into a wide range of models available today, but in this history, no such circumstances is available.
is then circumvented the first duty of every discipline: the definition of its object of study. It follows that you can not specifically point out the concept of Grammar Media but we have a number of definitions that provides the ability to connote the phenomenon of audiovisual communication and thus to produce a sufficient amount of concepts to discuss them.
The grammar of electronic media is based on the rules of these same media, there are categories:
- Audiovisual Grammar and Linear : that on all the audiovisual media using a linear process and syntagmatic order to convey information in the statement. →
What do you mean by term?
Each linguistic expression (audiovisual) which can be given a structure, or which can be divided into constituent parts, in accordance with the rules of grammar.
The phrases are what the constituents of complex grammar identifies as a 'sentence' video. The first floor is not a phrase, a first floor with a gallery is to approach a phrase [From Greek Syntagma 'meeting ordered composition' by sýntássein 'compose, composed of syn-' sin 'and tássein' order '(d' orig. Unknown)]
Television is a medium that uses the matrix of time to organize their content and, therefore, the meanings are transmitted and modulated by the sequence and flow.
The sequence is defined as a succession of televised visual figures, such as first floor, especially, the middle field along the overview, the overview narrative that expresses a core unit.
The flow is defined as one that alternates in the sequence.
sequences and the flow encountered in the schedule which, in turn, is defined as "the sequence of messages offered by the issuer to all holders of the unit tuned to a given frequency" 3 .
The fact that television organize content in a flow of time scheduled to be considered a basic element of broadcasting, the distinguishing feature, the basic model of organization of the meanings of broadcast companies.
It introduces the use of events in the same unit space in front of the monitor and through the flow is through a set of sequences of all events usable in the same unit of time. This unit of time flow is the matrix through which the contemporary broadcast organizes information by retrieving the ancient oral forms' epoxy or the sequence syntagmatic that transforms a series of random events, even unrelated, in a real narrative and which aims to achieve through the forms of rhythm and emotion, of pathos, a final meaning.
Unlike the cinema whose work, the films are characterized by clearly defined boundaries of space and time, television is a medium flow: its product is a post- continuum, a stream. This flow is the term television. 4
- Grammar Audiovisual Ipermultimediale: that is relevant to all those means of audiovisual communication using different media and a non-linear process to convey information in the statement, which can jump from one content -contribution to another in a pattern of ' memex-As-You May Think ' 5 . →
These media, breaking the phrase up and implement a recovery of the 'mosaic' of the printed page of the newspapers, or the function of 'browsing' of the user becomes an active part in the recovery and sequencing of the content.
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The user has an active role: it must have the tools to enable the heuristics in the grammar ipermultimediale;
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The load is segmented by means which offers several content;
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The user regains half;
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The user should be able to know when the necessary information to form an opinion.
Brief Example of Audio-Visual Lexicon Grammar
The Shopping Cart: is a movement made by a "camera" or in short "camera", or a camera, usually with the aid of a cart. In making the trucks, the operator physically moves the cart on which are placed the camera, following a predetermined path.
The 'Campocontrocampo': assembly technique is usually used in scenes of dialogue between two actors facing each other. You get alternating shots of the two subjects, adopting the point of view of one first then the other.
The Easter egg 6 : is content, usually humorous or bizarre nature, and certainly harmless , the designers or developers of a product, especially software, hide in the product (like an easter egg hidden in the garden, according to the Anglo-Saxon tradition). This content is classified as an easter egg if it is something completely alien to the normal functions of the software in question, and yet does not cause any particular damage. A famous example are the fragments of video games can be activated with certain key presses in many programs. In the world of cinema's easter eggs are included in the DVD and may include curiosity about the film, brief scenes footage shot behind the scenes, a short interview, a video clip, etc..
The Full Length (FI): the person has been covered from head to foot, and is exactly in the frame.
The shot: a TRATEGIC focal, camera movement, the frame is the portion of physical space (environment, landscape, etc.). framed lens of the camera or camera. The act of framing outside the field to establish the precise space that will be taken at the same time to exclude everything else.
The "American night" is to shoot in broad daylight scenes that the viewer will look in turn at night. It is obtained by placing filters on the lens and dodging. Saves the actors and crew fatigue to shoot at night, and you can use the same film normally used (for films to be used at night would have a grain more obvious, being more sensitive).
The overview: a recovery is made by twisting (or tilting) a camera on its axis, can of course be combined with any other camera movements (eg the roundup), the realization practice often follows the basic rules: a shot of departure and the arrival of are still images, and pan must be made with precision, without oscillations, increasing the speed in the middle and then slow down on arrival. In fact, it is not a natural movement for the human eye (which tends to explore a landscape moving shooting from an interesting point to another), and this is used sparingly and with slow movements, sometimes subtle. According to the scene and followed the movement, we can distinguish panoramic "widening", "to shake", "to follow" (chasing a subject), or "slap" it is a very quick overview, known as "swish pan ", often used in dramatic scenes to make the idea of \u200b\u200bthe speed of thrown objects, such as a knife or a bullet. The panoramic "descriptive" can be used effectively to present a character (eg starting with the bottom and then climb slowly to reveal the face), or an environment (an overview of a room gives us an idea even those who live there).
The plan: when the frame includes, at most, a human figure in its entirety. If the frame were longer, they talk of the camp. A second portion of the human figure framed, the plan assumes the technical jargon in terms of "Full" Shot, "" middle ground "," Close "and" foreground. "Narrowing the frame on a single particular we get the "detail".
Shot (PA) 's shot from the middle part of the thigh (historically, as it may making people smile, this plan was established in Western movies, where there was a need to show the characters armed with holster hanging from the belt). Often used to frame two or more people (with a cut at the knees), this type of shot serves to give the actor more freedom of expression and action.
Plan medium (PM) or half-figures (MF): the nquadratura taking over the figure (or figures) from the waist up. Commonly known as half-body (MB), this type of shot is not used much in the cinema, and is more common in television (and television news in particular).
Highlights (PP): the nquadratura of a face to the shoulder. The subject is isolated from the context, and its expression is the center of attention. In photography is also known as "passport".
close-up (PPP): the subject's face fills the frame, and is generally cut on the hairline and in the middle of the neck (sometimes the cut is made from the chin). The shot is very close and very film, allowing you to capture the soul of the subject.
Detail (detail) or Detail (Dett.): is part of the face or body recovery very closely. It can also cover a very small object, or moving parts (eg the detail of the feet in the race).
The sequence: ra cchiude a scene or series of related scenes that have space-time continuum, has a beginning, a middle and a conclusion that ends with a strong or weak or a time of low intensity.
THE RHETORIC OF MEDIA ************************
The rhetoric and rhetoric [Vc learned lat . rhetor (m) , which, with the adj. Der. rethŏricu (m) - which then ( art (m)) rethŏrica (m ) - depends on the GR model. rhetor , rhētorikós , Rhetorik (techno), der. Of v. of orig. Indeur and extension. éirein 'say, declare' , or art of making common share, communicate] , is the art of intentionally structuring a series of arguments (or a phrase or a memex) in a particular form of dialectical reasoning.
Rhetoric is thus a form of exchange of information shared through conventions, content to be transmitted is typically done in the form stylistically more 'beautiful' or so that it can be useful (convincing - emotionally satisfying).
The Rhetoric to which we refer to as the object language has its own electric and electronic media such as audiovisual linear syntagmatic, TV and radio and television programs, documentaries and non-linear audiovisual ipermultimediale, such as Internet domain, Audiovisual and multimedia hypertext.
This is called the 'rhetoric of the media' which is a rhetorical structure that forms that are based on the model of audiovisual language that is proposed by the specialists of the sector and educational institutions and specialized research.
Rhetoric Media requires excellent knowledge of language conventions and familiar with the precise meanings of the totality of all the elements of a term audiovisual and / or a memex ipermultimediale in a given 'time frame'.
The concept of 'space-time' is very important in the audiovisual space is linear and sequential, the memex space is homogeneous and isotropic that a point in space is another for the verification of semantic connections there is no privileged position. It speaks, in this case, symmetry of translation and spherical symmetry. This spa uncle may be called hypertext structure as defined by a set of "semantic relations" between the content, in a variety of defined semantic content which can generally be identified.
Space is not absolute but becomes purely relational.
The 'Rhetoric Media' is being studied by various disciplines, including the 'Mass'mediologia (for historical reasons the development of the human sciences) has certainly garnered the most profound experience.
In the letters rhetoric (as it was until the twentieth century) is understood as the art of communication functionalized, the one that is instrumental to obtaining a particular benefit.
The Rhetoric Media is free from this controversy, and rejects the accusation to the historical rhetoricians, in the extension of its meanings, is also - and perhaps more noble - the art of sharing, a discipline that is closer aesthetics, understood as what impresses the senses 7 , not utilitarianism, although in certain views (including those for which the "beautiful" is a goal to be sought) can never miss the look of vantaggiosità pursued, since communication wants to be ontologically finalized (or not communication, but other type of issue).
Roland Barthes argues that the rhetoric is born from the processes of property, usually goes back to the birth of classical rhetoric from the fifth century BC, in Syracuse to the work of Corax and his pupil Tisia. The first 460 BC to write a manual entitled Techne Rhetorik, a first technique of communication. What's important is that there is in this text we find the correct presnetazione outline of the arguments of a 'speech': the onset, the "fight", the epilogue and the use of likelihood (the eikos) . And 'the concept of linking likely heavily ipermultimediali and broadcast media, technology likely to excellence.
The rhetoric began as a judicial technique and serves to convince the truth, or to make it appear plausible and realistic narrative of reality.
Born in strictly legal purposes, their precepts based on the principle that the look good is more important than ' be true. At the same time, and always in Sicily, was born and prospered another kind of rhetoric that psychagogical. It aimed to convince not proving so unexceptionable that a given argument was plausible, but attraction using cleverly manipulated the word could have on listeners, has advanced in this respect a comparison with today's advertising, which tends not so much to show that a product is better than another on the basis of technical elements, but more often to attract the consumer to induce the purchase, involving them in terms of passion and feeling, on emotion, conveyed most of the time, and its most convincing and just the linear audiovisual hypermedia.
From Sicily rhetoric goes to Athens, the mid-fifth century BC, through the masters of sophistry, rhetoric, the doctrine was developed and was enriched by new contributions. Among the most important figures should be noted Protagoras, who developed the doctrine of the antithesis as idea-force of an argument, showing how the same argument could be treated from different points of view. The most innovative contribution was the technique of contradict: the antilog.
The foundation Gorgiana
The rhetoric seems inextricably fused with the first author of the poetry which we have a discussion of rhetorical themes: Gorgias of Lentini, a great philosopher who emigrated from his native Sicily to Athens in 427 BC In one of his extant works, is exalted the power of psychagogical persuasion, which acts through the illusion ( apathy) that the speech (logos ) can cause. Gorgias, for one, a distinguished first detection of figures.
The Turn Platonic
Plato spoke a very severe condemnation of sophistic rhetoric 8 , judging it a fake and saying that was intended to distract seducing the crowd with elegance enchantresses and empty sound.
same time realized the philosophical statement of its counterpart, the dialectic, as the art of debate modeled on its specific content and aimed at analyzing the topics of discourse in composing the first elements to bring them to a few main categories.
The certainty of description prevails on changeability of meaning by reversing the position of the sophists. 9
Aristotle carried out a systematic review of the guidelines, he is the coder and the person who developed the rhetoric which is directly inspired by the rhetoric or the Media 'art of storytelling, presenting, and sharing information in linear audiovisual media and the media ipemediali.
So in the Media Rhetoric a widely used procedure is the induction, "the process that leads from the particular to the universal" ( Top ., I, 12, 105 to 11), while in the Rhetoric 'alphabetical' the ragionamneto Prince is an example deductive (starting from the many similar cases show that something is in a certain way);
The concept of induction literally means "to bring in," but also "summoned", "take him ". In practice, the human being comes to beliefs in two ways: it has an elementary knowledge of the particular and the universal comes from this (via induction, in fact), or from the universal part to go to the particular deduction. The main difference between induction and syllogism, deductive reasoning, it would be implicit, provided for Aristotle, in the middle term of the argument itself. In fact, that in the first case (induction) is a simple fact, while in the case of the deduction serves as a substantial because ( An. pr., II, 23, 68 b 15).
So we have two examples - deductive syllogism: all men are animals, all animals are mortal, therefore all men are mortal.
The middle term here is "animal" and is in fact the necessary link between the two extremes. The average delay in this case is that which only makes it possible to claim that all men are mortal. It is the conditio sine qua non . It explains and demonstrates, there is always to reach a valid conclusion, then is what tells us that men will all die sooner or later, because they are essentially animals.
Inductive reasoning: man, horse and mule are long-lived, man, horse and donkey are animals without bile, then the animals without bile are long-lived.
The middle term here is "to be without gall," and appear only in conclusion, this means that it does not connect to anything, but simply a fact and this is a 'visual image'. The induction, ultimately, does not prove anything, and only applies in all cases where there is the actual validity and may be an image and sound, which is a simple example.
Modern
nineteenth century it came to the suppression of the official rhetoric, this does not decreed its disappearance from the literary manuals, where it survived as a catalog of shapes and styles. This decline of the ancient art of speaking was due to the prominence given all'elocutio (dell'ornatus and theory).
But in the twentieth century there was a return to the conception of rhetoric as a theory of discourse, which has its hub in the argument and its raison d'etre, to determine the great renaissance of the discipline in the middle of the twentieth century.
Traité de l'argumentation Perelman
This recovery "positive" rhetoric of art is largely due to studies and work of Perelman and Olbrechts -Tyteca. They operate a modern return to the Aristotelian, to construct a theory of non-demonstrative speech . From them comes the rhetoric fondamneto media. 10
Rhetoric Media
As in Aristotle's rhetoric, the focus is the public, knowledge of which (the most realistic and accurate as possible, on the basis, above all, concepts of social psychology) is a prerequisite for the success of the argument.
This is also a feature of advertising which is based on market research to know the target to turn to in order to establish an effective communication process, as specific and direct the kind of public / audience.
The problem of public-linear media and hypermedia is linked to that of conditioning is that 's adaptation of the speech and the views of listeners to their degree of culture.
Secondariamnete is important in the Rhetoric Media the basis of the argument, and shall include the Agreement with the public, the choice of data and their presentation, ie the shape of the speech according to their tendencies of the medium. objects agreement are: the facts and truths, presumptions, values, hierarchies and places, and organizations of the space-time medium or all of the media.
Rhetoric Media is also divided into five phases.
The invention: the art of find messages acts audiovisual and / or ipermultimedialmente to better represent the arguments that you want to support. Eg. 'Bird flu, a chicken better nostrano alive or dead?, Chicken or duck?, Sick or healthy?.
In this case it is valid Aristotelian intuition that if we want the term / audio-visual message and / or memex / ipermultimediale message must be compelling from the same images that the public knows, imagine and expect.
The first practical method of Rhetoric Media is the listing and definition the 'commonplace', the visual images universally shared. And 'This is an approach widely used in advertising and marketing undertaken by the agencies, which investigated through surveys and interviews on social stereotypes, models and flavors predominate, so as to calibrate the message.
Not to be tedious and attract the attention of the public and users the message must be information, or have some new elements to do this using the Media Rhetoric:
its Form (the middle): is the ability to structure the organization (syntagmatic sequence and / or memex ipetestuale) the message in a form appropriate to the means of its trends (the radio trends, while television trends, the Internet has a domain of the trends, the trend has IP television, an interactive DVD has some tendencies → (Read media) . Trends are stranded with four questions. What do you extend? What recovery? What changes if carried to its logical extreme? What makes obsolete?
The style of content: or style appropriate to the subject, the public and the protagonist and / or players. determines the composition of texts in terms of formal construction of the text that make it informative and appropriate to context that can be inferred from the subject, the public or by the players.
The actio: is the art of spoken, saying the message with the most effective techniques Minutes (diction) and mimicry (acting). E 'center in the audiovisual media.
The memotecniche: persistence in memory, or syntagmatic flow ipemediale is emphasized by the emotional shock of the beautiful and disgusting, the comedian and dall'osceno. The rule is clearly important that the author / authors create custom shapes, related to their own imagination, developing a personal inventiveness. The Art of Memory by classical rhetoric moves from rhetoric to the middle.
Figures of speech
Within the modern information theory "as a message violates the rules of communication acquired (while remaining understandable), the more attracted the attention of the viewer, and its system expected to be somewhat upset by the fact that information is fully izing. "
The need to impress in various forms and ways the public is the fundamental problem of any rhetorical practice. In the past this rule has led to the baroque, bombastic and pompous, but the same need is the basis for handling 'special effects' in the contemporary communication of advertising, television, film, media and hypertext ipemediali submit messages.
Figure Prince rhetoric in the media is the metaphor, the 'analogy abbreviated' which is obtained by replacing a signifier for another, or one word with another, an image with another, a phrase with a ' another, a memex with another, thus suggesting a relationship of similarity between the two.
As in the syllogism living metaphor of the 'middle term', which while not appearing in the formulation of the sentence, is crucial to the understanding of the meaning of the communication process. 11 In the metaphor 'Hercules is a lion' unspoken is the middle term 'strong', 'reckless,' intrepid 'and so on. 12 The metaphorical language always retains a high percentage of ambiguity and therefore, the ability to allude to a lowest common denominator between two different objects by making a condensation is More than just a figure of oratory. Aristotle said in the Rhetoric that 'we learn especially for metaphors, because they produce knowledge by gender, reveal what is similar between two words or things. In this sense, the metaphor is one of the fundamental processes of thought and is equipped with its own hermeneutic and cognitive value.
addition to metaphor and metonymy, in which the transfer of meaning between the two terms is made on the basis of their proximity to a logical, spatial, temporal or material. As everyone knows who you lavoarre is hard and you sweat, everybody understands the meaning of the phrase metonymic "conquer life by the sweat of the brow." The effect (sweat) is exchanged with the cause (the work).
the dialectic of MEDIA *****************
The dialectic in philosophy is a kind of method argument. The origin of this method in the discussion of philosophical argument can be traced in Plato's dialogues where Socrates tries to find the internal contradictions in the thesis of the interlocutor.
For example, Socrates nell'Eutifrone asks Euthyphro to give a definition of piety. Euthyphro says that what is pious is loved by the gods. Socrates, however, the accused that the gods are quarrelsome, and that their quarrels, like human ones, deal with objects of love and hate. Euthyphro admits that this is indeed the case. Therefore, Socrates continues, there must be at least one objective that is loved by some but hated by others. Euthyphro again absent. Socrates then concludes that if the definition of mercy given by Euthyphro is true, then there should be at least one object that is both pious and impious that (since he is loved by some but hated by others) - which, Euthyphro admits , is absurd.
This way of proceeding in the development of the message from a thesis, try to find the internal contradictions (paradox, antinomy, oxymoron, antithesis) inland, is typical of Socratic dialectic and is called Socratic.
Arthur Schopenhauer noted that the logic searches for the truth, but is only interested in the dialectic of discourse.
The only really important dialectic is thus the art of getting reason, the eristic dialectic. According to Schopenhauer is more important to win the verbal battle , especially in front of an audience, rather than prove they're right. This is because the audience may not be interested in the truth of the matter, but only minutes to the clash, and will not have the patience or the skills necessary to follow the demonstration. To get right, and win the battle, it is therefore permissible to use every argument: that purpose Schopenhauer lists 38 methods derived from the classics. His notes on the subject, were collected posthumously in the book The art of being right. Now this is the classic dialectic in the media but it still pertains to the field of rhetoric as part of the construction techniques of the message.
The dialectic is very different from traditional media, it is clear and addresses the ' reports and the activation of sense, changes in the semantic field produced by the interaction of different joint media, and is typical of those media companies offering different variations of the same argument the media that resonate with one another '.
The Dialectic is a term derived from the verb dialéghestai , which in greek means to discuss the reasoning set [sf 'art talk' (av. 1292 Giamboni) Vc. learned, lat. dialěcticu (m) , dialectica (m) from grecco dialektikós 'on to discuss' (from dialektos : dialect), dialektikē ( téchne ).] The Dialectic Media is that 'dialogue media media in a vociverare, loud of one on, one out of many, many to one. Deafening concert of different messages of radio, television, internet, and the sign of the command, text and hypertext, and the expression of the memex '
The Dialectic Media is a completely new discipline, at birth, which is trying to take its first steps in the encoding of some possible ground rules of media mediums, analyzes and designs the utility of using hermeneutic forms of communication media.
In Republic and Phaedrus Plato identifies with even the dialectical philosophy itself, resulting in two movements as defined by logical, mutually inverse: one of "unification - universalization" (sharing? Bring in a paradigm, the context , medium, medium, plain), "that by sensible things (particulars) is elevated to species (ideas) (trends of their own half) and, between them, gradually to the more general (generating a shared background of the effects of a set of media). The other "division" - (particularization - fragmentation), which reaches the particular following the "trends of their way" (the differences within the various genres). Neoplatonism in the rear, the dialectic will be seen as the derivation of the things from one and, respectively, the return to it.
will be closer to Hegel's dialectic in the Platonic thought and return it to identify with the philosophy. Hegel introduces a substantial difference in the claims that the dialectic requires the sacrifice of the classical principle of non-contradiction, so that these al'unità to think of opposites. For Hegel, contradiction (opposition) is no longer an occasional communication error, but it becomes an objective structure, before which the 'information-communication' must not escape. This not eligible for any means to make nonsense; 13 Hegel derives the use of the concept of contradiction, indicating tensions, conflicts, antagonisms (contra-tions) between the shapes organization and variation in information reported by the media diffrerenti (radio and television are similar, but electronic writing and hypertext are in contra-diction with them).
The media becomes a dialectic of anti-mechanical discipline, guided by the category of the totality of the message, the interplay of the various linear media, the interplay media involved in a process media.
The Dialectic Media takes care of 'harmonizing' the communication process (hermeneutic) of the process media. The entire process can be described as a multimedia dialectic circle, in which occurs the birth of a post-message (communication), an interaction dialectic of content and message, action determined by the encounter-clash between all forms proposed by any medium, content of each message, and then return to the original message-content, enriched by a new dimension. We can consider the flower as a seed made, or which led to the extreme of its potential in place, but it is plausible to think that there is no obligation on assuming the seed as the beginning of the process of flowering, the flower is the extreme consequence of the seed (a summary).
The principle of the Dialectic Media is that 'any technology, medium and message, realizes itself transformed into something else'.
Media The dialectic is based on a basic assumption of the 'media theory' or that every aspect of reality is never final and absolute (from Heraclitus, Gorgias, Antiphon, ... Hegel, Monod, Heisenberg, McLuhan. ..) The reality is a process of constant becoming: any communication-message-content can exist while remaining equal to itself. The seed becomes understandable as a flower after a process of transformation, as well as messages. But if the communication-message-content living in the finiteness of himself (an internet domain cosìcome a DVD), then each part or fraction thereof (the communication conveyed by each different medium that composes it), though seemingly insignificant, has a its deep motivation, value and dignity of the overall process of the medium hypermedia.
NOTES
1 The New Etymological DELI, M. Cortellazzo and P. Zolli, Second Edition, Zanichelli Bologna, 1999, P 684.
2 Ed., In recent decades, modern linguistics has founded new types of grammars, such as 'transformational grammar'.
3 Caprettini (ed.), The Talking Box, cit., P. 60
4 See, R. Williams, Television, technology and cultural form, (edited by Enrico Menduni), Editori Riuniti, Bologna 2000
5 Vannevar Bush in 1945 in the periodical publishes a montly Atlantic article titled "As We May Think" in which envisages a futuristic device with which a researcher can gather and organize the various texts that can be used for his study and called Memex, shortening memory expansion. This article predicts: then appear new types of encyclopedias packed with a network of associative trails that connect them, ready to be inserted into memex and there amplified.
6 Ed., In Italian, literally, Easter egg.
7 Esthetic Media is always talking about 'sensory Ratio' or balance of the senses, and the basic assumption that each medium provides a few ways to invest more and more unbalanced and less precisely the sensory balance, giving rise to a new worldview.
8 rhetorical position of Plato is manifested directly in the Gorgias, in which it is stated that as the sophistication of counterfeiting legislation, so the rhetoric is the art of counterfeiting justice. In his maturity, in the Phaedrus, returned to take care of the rhetoric, no longer condemned as a whole, but this time distinguishing between the real rhetoric ("... the art to direct the souls through the words ...") and false rhetoric (the one that boasts an appearance of truth).
9 The attack on the rhetoric has created the negative connotations of the term. These underlying prejudices that rhetoric is a set of devices, therefore the opposite of spontaneity and sincerity, or would that persuasion is manipulation of consensus that plays on illusions. But in today's world are developed communication studies, and as never before turning attention to those aspects on which the rhetoric is based, sometimes to the extreme Research functionalization of dialectics.
10 Today the rhetoric is, however, was rediscovered in all its parts which can be traced very well in any type of speech intended to persuade, convince or move.
11 Sv
13 The contradictions are only recognized by Hegel as strictly defined by the various pairs of opposites which he analyzes in their pure form in the science of logic and then find themselves in the world, nature and spirit.
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