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    Artigo do antropólogo-cineasta David MacDougall, intitulado "Voice and Vision".

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    Artigo do antropólogo-cineasta David MacDougall, intitulado "Voice and Vision".

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    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    155 views17 pages

    MacDougall 2006 Voice and Vision

    Uploaded by

    Lucas Marques
    Artigo do antropólogo-cineasta David MacDougall, intitulado "Voice and Vision".

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 17
    2 VOICE AND VISION e “The Cumulative andthe Composie tlvayty tome wn ost the lai Beith ehnogeaph fe you wil ind an introductory seson giving an account ofthe tmaterial condons ofthe pope being described fen in achaper elle "The Seting” or something lke. These descriptions tend to be more facta than vial ewostve, an if they evoke imaged more 2 vocabulary shared with he reder than any spec intention of the Weer Godiey Lenard, for example writes “Dinkaand es na vast $e sround the swamps of dhe central Ne basi inthe Souther Sada, ities fla cour of ope srannah and ssannah fore intersected by ‘any sve and sre converging upon the cata bain of the Nie For pat of each yea hey rune andre Hooding render uch of Ce Lund ninabable and mmpasale "Ail tr he present lost a5 alte epi contents 3 home: Ss SCIENTISTS speak in many vices and sommes, but not “Tefariings fac home ay be rly eco They ele cy fr cooking watercarying ad brewing gourd a ons shapes oe sme fer sering the ple me pose for tag and ‘se and sore fring od dking ily plated uso wich fainted ad pater winning wicker aba a. and perp wicker cradle force bes colognes imple et oe sop fish ot fhe er ando000 or mot of ae)” This ie mater ft writing, in which words ave cated ke objets and sn abjert's function iso tpertant tan i appearance. Oscasonal, howeres ethnogzaphic wen produces paragraph ike his Ine diy ses pe spews hah an bare an in ener rab tes ar releved bythe shade rein ron a esate Romenea ot ‘he reas of weston slang he ey watrcoun The mol wal 2nd ‘hcl rot of the bomeende conf end indsingushaly wath oe ‘kn cour side In the mile of theme en, when cer ott tecumer 1 tal ad very dpeion «Ho, the Rotate hn ‘ehindrampars lnc ay andthe wolecouney side pend srohthe ge of Ruring een? Scenes ike his havea sn-denched clay. This is ethnographic sls tthe ort Ciffrd Geert ha ale “transparencies” besos is #0 lnxensly vse Sounds and smal, het and old make an appearance, broly saiminaly. Br ecograpic wing cannor proceed Uke eis foreves or should ty and soon the anchopolopseges down 29 other thse The following passage taken fom Iter nthe sae book Hire mates ae dacs tha coud never be expressed in photogap Ne images ‘Glnshp operate onthe lef elton athe ines ope whi {helms common sete deen Ripa he nosso eave Panes cst ail ae age cede y mon of These pi. The ineege tem the core of esi, bt bt ‘ewe oft Ln cree groapare inked gether by Sex fs toh the hn oration a me cnuas of» sr of nerxked ‘Sais fed marin ages” (One may say tha the erie description has novelist or cinematic ‘quali, whe this one types the prose in which most expository and ‘Seattcwrtng har bec couched since the Enlightenment? Recent de ‘cup wring has Berowed sme of i echngue rom the enema, fein fcr many potoserti echniques were already peeent in ine ‘Centh-century pty sad nonl alo Calvino observe hat "is Ihe novel Begin wth Stendhal and Balac and reaches ia Flaubert he ‘eal oppor beeween word and image. .-- The crisis of wy in he ‘vel wl begin about hala centry Ise coining withthe adver of the cae.” At that gin, novel writing exes 2 plunge back ino the mind withthe interior monologues of Vigais Woof and James Jove, [ari fact novels lie Uy ane no any less visuals jus tat thei vison Becomes frapmented, vial perception i often detached fom Ieanng, andthe endesce of one's jes ten calito dob.” ‘Ar about the same tne, thee decors began to fk they had sucched the continent othe theater to the lm. Although the bare toads of Shakespeare theater hid heen sient to yl 3a of ‘ing rom bedchaber to taver yards o bal, saps had be ‘Some increasingly cramped snd crowded: Meyerhold created fantastic cris sts using materiale rom the zeal world, and Eisenstein ‘ove out ofthe teste altogether, apg play in gas factory* When ‘Sema acived, and then the sound Sim, the theater was Become the ‘whipping boy of the aes. The tlie were considered the death kell ‘tbe new Bm arya rom ode sexi qualities of “med theate™ Inthe cheater we re thought sea singe space, withou ever chang Jing ou angle of vision or ur dance frm the stage, where in he Cinema we sees succes of diferente images font» lily oF ims: Provocatiely, Edgar Morin shows how thse ideas ean be te ‘essa: When we watch a ply, our stention herp sing ike camera fom one character to another, rom watching the whole ro washing p> ‘ala deals Inshore we deconstrac the sane pychoogial,ceting 2 occession of mental log shor, pane and closes By conta, when tee watch she separate shots of fim, we recone thes into ingle Ineo image ofthe Bimic world asa whole. "Therein therefore, ase ‘ema in the thee, as a6 2 reat theaaicaltyenfl al the shoes of ‘Sea. Ine fest ease, or payhologicl vin cinemas he eter, In the second, «raonalixng and objetlying vison theatre the Theater and cinema have atleast in coma thi inary cic un folding in ime sequential. Wing and cinema share ales temporal lineariy-—what might mote properly be called drectinaly—sith in cm, compared to writing butik the these), more constesned hy ine Ineachtheauthoris the puideto wha shoul be seen or thought next an although we escape fom this contol ina hundred ways like passegess ‘hooting diferent ves from aris windows Ie provides the rack long which we run. The querton then betes what we sx fom those Windows, and how we se ‘One feature that descrpve writing and fl have i common thee lacunae They ely upon afew shag sens tipeessons, general favoring ison, and lane the rest to ou imagination. If 2 weer aremped 1 Seth in more han the bret deals af a scene, ie would goon forever {although for novelists from Prous co Robbe Gril, cbservstion of de ‘a becomes closet an end inal). Desi the cams of sme socal ‘ints for 3 pana flim record proving conpeehenive account ‘fan event, the camera can record Gly singh perspective at anyone time, As in weting the fmmaer mut therefocepeseed analy, ensuing anew reality out of Kaguent seeing as mich with the ‘mind at with theeye Avery momenta hundred aermatierare rjc Incheimeress ofa spec, often idiosyncratic understanding, The ages ‘hosen by Rouch ate unimaginable ia the enema of Flaherty, js ste ‘mages o kaka would be unmaginble athe novels of Thomas Ma. The choices made leave huge gaps of tine, pace, and deta and hee become as eloguea as what scaly shown. Apart om te absuriy| of atemping to replat she word in all its perspectives and deal thes aps gi the reader or viewer acetive cle in faingsgeter the feagants tht she aur bas chosen to represent the sane VOICEAND ISIN 36 Readers are able piece together even widely satered evens pro- vided they have a common denominator sucha» ceattal tonal or Isoricalcharactee Davad Barton relates the ie ofthe Come de Bago ina few rerse sentences, anyone of which contains enough mater for 1 whole novel: ore in 1751 at Chambiy he wife into ede ashe age of seen ser having Pednsrec nein dic Aone tie bem one ‘fate be ret of Ri who sted afin fers whe ast ae ‘ft the Tekh wat Hews cape at Tendon an od a sve “sau hte ed ono berecperd by Arte whe shi ener sft coat of Flin Having ure scapes aot tthe topy hie pumas to lean he proceed an Sint tie Rept ofthe Mogal Epi, made im he of oe fore with lich be sesteed the Rapes aod made Sana he most pel rs India, De Boge ata rete pte Aighar wi hs Pst pa ev wi nd eteried any psig European eae se” Most esrgive witings far more ine grained than his, bathe lacunae sae no les important. Her the opening paragraph of one of Ganges Simenon' Inspector Maigret novel of the 1350s ‘The cichen wa on th ove, ne recat ig onion and bach of ue, wth he sens seng marauding ie Mane Maigret ‘rer wake sre thee wasn kote gs whch seed mee dove ‘Sowa pon, saga Thess cloned th windows ecg och nei be edeoom, ced et she had ogi hing. ned a ‘heer nd stafed tsk ack se dead ot th ya br “The wing is pain. lacks apparent artsy oa aay ete the atistey ‘ofthe igh at vel Simenon, ks his contemporary Candy, was ote Considered “commercial” writer and heres wring inhi monomer cial win. Moreve,I hve purposely chosen a extn tartan look tthe hare bones, sto speak, and reduce the effec of any sey Bou {shes But Simenon iin facta maser ofthis fot aad cables the Scene and mood with his cattomary economy. The paragraph is ghy ‘sl highly concrete, and yet contin oly Seen concrete nouns ‘ems vo eapeare everthing™—the food cooking perhaps withthe seam ‘ing oner the hchen [peape withthe ata szemning through the ‘window the confined thei action of csking the gs the ay urposlloes of Mme Maigret Ir does wha an opening page Ally Should do, in pltring a place, ineodcing a carat nating a0 ction, and pecjecting sat of mind. Above all gies us the cowed tates ofthe world we ate entering, which inthis cae wil ot be epi 36 cnarren ro or probably wage, but domestic, conversational, and immersed in the ‘Sacer of aie Derwent hiten andthe caret, eewee the then (ever mex tioned and te bedrom (never entered) etches coherent world, The ‘Tndow open 50 mos be wars nop for that—heeore wa i TCeind tint ning. Mle Mage end vet chek te sve ‘ein tsi aon arom i ‘Sesteneappreenin tha goes th ow gu ame, whose tay blot nis’ fome ara tn if Sinenon hd bere odes them, Ac Me Migs prepares leave thei, a enlarged vison of thi domes pace sketched nan then comes hele up ofthe sy Upped ino be pone Xd yer mek simon nothing bout he fat ose woman, She dane ino te mon, bt we kab oting ober face, 8% bet ‘ic Whar od af son? Vague white cal? Barth oly ess. ‘The eve caer andthe ig oon ae ll very Wel bt om coer Inspec hss the mos banal decipon, Nordo we knw anything ture fuming ower Mine Mage psn halla oF Necro a cour Some of there eis wil become deur and haps we ale know tem from previous Maigret novels ba bere Eimenon har pvoumed a magi ck creating an tested wold oot talmor aching ‘Navona thee very fw abs hen chosen for hi psc fess burlkepresina cody cy hve ben prone ousinacerain ie Sensi Smenon sare habe bof ne Maigret Stent, aa than ith Mine Maigret las binding so er point ion Thc ne rd carsx now Me Mai’ ede peak Tecoma po gue eth ro {EE jy ls and ough coo be said hat we fly “ee the ‘sls asmb, bev the order makes fleece, or we oul 08 ivessmn nc object co mc imo thier photowaph As foc Mime Mie acon, they ze ranged one afer the ote 0 hat renga lies abr the twice ee ieee om ‘Sanding in oe spor sheng er As'well the devas of ber move ‘Sens hecing toes cloning the endows, lacing the mitror— Seve double fnctn, not ol of paling he ene bao epi Nine Maes urvousns sd he sea hese ding heel pot tonetig ‘Dn ad go on init way, br the pins thc ahough Smenon's soles high) "nematic" hs rot al he same acne, Ir would posable shoo the sen deserts in several diferent ways rom tr coeage esque of Holywood othe more open aes ean Revo o Vt Sc ln nthe there wold be any ho onsrcting the sene analy in much the way that Simenon does ‘naper nthe cco the camera would ake upa ew xref selected ‘stage pots andthe ey obs wool e inked together by the move meni of Mane Mages, Incachae howeves what we woul see would ‘Bite iferene tom whit Sirenn’s pose leads uso magic "For one tung the writen paagraph-—apeaenly so concetly tual—i filed with half hidden gos of Mine Maigret’ interior ie Inve mensoned hee pie is tbecaeo, bu se has als pu the prsey inc the pot in cess ways ati gat fo a frther fio ines tr. cok. In ber cae to “oake ste’ the gas wil oe BO out, we Ica tha shebas already tneditdowen, anerenr that 0ok pace Belore the novel Boga. She checks tha she has ae forgotten anything ds “Scaife.” (This anlar ssh only ine that Simeon repoes ee elings directly) When she clove alte windows "excepe the one in the bd room” we ae offered a nonevent, something she chooses not do, 3 hal-formed thought or perhaps a abie—a ay rate, 2 cerain logic of| ‘hind. na flo show these precispstions, emotions cr decom one ‘would have co deamatze them Her station wold have o reir Su her face Her decision nto cone the bedroom window would have tobe shown asa momentary indecision ue a lace at hat Window at "Sosng al the her Temay alo seem obvious, bet Mine Maiget lad is very diferent ‘rom Mane Mage! described ota ete metely named. The Ane Mav {set ofthe fm played by ar ator She ia certs woman, wid 3 ‘rtm fac, Ina fm we woud se bes face a we seal aes, nok 8 Series of individual fentres bu ba group, + configuration of feaures linded, “configre™—rom fg, of shape—comes very clos pling this ned fom). Pl aes woul contain eink paale Eonfgwraton, She would not move around the Bt again #¥apsl? ‘isgeted background, as she cos inthe wring but within 2 pect ‘ont of walls pics and oer frnishngy. The camera would prob "hip take line noe of hex nc close ps, nothing singled ot fr ates tion expe the tove—and yet, for shat very reason we woul see them hota separate deals bin har consent exiteice, Sot, with the omens of the pot onthe son, fr fs unlikely that the exon, the “aon and the the pasiey wold be shown im sccesion. (the nel they arith the gestion chathey were pint he prin that ode "What T veh to ropes shat mack et camolae i Weta Be ‘coms, in the cinema, componte We gasp objects and evens in their Complexes and ontnatn andi the ttesrelaonship of these that Ste ofen more important han te components of he images ken sepa- ‘ately. This concurcence within he image, which is Bot concee ac ‘evrpeal by maa the only iniportant diferene beeween writing sd ling, baie ig one tha has the potesl ro produce quite ifeent ‘coun of hurn being in hist eings and indeed wil eit iy do so. The cura omplenes reveled in rua media no oly in ‘ore dines aes and aeangemens of material objet, bat also the ‘elation between objects and ations, andthe eplay beeen ations ‘eeutingsimtaneouly oc in clove combination, as inthe interactive fostres and gesture tha men beings adopt in conversation. "Wisma ses ing he kl of erpetation fame by frame sly fathoagh this bas its adherent) the composite vison of rletogap and fms offers away of exploring consectons in the socal (vl fe lon in wetinge muchas wrong offers away of coring Conekonr about scierysnavaibleo fn. Tam thinking hee no only ‘thow people and thing are skull nga’ in thee social sings, tht ahatow individuals perceive hei surroundings andthe flows Byical and sensory sem, and how thi fects how they themselves Ecko. This isn only asater of merpertona relations, We ive arcng falta pachies nd clrlly mented enizouments tha exert power {Reflects upon ns How we respond to these pesures and how we in tum mos ther, are phonomena that viewing fms and photographs (and indeod snaking them) am ep sro understand beter Speech, Writing, and Image ‘An west of perch, andi diferecerbeveen speech and wri Be may free danly how fn ate diferent from weting and how Sociicocrch by way i ih ifr ail fom scl serch ise on wows eas study of ory and eae, Wale Ong aks the pe he speech alway oct in ine and heer not ony Ephemeral bt eanecent. "Sound exis onl whens going ot of ‘Sen Feamot have alos wosd present a one hea Tse {Tees the time yo Se eee he evi gore" "Whore match yh nial hrs mayne a supercar seman to words bey arecaupht ina continous mead "lemon he sound ges than hg of word oo owe. Speech and wtng strotere consciousben in illerent wa, im trosuescnscooses im way dileen fom ether of them, Sooner ate every sm ar with image ance hele and ‘opening baie have been cleared away. Perhaps it Jost even mater thc we court aan image wher ie ail, 4 blank sereen with oud of fm image the conventional sense Once ania bas ‘Sam en, the enue es ofthe Ho an ampere he ‘plan hou ingest hve ben rvghe to play expla ‘The lait progsesve uafoiing from hail pressmptwoss image ices othe auience, “The fist image may not be parca portant, bu isa point of -epartte, From remergesa conceptual spe akin to acone o yr, {Sealy expenion outward as fre iages age added. And does of “oursematter very mack what the Est image sflmmakersagoize over this even appar inconsequential ach aa landscape or establish Inger" in ctenwriter parlance) foreverything low from erase fave conanquence orth fm might a well stop at onc. Tet examine ti fist mage. Almost any image wil do. Rather than spectyng one tis spler to take an iage from one's iaginaton, ot {tom sm ope har sen, ofa random fom whatever happens to be teary. Ths image led with an slmos innit pote fo col [eth start of hundreds of quite difecene fms al depends upon what fe aes and decides expand upon. Again, ofcourse hiss not Fv ns ace arly made, The maker knows very well why hat ‘mage hasbeen chosen and where wl ead. ‘And yet again, perhaps no, for ery ofen Ss are not made with uch -seiny The mage as er own ie, wn content ras many feneses, Sind one or several of she may prove more intresting o il than the idea hate lar sated with. In fy, thine happen nye "Hong the cours ofthe fl, a any poe nthe fling or eding Unio the im hasbeen Lid ove fly im advance im a scrip eh lav followed, the work ofthe immaker ts moe ot that of making the ‘mot ofthe ponies that arise, whl atte same time hodig them In check soar aot lose sight ofthe min ies. you have ever riven ‘team of horses or a8 mor likly, gone walking with a dg on ash, you wl ow what tsi ke, “Topive clearer sense of i and of where [am beading it would be tester to choose an image somewhere erin che Bl, Such am inoge wil Faves numb of roles Unite she Set rage wl lok backward 3 swe ae forward. Artis point, es ep cling fa shot acer than an “Sag” which esther oo ectetins ke a Word in afin ars eat loge I we ake ay shoe rom whi the body ofa lis par ofthe folding of what we have already seen Most sets hate movement them oc something happens, or even they are erty atc equ us tolook at thom overa certain pod of tine. They hve thee own dam ies and crest heir own expectations and forward movement, alike 2 photograph hing oa = table. The shor adds one more layer of possible ‘connection apd esnances, and always as the potential lead ur off inanew deccion. Esch tho ts past ofthe est of andertanding and explanation shar the maker tenga ees But what doers shor actaly conta 4 cnar ‘compari co what we sein it? In experiencing afl, we don't ordinarily such quesons, buf crs do andthe flanker surely does, Ts mose cases, what we look for and cin shots what we have hee diccedtsecby she prenos sot. This may bea person we ave come to reco, the cnenantion ofan action orate spot ofthe pace ‘rset of eject ih which che lm ha ben conecrned. A ie evs more, the shot alo loos Backward and amplifies wht has pone bone ietemay show usin wider shot something of which we hove sen ly 1 par may show us who someone talking ty ehom we haven ye ‘cen lemay explain hy someone lok ard by showing what = ‘ed them. Or convert may sare wh the starting cent and show Someone's response wo There are sandard names fr sh hote—reac ‘So sors sabishing shots inser, pia aot, snd soon They reat once the film's syne and i sontent. Tee were 0 refer mote geetlly om how shot work together, we could dene ths procera 2 progenive form of contestation, ‘ach shor adding comextal mater to wh hasbeen shown before and tthe same ene, opening up mater that wl rut further contest ition? This cao fac, become one of the nightmarish aspects of fy makings specially when making nonfiction fs. Nothing ta noniion| ames inaloyed. As son a you clarify ane tig you rn the ak of inducing new material that requts further larbcaton. All the same, ‘hs proces of cretion le atthe very hese of he nate proce, fo itis only ou of one act that sncther fakes shape: Even i's hoe pees ‘he fn finan emily new dein, de lumaker must have id he recestay groundwork for his departure, whether thematically emi tly in he lve of he procagoni, oa hee. [faker ou of film sod see nolan, «shor Becomes more ke & sal photogaph, for canbe made to sgiya vary of things sme times que opposte in messing. Complaton fm Keep feoting he same stock of archival apes to suport diferent arguments. The shot hs this potensal both Deas is daconnicte rom former cone imdbestse sconteatsarealmost alvaysa mist of diferent deme, tach of which capahle of being given recedence over the oes I thetnalakeney shat llows to be atahed toa Yarey of dicoutes ‘Bue within the contest of 2 ln shots donot entirely ose hit rnultaleacy. Ths, perhaps, the rea source of he riches nd fer fee fom words A word caries te potential for both ambit ad Pression trough is peut, ts happy sevice ia many segs. The "Eniaty and precson ofa shr comes fom is peice. Te ees to tbjects i unique ne and pac, bor tese bom ambi thou ‘hr itermal employs the diferent levels of ote meaning hey ‘take aval sanaiaaousy. ‘When I write and sale one o® another word, think about how i fis ‘oe fi of the hal arculsted sense Ihave in mind, bot when 1 am faking afl Tam contandy cononted by shot that ae filled wits toch relevant and tome exeancous marten a every evel My tk dle the viewer toward hose aspects ofthe shot conglomerate tha wil fdvance her understanding of s pala theme or st of creat "Esenstin ied to overcame his problem by siping hs shots down bre esensasand malig them very shor wo that no extraneous mater Could crepin le teachel an approximation ofthis weal but even v0 be fl The closeup of fice ora gble, sho spunea dark background, ould ae ache he pity of word such st “moa or “heron that beso much admired hak. A typeset face say far ore than “ol sant woman” Tor isa certaor fee faceperhap ike ta of sine tne we know "Toa even greater ext, thse who make notion fm are abject, to the acral appearance aod unforseen happenings he worl. Any shot bein making willcontin multiple event abject aod qualities ‘hae wl eisher emerge or tme that already coe in the shot in ‘ancoush The newe's tenon can ake possession of anyone ofthe, ‘oF any combination of thm, all t once ne propresly ae wander among them, Yet far for being weskaes of Fl although doe ini fila lexical system) is apacy of Bim for compound expression is lk greatest asset. Asa flakes I cherish the complex sacar of fe shot and the poster creates fr seeing the interconnections ‘within ta wel athe interconnections made posible by it sonance ‘with eee shes. can warsal the cmpleity of wil images ie — Sd this of couse, whet technically, Al seoaly oes, 24025 times 1 second, The effec, unexpected i to produce noe acres of phot raphe bu single imagem which there appaealy movement. Ths Fective a futher ifthe possiblity of marshaling the complete of ‘moving images i me ‘Neverels, his eichas is potentially uncomtolale. You can ee te problem You both wine and do's want the combative power that Shots of fr they conan die toward she aral complexity and indeterminacy ofthe expaenced world, Tet ino pnt in ang las if they ace mere cept of what one has witeseds they must be both lee elcie for purpoe) nd more (powidng an analy expressing amtirude}-Inthe od stcesfu fins achieves compromie, sometime! Iarowing the coment and meanig of shots (as Euenesn at Bt a tempted to do), at other mes pushing them othe fret exceres of their complet, tothe pine at which they rik autononao epaation {rom he body ofthe wor, even srg for kn of ibeaton fot Sometimes the fzumaker eserves seca plac forsomethngtat sets akogetertangenial othe fm bu ine important and ths in a roundabout way reinzegrates it Thave in mid certain poys for saving a ‘ene hat has no tcl ncn nfm and may even thresten aherence be thae nevertheless enriches ones experience of ethape more fequenty encountered is he cas in which a hot o¢ sequence of shots has a song subtewt ha tract atenton ftom what fone wise a that pont Be the dominant fae of hen. How fe Should one goin iin or acommodting such material? Oien there Irie one endo, sins one eannotwinnow x shot spurte ot he Parone want 0 kep. Thi he perline online of wha it anyother respect + inear median, the characterise that rest he ‘orto edtng that can be dane ot texto sound recondng of speech, ‘When spech se to mage, asin ln eve this posse appears ‘The aly way w move irom one part of to another iby means of 23 tows cox ote anion, Miche Chion bas were a sees of books insisting tat sound in is shouldbe regarded san inter par of larger audiovisual constr tet something ded even the sound (or example, usc) was recorded {ferent time fom the image, Sound abd image maualy et and taform on anotet” An age and an appropatesychronous sound ‘el themselves together nan eee hat Chin call sche The Forant principle behind Con's dincusion of ound and image, and one thar har even broader impinsions inthe understanding of fy the Ielcpe ol c-preention. When we oe eornecoeopeaing nd ents eer voce, we grup a ingle complex phenomenon. Yet We ae Med by it at sensory lees and these generate farther responses ‘tat amply the foc beyond ws smpl ingredients of sound and ngs |Sshot of ches ingers ubbing trom the surface of ballon evokes ‘norethanthe action snd sounds volved ges the way the balloon ‘mat fel and even an imminent explosion, Sound and image together can Fxcate powerfl spestheti responses, creating heightened sense of ttsc volume, and texte, What we se and het tape sto our rie Speen of the nora nd mites he mapinatve capacity that most ‘poner lin the ape hy the cursory acs of perception, Pata Sova, hiss re tosh an extent tit a sound ear afsren—a stun vez, o the cry fs bd fen more vocave ofa pace sd ies apace tha fe wece ose what eauued the sound, a considering how wren language lifes from specch and more oer fom an oa clare), Ongobservesthat wring removes serch om the everyday sensory word appears othe reader as mars on 3 ge, usually Yea in silence. "The word int narra, oral habitat sa ar of el extent present... Spoken woeds te always modi ions of ot staation whieh i more than verbal... Yer word ae Sloe ina text" Writing mae work ll she harder hen, make p for {his los fs complex nterpsona nd malnemsory cote a well 8 the nonverbal forms of communiition that acompany speach, and has devised sophisticated means for doing so. Bat the procs it has fundamentally aed both eiders' and waters senses snd pater tibought Similar, she senses an hought pate involved in writing and steading diller markely rom thovereqied for making tnd Weng ‘ns: Fm explots the co;paentaton of objects and sensory pateme ‘that wring tends co present ina more selective and linear fashion. In ‘Ong’ iw thi spect of wring infact given scence it analyte! dee, permiting sto develop patterns of tho tht oral cules ack Ir has fostered lists, chars, subordinated causes heading, and ober forms of absteacion Ie as abo changed the perception of time ad hit- tory “Persons whote wold wiew ha ben formed by high ierary need ‘oremind themselves thai unctionally el calars the past not fe 5 an emized teeta, peppeed with verGable snd dinpued “ac of [be of nfrmation." ‘One ould dispute this posing ro che symbolic systems (uch as ae and myth) eheoagh which nosierte rosin encode sheet eatin thipe and information Hower thee tems steal make se of a= isda ofen multiply itreeential sensory stil tha ile ign saul from writing, In other words they bing ito play theo peesenation of mens thar writing nahi lcke Reading Culture ln socent years» peat del oftention has been direst toward the role writing inthe burn scenes Mont fhe tention as focused onthe {seunpuons and ecaiguescstered around weting ater than wring isl Indeed, the alternative to wring anthropology oF seilogy of history have hardy figured thse cscssions, although noapic immakers have fom ie ome promoted the dtferences ofthe ow ‘mei. When Sm invoke, generally to adap te srctre tring ot to question wring ee a method. The primary concerns hae ites cary ones: how etnographies are stared, what nartatie im ples ia history ow aol rewach becomes a nerpresieprove td {orca Thre have been experments inform and sje in an effort ex paid the writing ofthese stbjecs beyond the confines of expository Prose—sew wie of jaxeaposton, she deployment of indigent, and dextpve approaches drawn from Gtion But there hs bee ese ‘on wags wy fencing howd, oe omintions fed Prt of the iaisaction wich ere ancvopoagcl wring fas seed fom ts assumption of auory and echgus for making isconduions appear aural snd incapable, which the new forms at designed to conn There haa, weate od, een retest om gtd ‘hoon akboegh ners inevolonary theory appear tobe 0838 up- twine Deep the sn sade wing hse 4 despscaed TEA ee oc! wane of matical scolar, wi empha fn the reading ot of papers a cnferencs and seminars (even hen Copies have ben precited) and the sural of are rhetoial Stucuet dened to hammer bone each poise. Despite heir lst of ‘evr technolo mot Powerit pesenton alo sem founded on {Bic pmsl Academic paper end wo vel othe magaon, polly srg wath eet of what they wl sy, eoceding ‘Shing in dea and concluding wih summary of what has ut been SSH Ofen an absrac goes ove the sme pound et four time This Etchiectrespurporcly may, one ely ara guaran of lees, {sith wrer wee nsec to fashion The epetion employed 3 ‘mucho convince ato provide ary. This ay derive, 28 Ong sug, {fom the tora etre of he rl debate which involves conon ion with an atagonise In antigay “eberorcal reaching assed hat tEraim of more or es ll core wet prove or dapone» po, ‘gains sore oppsison (110). “moter way on, wring has contre clare of poo. Wh cot wring cena lly that bilosopy and science woul have ‘Erclped te sot of loge that avons creating progesion of aa ‘metro rms or extracting eins trom dt, Wringhas ade isle, alnastoblgntory ro express owed the form ‘iprpostonl vatenent Hee ere aphove aedohe Kids ‘tral wim nthe ze nor taken tobe selevden but the eat Os process of inure cece Sepends upon wring peform ther basi tansr Jevipion, explanation, and the coxieation of mote fetal toi our human scr. Ansropologsl wig there {Ete not simply cra trandation, a x often described, tthe ere ston ofa compli new objec, an object (on page) of a etiely ‘ferent onder fom objeto ud. Ethnography, 0, ban radu ‘Bed ro moc ev psoil desipios of human soir inthe tinetenh emu (oss accompanied by acta pctares nthe form tine drawings an cnravings] tothe areater abstractions of soil or Sisto an Bebe seme nthe twee The pp Bower emry ‘perience and knowledge ha consequently widened. Davi Tomas has kened the anhopoogst wo photographic emu sion exposed to another society and the developed a home" He ose ‘ethus sen aan ntermediay, reistering the contours the soy and reproducing i forte anthropological udinc. This implies 0, that ‘experience ofthe anthropologist crt, quite dllerent om ‘hat ofthe reader wo gets a postive: However, the proces ib more ‘roundabout thn this implies, forleaving aie the quetion of interpret ‘ona he Bed se, wating invores expnuefllowed by a proces of Invention flowed by races of cncodng Unlike photograph which hea cereaingeerllepity aeons cultures, produce product for Slrerateaciene that also esturaly spec, fryos have to know he languagest wten nto ead Thetypess encodings als iin ‘Wting that uses a alphabet script, asst languages do, rally 4 ‘meats of recording speeh-that seis of sounds rate shan ay. ‘hing moce concrete {nthe physeal worl. Soa ween opined text canbe seen asa quadruple dansformtion, Fem inital observations that Ine tong sensory component, oa proceso hough othe prod: ‘om of words with ei specific sounds, tothe rendering of those sounds isle on a pages rea hat nce apn senate sens ia tee dilicea ay "Nac supesngly, social scintasoften feel uneasy about the huge d= Tepes wang had ben erred” by he er (Thora 1783, Eco 2001 151-2 9: Sean 002 1 Boeoin 1957.8. 1 Fem Steno’ Mane Mages rid (1967852 1 Ong 9821 15, Re Crider aly jo aor (Son SVanal Anti the Digial Set" poetton she sein ‘cong Viel Anas Pepecer om aon Mens or Mada Ine Some Keoiege Niuean en Rone, Ape 202. “A Sine sors ke lunar im Ci Paey's tcms es bounded than ms whe ane carat ste pedo he. “Fm tes ruse use ape vt omnes a produce argument ad express {Sessow, They close of pal ecnge in he eporl Bow af cceson earn” Piney 1990827 15 chen 99-0 1 Ong 198210 17 td 98 16 Gada Paney 192% 1, Foren rwe 19867) woe “Er amcopelaglSddworker ‘wold fesse tht be seed genres of staple Towou liner, des lctry of poesina pasando {ere sales tbe compo foe expernein he ld.” Sh. Penn Works ad Ln The Aobrapog as Autor (Geet 1958, 1 Ong 198278 BE Gane Baa -16 2a, SET Jtnen 198090, Salon 1982, 2A, Role 180 25, Pes 1998: 6-6 26 Borde 198 2 Ehonein 188. 28 For eam, Lews 1980, Jako 1988 2. Schauer and ch vans ho Seastna 198, 50! Whee ae 1. Bt Roth 9. 32 Whee 197% 3S Tar athe Se 8, 37 Cane 193; 32 3B Bowrin' bok oot tc them) provide samples of tit Ho ‘ee depen ara et nso wing he an ‘Nau tne dew ti {8 For eampl, MacDowgll 197 415; 1998: 165-77 0 ale 1952 40,82, St Mids 48 ‘i ped oS mids p38 36 Ban 9505 5, Edgar Mora Side eumeroun rfc in suri lo tkory co the sol” objets non Cee tau Feotende Sauk set nitarhorgue, pas concrete de pcr Let “het we tremens eles sabe: Mat ane fc anne tend 1 polnpretoreseptcmene sen pene ante! (0386 FH sd “Coe anaton er jes ou teeny Sat Fives devon hag cme a pd de eat (79) 0 Se Glia 1942 Brean 192, Cte 1992, Gre 1982, Sai 197 Sr. Secchapernhsolume anal Cereal 1998, on onda SE Cay 1996-18, 55 Ban 1981-44258, 54, Se acaon 198, Snr 1998, 19 55. Se for nampa Howes 191 [SP Tamar 957, Bra 1970, Fabian 1983, eld 8 Res 1996, Gel 1996. Sk Some weer tere athe at eae a a hypemess "Howard 188 Bis 1995, Pa 200, Raby 201 1948 Ain Howard {ps silt one mak aogh tbe it ores “Sapetal ‘ea simp do aoe hance 0 appending psa of eco ley” (985312) Segura meds ach wring ope ay hs Fabian 1990, ‘of comple depending upon he aegis nplyed. The contentions fe orton woah be hananwiecs he ene i ie ages Fa hr hacDougal 1999 2001, 20015, ound Snare ingen adi ‘esons combing vial writen, eal empl od sedory cements > “imei whew expand be ones of contention snow ney, ‘itrns dashing the esr fan autor er whch orally use ‘Stine inten trough aleve of eens 4, Ged a Cal Cai 1982: 37 5 Daca 997 501 1 Peon 1945 os 9. wars 19920 {6 eum 1972573, 575-77 8: Raney 99426 1. ney 1998-81-82 11 Gama 997 1h Med brs 14 See Roh 19585 15. See Hed 1900, aarp 199215. 16, Se Hoan 1988.20 1. Wonk 81.150 1 Ganbarg 1991 t2-s 13 Gantry 1946 20 hyp Bt Not 193), 22 See Ray 194168 2h Soume 32 ant BA Raby 19951809 BF, Raby 195. 108-1109. 109 26 Sele 990 20 1 Maru Catan 192 50. Se lech 197 Lens 1980, Jaco 1989, Pa 198, 51 Ther 1967 198-215 Babe 10755657 32 Tae 9H te, 3S fe eae, S34 Bay 1908 38, Men's commentary in Chidbod Ryn Balond New Gans (195D seelnorpi, ‘Se Bron & Men 1980 49-50 1972 9 ANTHROPOLOGY’S LOST VISION e ‘OFIN GRIERSON soften credind with inventing the tem octmen- tary fin” when e woot of the docaeneay value of Fihery’s Moons (1926)? Asotding wo Jan Ro, “enopaphic fn” oi Tated ara conference organized by dadet Leo Gowran in 1948! Ate sme, however the em designated nor so much a genre of Simmaking = fis of general itr antroplogis. The non of “vista anhropol yh existed in Some ese snes 1450s, tthe word ony began ‘oe used when hey appeared nthe tite ofa Rook in 1975? lahat sme book, Colin Young coed the ters “abervatonl cinema,” Pehapr even ow Some ae En frm re dorman, wag only er» name, (Of the several terme I have menoned, weal snthvopolory may be regarded as ethers highly specialized aetviy ora mote owl icsive fone, depending on one's pois of ree: The may indicate apie of focus connected withthe vareyof role tha have historically beet signed ot I woul be satstying thik of veal anropology a6 4

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