Archiving and access & analysis = (bo po mo fo?)


Subject: Archiving and access & analysis = (bo po mo fo?)
From: Kevin Austin (kevin.austin@videotron.ca)
Date: Sun Oct 16 2005 - 14:24:39 EDT


At 10:36 -0400 2005/10/16, Ned Bouhalassa wrote:
>On 15-Oct-05, at 11:56 PM, Kevin Austin wrote:
>
>>Such a project would face the same issues that all archiving has
>>to, namely, how to sort and catalog so that things can be found.
>
>Keywords might be sufficient.

In my experience, this is not "trivial" (*)

There is a 50+ year history of failure here. The 'keyword' dictionary
/ thesaurus needs to be linked to the sound files in a meaningful
way. I have developed my own very very crude shorthand / symbol set
for creating timelines of sounds / sound files.

The nature of the beast is hierarchical as it is, IME, perceptual.

An analysis assignment given to all classes in ea at Concordia is the
"10 word" description. Given a (simple) piece such as Gilles Gobeil's
Le vertige inconnu, how many (different) keywords would expect to
find from 100 students?

If this piece generated 60 or 70 keywords, imagine a work like
Christian Calon's Minuit. If every piece generates (even only) 30
keywords, with 300 pieces, there are now about 300 keywords shared by
300 pieces. The keyword "biff!" links to 17 pieces. These would need
to be indexed links, not "simply" ... "In this piece there is a sound
that sounds like "biff!"."

It would be possible to consider the "keyword" concept somewhat
parallel to the idea of the "radical" (**) in written Chinese.
http://en.wikipedia.org/wiki/Radical_(Chinese_character)

There have been propositions for 'dictionaries' and thesaurusi (sic)
of sounds. A dictionary / thesaurus is not a mechanical object; it
is, IMV, the realization of an underlying perceptual and
organizational process.

If you would like to lightly explore such a system, have a look at
the Chinese phonemic system: bo po mo fo

http://en.wikipedia.org/wiki/Bo_Po_Mo_Fo

Read through the sequence and you will find in this exquisite
application of thought that while 5 year old children learn to be
able to pronounce Mandarin words (characters), they also learn the
basis of articulatory phonetics. (The symbols start from the front of
the mouth and move to the throat.)

The sequence of consonants being: b p m f d t n l g k h j

http://homepages.stuy.edu/~jrolle/bopomofo.htm
http://homepages.stuy.edu/~jrolle/bpinit.jpg
http://homepages.stuy.edu/~jrolle/bfin-1.jpg
http://homepages.stuy.edu/~jrolle/bfin-2.jpg

This is the organization of an existing, but closed, body of
material(s). Quite brilliant.

Best

Kevin

(*)
triv·i·al
adj.

Mathematics.

Of, relating to, or being the simplest possible case; self-evident.

(**)
Aradical (from Latin radix, meaning "root") is a basic identifiable
component of every Chinese character. (This includes not only Chinese
Hanzi , but also the Japanese Kanji ,Korean Hanja and Vietnamese Ch
nôm and Ch nho.) In languages that use Chinese characters, a radical
is called (Pinyin : bùsh?u; Japanese bushu and Korean busu ),
literally meaning "section header". Radicals are important to the
organization and use of Chinese dictionaries, Japanese Kanji
dictionaries, and Korean Hanja dictionaries.

Despite initial appearances, Chinese characters are not unstructured
glyphs . They are composed of some number of distinct, simpler
elements composed of one or more lines (generally called strokes when
referring to Chinese writing). It would be hard to imagine
maintaining a system as long lasting as Chinese writing without some
internal structure because it would be nearly impossible to memorize
so many characters if each were constructed completely arbitrarily.
Instead, Chinese characters are in practice built out of specific
components called radicals .



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