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| Format: | Artículo científico |
| Language: | en |
| Published: |
Universidad de Sevilla
2001
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| Online Access: | https://www.redalyc.org/articulo.oa?id=16800603 |
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| _version_ | 1866555722508009472 |
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| author | Xaime Fandiño Alonso |
| author_facet | Xaime Fandiño Alonso |
| contents | De Analogia a Digitalia Xaime Fandiño Alonso Comunicación Contents Technology Creativity Digital era Analogical era The transition towards binary-based technology has unleashed dramatic changes that inthe last decade have affected the different stages involved in an audiovisual production: fromscripting and creating a project, through the various technological procedures of the actualproduction process to its final distribution.The remains of the analogical era are finally sinking under a seemingly unstoppablewave of constantly evolving new digital environments.The new hardware devices used in this field are mainly prototypes. An ever evolving market, the constant arising of new competitors, newborn joint-ventures and a myriad of relatedfacts force technology providers to keep a pace of constant updating in a mad race of fiercecompetition.The old system which implied one machine for each process is increasingly becoming amemory of the past. Today new devices are being launched at such a speed that the oldtechnological approach which dealt with mechanical appliances like magnetoscopes, closedplatforms and linear recording are already bound for extinction.Its only natural then that the sacred cows of the industry fear for their position. Big andsmall are elusive concepts in this new audiovisual frenzy. Its almost daily routine to read aboutbig audiovisual corporations announcing mergers, buy-outs or the acquisition of a stake in newand small creativity and development firms built from scratch by young entrepreneurs out of theblue.The digital era is drawing a heavy curtain that luckily leaves behind an analogical erain which the ownership of the costly means of production was the most important card in thegame. The artist could only exercise its art if access to the professional team and technicalequipment required for an audiovisual work was granted by its proprietors.Today, digital means new systems with far more productive environments which besidesare user-friendly and cost only a small fraction of the old hardware.Right now, with analogical objections increasingly a thing of the past, talent emerges asthe new czar running the audiovisual industry, a professional field that combines like few otherstechnology, creativity and contents. 2001 artículo científico 1139-1979 https://www.redalyc.org/articulo.oa?id=16800603 en http://www.redalyc.org/revista.oa?id=168 Ámbitos. Revista Internacional de Comunicación application/pdf Universidad de Sevilla Ámbitos. Revista Internacional de Comunicación (España) Num.6 |
| format | Artículo científico |
| id | redalyc_16800603 |
| language | en |
| publishDate | 2001 |
| publisher | Universidad de Sevilla |
| spellingShingle | De Analogia a Digitalia Xaime Fandiño Alonso Comunicación Contents Technology Creativity Digital era Analogical era De Analogia a Digitalia Xaime Fandiño Alonso Comunicación Contents Technology Creativity Digital era Analogical era The transition towards binary-based technology has unleashed dramatic changes that inthe last decade have affected the different stages involved in an audiovisual production: fromscripting and creating a project, through the various technological procedures of the actualproduction process to its final distribution.The remains of the analogical era are finally sinking under a seemingly unstoppablewave of constantly evolving new digital environments.The new hardware devices used in this field are mainly prototypes. An ever evolving market, the constant arising of new competitors, newborn joint-ventures and a myriad of relatedfacts force technology providers to keep a pace of constant updating in a mad race of fiercecompetition.The old system which implied one machine for each process is increasingly becoming amemory of the past. Today new devices are being launched at such a speed that the oldtechnological approach which dealt with mechanical appliances like magnetoscopes, closedplatforms and linear recording are already bound for extinction.Its only natural then that the sacred cows of the industry fear for their position. Big andsmall are elusive concepts in this new audiovisual frenzy. Its almost daily routine to read aboutbig audiovisual corporations announcing mergers, buy-outs or the acquisition of a stake in newand small creativity and development firms built from scratch by young entrepreneurs out of theblue.The digital era is drawing a heavy curtain that luckily leaves behind an analogical erain which the ownership of the costly means of production was the most important card in thegame. The artist could only exercise its art if access to the professional team and technicalequipment required for an audiovisual work was granted by its proprietors.Today, digital means new systems with far more productive environments which besidesare user-friendly and cost only a small fraction of the old hardware.Right now, with analogical objections increasingly a thing of the past, talent emerges asthe new czar running the audiovisual industry, a professional field that combines like few otherstechnology, creativity and contents. 2001 artículo científico 1139-1979 https://www.redalyc.org/articulo.oa?id=16800603 en http://www.redalyc.org/revista.oa?id=168 Ámbitos. Revista Internacional de Comunicación application/pdf Universidad de Sevilla Ámbitos. Revista Internacional de Comunicación (España) Num.6 |
| title | De Analogia a Digitalia |
| topic | Comunicación Contents Technology Creativity Digital era Analogical era |
| url | https://www.redalyc.org/articulo.oa?id=16800603 |