Access to Film and Video Works: Surrogates for Moving Image Documents Page: 53
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53
gate need not be thought of as shorter than the original; it
may even be longer and require more decoding. (112>
Marr uses a definition for "representation" which works
well for surrogate:
[a] formal system for making explicit certain
entities or types of information, together with a
specification of how the system does this... <113>
He also notes that any representation involves "tradeoffs",
that is, some information is expressed and some is
suppressed. Insofar as a surrogate for a moving image docu-
ment is a translation, likely from one medium to another, it
is probable that it will suffer "losses due to the general
reduction of complexity...[and] losses...related more
directly to the individual media and the special properties
of their materials". <114> The major transmedial loss prob-
lem for the MID surrogate is the likely loss of the motion
component, the means of presenting all the objects-events
and depictions and their relationships to one another and to
the time line of the text.
Insofar as the document is an attempt to change a
user's world image (or provide an opportunity for a user to
bring about a change), individual repeatable access is
desirable as a means of accommodating idiosyncracies in user
style and needs, as well as critiquing the proposed change.
Baudry addresses this point:
Perhaps when the conditions of film projection
will change, through technical progresses which
promise to allow us to have access at will toReproduced with permission of the copyright owner. Further reproduction prohibited without permission.
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O'Connor, Brian Clark. Access to Film and Video Works: Surrogates for Moving Image Documents, dissertation, 1984; [Berkeley, California]. (https://digital.library.unt.edu/ark:/67531/metadc77222/m1/64/: accessed April 25, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; crediting UNT College of Information.