Clasificaciones y trayectorias en el intercambio de archivos audiovisuales digitales : la fuerte vigencia de criterios intertextuales y extramediales


Steimberg, Oscar




140 p.


Atribución-NoComercial-SinDerivadas 2.0 Genérica (CC BY-NC-ND 2.0)




The subject of this work is the interaction between the new ways of consuming and saving audiovisual files that appear with Internet.

In the past years, digital audiovisual files had experienced strong growth in quantity and variety. This expansion had been widely covered by the so called traditional media, for example regarding the “Youtube” phenomenon.

The analysis, that this thesis proposes, focuses, among this new ways, on the types of articulation between these sites and files and the “traditional” media, regarding the possibility of involving, in this links, new, or simply different, memory processes.

The work has been divided in two modules:
* A qualitative analysis with semiotic tools for digital audiovisual files available today through Internet (by sites or exchange programs).
* 26 interviews to people who exchange and save this kind of files.

The implementation of these modules wasn’t sequential because the file analysis had to continue during the interviews, mainly since that “available” was very dynamic and changing during the time the investigation lasted.

Approaching the enunciation in this hyper-dispositive, and considering the theoretical frame established, five characteristics were set, that define the singularity of this hyper-dispositive:
6. The necessary inclusion of interaction proposals, as a user-making with consequences in the final product.
7. The circumstance that the consequences of the user-making can be registered and be visible in future interfaces.
8. The common characteristic of being, in general, programs that propose themselves as making tools.
9. The fact that each “screen” is product of superposing different enunciation contexts:
* Operational system (and its interfaces)
* Applications (and its interfaces)
* Internet sites and files
10. The constant presence of the user in the screen through the cursor and the mouse routes.

Related to the enunciation, the analysis has been developed using the “operator” concept, instead of “navigator”, since the hyper-dispositive implies per se the obligation of doing multiple operations on the audiovisual file before and during its exhibition.

In the analysis of the “available”, has been founded that today doesn’t exist a site that could be described as institutional archive. Saving digital audiovisual texts is a reading operation produced in the private sphere.

In that sphere, the audiovisual file downloads are articulated with text’s series often previous to the arising of the hyper-dispositive PCInternet.In that sense, we propose that the exchange and saving are influenced by other media that have defined, before the consumption, the value of that file.

Regarding the saved texts and their connections with individual memory and other cultural consumptions, four types of operations were established:
* Transformation: A pragmatic use, associated to a professional -or generally productive- activity, where the downloaded text is used as an example of something that can be produced again.
* Accumulation: A hedonic use, linked to the quantitative possession and the utopia of having a universal archive. The motivation is having it all and before everyone, it’s about accumulating and conserving.
* Repetition: A hedonic use, mainly from humor, where the events shown in the file loose their context and history. Repetition is the main way of consume in this modality.
* Conservation: A somehow ethical use, associated to primary groups, where the file consumption can activate belonging feelings. Watch is live again something related to these groups.

In Repetition and Conservation, digital audiovisual files usually function as consolidators of belonging groups previously established.

Regarding of the memory subject, we can sustain that, even if we are not in front of the production of social memory from an institutional archive, there are different ways of collecting that open –from the series that are involved, from the work of nomination and classification, from the words about those collections- memory logics valid for different levels of groups or collectives:
* The conservation as remembrance (for example, family album) getting closer of individual remembering and projecting to the long term.
* The conservation as adhesion-identification (for example, soup operas, music groups) articulating collectives in a closer time projection.
* The Accumulation (the movie collection) that can be oriented more directly to social memory.

So we understand that, in the question about the relation between digital audiovisual files and memory, the singularity of this hyperdispositive could be in the registry of the intermediate possibilities different and, according the cases, opposite with each other- between the individual remembering and the social memory.

Table Of Contents

Secuencia de trabajo

La circunscripción del objeto
La “vocación empírica”

El hiperdispositivo
Enunciación e interactividad
Enunciación y arquitectura .
Fin y comienzo

Selección del corpus y criterios de análisis .
La producción de las entrevistas
Orden de exposición

Un hiperdispositivo modular de convergencia de operaciones
La necesidad de superar la metáfora mecánica (transmisión de información)
Cómo encontrar los archivos: El operador experto
Almacenar: Organizar nuevas trayectorias
Nominar: La inestabilidad del nombre
PC-Internet ¿vs.?
Catalogadores: La entrada de los metadiscursos
Más allá del navegante, el operador

La memoria institucional como excepción:
Programas de intercambio de archivos: La ética del compartir y la búsqueda por afinidad
Sitios: (Re)conocernos como espectadores
Un largo otros
Buscadores: La elección por afinidad
IMDB (Internet Movie Database): Un catálogo con registro de sus usuarios
Miradas sobre el sexo
Figura/ fijación
Trayectorias/ descentramiento

Rasgos generales observados: La fuerte vigencia de lo extramedial
Marco: el lugar del Archivo Audiovisual Digital entre otros consumos
Criterios de clasificación y búsqueda: la dominancia del título
Nombres y espacios
Múltiples modos de ver
Rasgos divergentes observados: la multiplicidad de operatorias

Objeto en formación
Enunciación: registro y capas
El operador
Intertextualidad y registro de usuarios
Los criterios de clasificación y nominación como problema
Los públicos
La inserción temporal como un problema de lectura


Título obtenido

Magister de la Universidad de Buenos Aires en Comunicación y Cultura

Institución otorgante

Universidad de Buenos Aires. Facultad de Ciencias Sociales

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