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La arquitectura de la imagen digital

Authors: Lino García; José Pereira;

La arquitectura de la imagen digital

Abstract

{"references": ["Ballart, J. (1997) El patrimonio hist\u00f3rico y arqueol\u00f3gico: valor y uso. Ariel.", "Brea, J.L. (2010) Las 3 eras de la imagen: imagen-materia, imagen-film, e e-image. Akal.", "Edmondson, R. (2002). Memory of the World General Guidelines to Safeguard Documentary Heritage, rev. ed., UNESCO, Paris. https://unesdoc.unesco.org/ark:/48223/pf0000125637 (Fecha de consulta: 5-5-2019)", "Garc\u00eda, L. (2019) Filosof\u00eda de la Restauraci\u00f3n. En proceso de publicaci\u00f3n.", "Hunt, R. (1952) Light and dark adaptation and the perception of color. JOSA 42 (3),190-199.", "Jim\u00e9nez, J. (2004) Teor\u00eda del arte. Tecnos.", "Manovich, L. (2006) El lenguaje de los nuevos medios de comunicaci\u00f3n. Paid\u00f3s, pp. 72\u201382.", "Melgosa, M., P\u00e9rez, M.M., Yebra, A., Huertas, R. y Hita, E. (2001) \"Algunas reflexiones y recientes recomendaciones internacionales sobre evaluaci\u00f3n de diferencias de color\". \u00d3ptica pura y aplicada, 34 (1), 1\u201310.", "Yendrikhovskij, S. (2002) \"Image quality and colour categorization\". En MacDonald, L., Luo, R., (Eds.). Colour Image Science: Exploiting Digital Media. Chichester: John Wiley, pp. 393\u2013419.", "Yendrikhovskij, S., Blommaert, F., De Ridder, H. (1999) \"Color reproduction and the naturalness constraint\". Color Research & Application, 24 (1), pp. 52\u201367.", "Pereira, J. (2013) \"Digitalizaci\u00f3n y documentaci\u00f3n del patrimonio de la divulgaci\u00f3n a la preservaci\u00f3n: de la divulgaci\u00f3n a la preservaci\u00f3n. Una aproximaci\u00f3n al control de calidad en la gesti\u00f3n del color\". En Conservaci\u00f3n de Arte Contempor\u00e1neo: 14a Jornada, febrero 2013, pp. 55\u201364.", "Pereira, J. (2019) \"El control de calidad en la digitalizaci\u00f3n de bienes culturales\". Revista PH [en l\u00ednea], vol. 95. En: https://cutt.ly/c2Puzry. (Fecha de consulta: 6-4-2019).", "Pereira J. (2017) \"Nuevas perspectivas en la documentaci\u00f3n gr\u00e1fica de arte rupestre\". KOBIE. Redescubriendo el arte parietal paleol\u00edtico. 16, pp. 41\u201350.", "Puglia, S., Reed J., Rhodes, E. (2005) \"Technical guidelines for digitizing archival materials for electronic access: Creation of production master files\u2013raster images\". U.S. National Archives and Records Administration (NARA)", "Taleb, N.N. (2014) Antifr\u00e1gil. Las cosas que se benefician del desorden. Paid\u00f3s Transiciones.", "Stevens, J.C. y Stanley S.S. (1963) Brightness function: Effects of adaptation. JOSA 53, (3), 375-385.", "Van Dormolen, H., Gillesse, R., Reerink, H, Langendoen, A. (Eds.) (2007). Metamorfoze preservation imaging guidelines. Koninklijke Bibliotheek: National Library of the Netherlands."]}

¿Qué es la imagen? En torno al concepto de imagen se ha especulado desde el que el hombre utilizó una imagen para referirse a otra, desde el propio nacimiento del lenguaje. La imagen se ha desmaterializado, transcodificado, discretizado, datificado, codificado, e inunda todos los espacios: reales y virtuales. Es preciso comprender la arquitectura de la imagen (el arte de construir imágenes), no solo para representar sino también para su permanencia. What is image? Around the concept of image there has been speculation that man used one image to refer to another, from the very birth of language. The image has dematerialized, transcoded, discretized, datified, codified, and floods all spaces: real and virtual. It is necessary to understand the architecture of the image, not only to represent but also for its permanence.

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Keywords

Metadata, Transcoding, Arts in general, Formato, Transcodificiación, Datos, Imagen, Metadatos, Presentation, NX1-820, Preservation, Code image, Preservación, Presentación, Image, Imagen código, Format, Imagen Código

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