RADIOS ANARCHEOLOGY Ana Paula Machado Velho1 Natlia Martins Besagio2 Summary This article intends to use the

research proposals and analysis of the Medias Anarcheology, which investigates the continuous flow of History, its events and phenomena, in order to understand the production of the means of communication, aside from establishing a connection to the Media Ecology in pursuit of understanding how the vehicles affect the human perception. This research perspective explores the widest material as possible and it can be bibliographic, sonorous or visual, aiming to give life to new proposals, new messages, at long last, new products. Thus, this article is introduced as an anarcheological trip to the radio universe, as suggested by Siefried Zielinski. Key-words: Medias anarcheology; radio; media ecology;

Introduction The word anarcheology is originated from Greek ARCHAOS (ancient) + LOGOS (knowledge, study), in other words, the study of what is ancient. With the development of the humanities, this concept became wider. Today, that area of knowledge may be understood as the one that studies the current or past societies through the material culture, that is, through traces and material objects. Based on thorough analysis of those traces, it is possible to obtain information in order to reconstruct socio-cultural and environmental aspects. Sometimes, they are strange signs, recorded or painted on rocks, other times, when they are mixed with the soil, pieces of objects appear like animal bones, human skeletons or even rock fragments, which resemble each other, but are special. The way man chipped them will expose a part of the events that took place where the traces were found. Michel Foucault has embarked through the paths of archeology, but he hasnt excavated the earth. Two of his books, specifically, have awaken the world to this perspective: Archeology of Knowledge (1972) and The Words and the Things (1990). In the last one, Foucault analyzes the various fields of knowledge differently from all the other thinkers used to do. As in traditional archeology, he digs the elements that make the structure of Science, just as the archeologist digs sites. After the material screening, he selected and registered a sample, making effort to establish a link between the data he thought was relevant. At first, there could not be a relation between them, but through an effectively archeological analysis its possible to reconstruct or to deduce - a configuration of world, sciences and, later, of madness. In the case of the work Words and Things, what Michel Foucault sought
1

Master (2001) and PhD (2007) in Communication and Semiotics, by the Program of Post-Graduate Studies at PUC/SP; professor of Masters in Health Promotion, in Maring University Center; journalist of Media Center at the Maring State University (UEM). E-mail: anapaula.mac@gmail.com. 2 Graduated in History in the Maring State University (2008) and has a degree in Journalism from the Maring University Center (2010). Teaches History of Elementary Education and is a producer/host of a radio show, called Oral history in Cesumar University Radio. Has experience in theoretical and methodological research in Social Communication and Education. E-mail: natalia.besagio@gmail.com. 3 Translation: Tiago Santos

to answer was how the conformation and representation of knowledge happens. Firstly, he determined the archeological sites, the fields where he believed the assumptions were, the theoretical framework for his philosophical articulation. In this process, he also related the speeches of prominent thinkers of those defined areas and designed a well structured overview of the sciences scenario. It is this analytical perspective that is closest to the methodology that this article seeks to deeply comprehend. Called as Media archeology, it was thought by Siegfried Zienlinski3, polish thinker who was rooted in Germany. Such methodology scans the text, visual and hearing media files, whether they are analogical or digital, emphasizing discursive manifestations and culture subjects as pointed by Oliveira (2011). For Irene Machado, who organized a Zielinski course in the Program of Postgraduates in Communication and Semiotics, at PUC/SP, the Medias archeology starts a new area of research in the study of mediated communication and the arts which use the media for idea experimentation or for intervention (MACHADO, 2002, p. 203). Zielinskis archeology is structured as a rediscovery process not only for the culture technological objects, but it draws attention to the secrets and the surprises that the world hides (MACHADO, 2002, p. 204). Zielinskis main idea, which is denominated as anarcheology, is the recovery of the history continued flow, the flow between events, phenomena, discoveries and its connection with the present. Its the study not from the means, but their interrelationships. Irene Machado summarizes that
The least interesting matter to this subject is the means of communication. Actually, for Zielinski, the means (vehicles) just dont exist [] but the and texting edition and mounting. [] The technologies and the media created by them can only be thought of as [] cognitive operations of synthesis between theoretical knowledge and practice experience. [] In this context, the discoverers are evoked and their discoveries may be experienced in all its dialogical richness, making alive the planned route for setting up the anarcheology. (MACHADO, 2002, p. 204206).

Realizing the radio through Zielinkis perspective is one of the aspects that motivated this article. The idea is to use the Medias Archeology as a tool to conceive the radio production, also to utilize it as an analytical methodology that allows to see the vehicle radio under the ecological perspective. The final goal is to alert the Brazilian researchers to the study of the radio universe, aiming to propose the production of a new and different sound material and to point out how these new products may affect the perception and comprehension of the society, as proposed by the Media Ecology. To understand this perspective, it is necessary first to present the reflections about what drives this research: the sound production. The scientific advances made in this area pointed to the esthetics and semantics richness (if one can separate these two parameters) of the radio production in its beginning in Germany. Despite the low bibliography related to the theme, researches and seminars taught in the post-graduation
3

Siegfried Zielinski occupies Michel Foucaults chair at European Graduate School , headquartered in Switzerland; and the Medias Theorys chair, at the Media Institute from the Berlin Art University. He is the director of the Media-Art Academy (Kunsthochschule fr Medien) from the city of Cologne, Germany. Besides, Zielinski is author of tens of articles and several books, among them Medias Archeology, released in Brazil in 2006. He studied theater, art, German modern literature, linguistics, semiotics, sociology, philosophy and political science, in Marburg and in Berlin. The focus of his studies are the advanced technical means, the radio, the cinema, the video and the computers.

sphere (master degree and doctorate), have raised even more curiosity about this object, to the point of bringing an effective mobilization, which led the plunge in this universe. The presentation of the elements that have built this proximity with the German radio, are in fact a little sample of what is understood by archeology. It was through the investigation of small pieces from history and from the radios nature, produced by the Germans specially articles paragraphs, small excerpts of radiophonic plays and discussion among researchers -, and under the bias of semiotic studies, that was realized its potential as study object and model for the new organization proposals of the sound files. It can be said that this article will rebuild a guide to a next archeology from this mean of communication in that country, at the archeological site named Germany, in order to inter-relate this reality to the current demand of the Brazilian broadcasting and insert it in the assumptions of Archeology and the Media Ecology. The German radio under the archeological perspective In the early days of radio in Germany, the mean programming was the result of a technical and cultural scenario which supported the social relations in that specific time. The productions reflected the spirit of the people and the way of life in the country. In an environment in which the most classical composers, where philosophy filled the books and thoughts and where the art flourished with the patronage of the bourgeois from one of the most prosperous regions of Europe, finding space in the media for the art, the intellectual and working mobilization was more than a potentiality. It is in this scenario that the sound media is built in an educational/cultural perspective. The first steps of this mean of communication in German occurred with great vitality, still in the radiotelegraphy phase (in Morse code), shortly after 1910, but the activities were interrupted due to the World War I. However, still before the end of the conflict, there were news of the existence of the Worker Radio Club, which encouraged the creation of stations and networks to propagate the socialist ideas (MEDITSCH, 2005, p. 100). According to Ciro Marcondes Filho (1986), after the war, the German social movements have organized around the radio in order to overcome the economic and social crisis. The first mobilizing manifestations came with the production of debates and text presentations of politically engaged thinkers. In other words, in this socialpolitical context, the radio turns into an equipment of mass approximation, as exposed by Gisella Ortriwano (apud MARCONDES FILHO, 1986), creating a spirit of participation in the communicative process. This will reflect in the program genders that will occupy the German radio specter in the first decades. In this point its possible to relate the radio vehicle to the ecological context, since it adapts to the environment in which it is inserted, transforming the relationship between man and the media, which is now used as a link among the most different social actors. It is still necessary to highlight that the first official radio broadcasting in Germany was registered in November 1923 and gave way to one of the most prominent genders of the German programming: the radio plays. In this first point, theatrical plays that were adapted for the radio were inserted. However, in a little time, the famous hrspiels were born. According to Fernando Peixoto, the products of this gender organize a new universe, in which word and sound, noise and silence, or even music, propose, from technical and /or human effects, a surprising creative reality and even revolutionary (apud SPERBER, 1980, p. 9), what once again shows the environment changing the

individual and societys behavior. This information is in the book Introduction to the Radio Play, released in Brazil by George Bernard Sperber, in 1980. This work is a result of an internship that Sperber attended in German, at the invitation of the German government. Under the Medias Archeology, it is seen that the quoted texts in Sperbers book point to fundamental elements that are responsible for the sound production success called hrspiel: the technical elements the microphones various acoustic possibilities to structure the acoustic language marks; the mixing desk and its effects combined to the semantic elements the music, which replaces optical elements, draws psychical situations, dynamics and rhythm; and the word, sound wave carrier of meaning, that gains expression in the phonation. Klippert composes the concept of soundscapes to explain this last element, reminding that these soundscapes will contribute with the construction of mental images (SPERBER, 1980, p.58-76-101). These propositions are complemented with the reflections of Hrst Scheffner on radios ability to make hear, in the opposite direction proposed by Baitello (apud MENEZES, 2007), because it speaks to each ones inner sense. In addition, Richard Kolb describes that sounds of every nature speak, they become a bridge between the spiritual and the material, between the knowledge subject, me, and the world that surrounds him. It is the previous creative phase that leads from imagination to the material forms of expression. Heinz Schwitzke calls this process a fill in and empty out, alternatively constant (SPERBER, 1980, p. 116). Therefore, this work, unique in Portuguese dedicated to the German radio production, makes clear that the spirit of that radio message organization, specially the hrspiels, are resulted from the composition of the technical environment, cultural and discursive of a means, as proposed by the Medias Ecology. At a certain historical period, Germany reveals in the radio sound production, its cultural expressions, in other words, the ways of representation that are part of the semiotic nature of that culture, which is translated and extended in so many products, but specially in the hrspiels. The products operate as social ties. They come from the inter-relationship of the reality on the streets, from technology, from life. They stay on the radio because the media is engaged in the scenario, it is presence, is social ballast in that specific moment. Thus, it aggregates and carries specificities that draw the bases of the little that is known from the creative German radio. The hrspiels development has shown how the advances and the coexistence of different areas literature, cinema, theater, music, eletroacoustics, informatics, and so many others [contributes with] this ars acustica, as defined by Klaus Schning, when he referred to a setting of autonomous sound languages which appeared in the twentieth century (apud ALBANO, 2005). It is certain that the German broadcasting is more famous for having perpetrated a Nazi psychological warfare. The dissemination strategy of Nazi ideology was bold. This is shown by the records of radio usage by Paul Joseph Goebbels, head of the Nazi propaganda. Few people know, however, that the main German thinkers have bet, created and written to the radio, in very different perspectives. Walter Benjamin is author of the Berlinean Trilogy, composed by a radio series about the city of Berlin (1929-1930), the texts Berlinean Chronicles (1931-1932) and Childhood in Berlin

around 1900. In the series aimed at teenagers, Benjamin uses a variation of the called tableau (chronicles), adjusting it to the new sound vehicle. Joachim-Ernst Berendt, who was the radio equipment division director in one radio station in the South area of the German State, had a program called Nada-Brahma, in which he disseminated the oriental philosophy through the use of musical productions filled with soundscapes. This is also the title of a book published by Berendt, in 1983. Nada-Brahma means the world is sound, in classical Sanskrit. In this work, re-edited in 1993 by Pensamento-Cultrix, that German would have us understand that the comprehension that the world is sound has deep implications not only for science and philosophy, but also for our daily life and the society, what refers to its close involvement with the means radio. Meditsch reminds that the first textbook of the playwright Bertold Brecht was written for the radio, A Flight over the Ocean. Not to mention the authors famous text, The Radio Theory, written between the 20s and 30s. Eduardo Meditsch also highlights the author Rudolf Arheim, a radio lover, who wrote the following:
The results obtained in these first years, thanks to this new way of expression, might be considered really amazing. It was revealed a new seducing and exciting world, which is in possession not only of the greatest incentive for the senses known to man the music, the harmony and the rhythm but also, at the same time, it is able of describing the reality through noises and with the widest and most abstract way of dissemination that man has: the word. [] With the radio, the sounds and words reveal the reality with the sensuality of the poet, and the tones of music could be found in it, the world sounds and spirituals, thus making the music to penetrate the world of things; the world is filled with music, and the new reality created by thought is offered in a much more immediate and concrete way than in printed paper: what had only been written ideas has become to be something materialized and alive (Arheim apud MEDITSCH, 2005, p. 101).

This aura of the German radio production, in the first decades of last century, is proposed as model to be rescued in the practice of the Brazilian sound environment. The reasons are many and the success perspectives are countless. In order to prove that, it is necessary to realize the scenario in which this means of communication is inserted today and how it has configured, from historical circumstances, determining the profile for the Brazilian radio programming. The Brazilian sambaqui It is important to remember that radio has lived, in Brazil, moments in which the programming has been close to the German profile in its nature, but not in its discursive richness. That happened at the time of its organization, but it was lost when Brazilian politics and economy have adapted to the American capitalist profile. This history has been told for years, but maybe it has never been analysed under the archeological perspective, tendency adopted in this article. The radios forerunner in Brazil was professor Edgar Roquette Pinto. The first Brazilian radio to work in the programming models that we know had its grid structured into classical music programs, presentations of scientific texts and a news program in the morning. For Roquette Pinto, the radio had the mission of being the peoples

educational instrument. In that time, however, radio was still a little known product in Brazil. The station that professor Roquette Pinto directed was Radio Society of Rio de Janeiro, which survived with the monthly payment of some partners. In order to have an idea of the philosophy of the radio forerunner in Brazil, it is necessary to remember that he donated that station to the government of Rio de Janeiro, in 1936, so that it could become the first educational radio in the Country, the MEC Radio. However, that profile was lost in the other hundreds of radios that appeared in Brazil. The reason for that to happen was political. In 1931, two years after becoming president, Getlio Vargas, inspired in the usage of radio by the German Nazi party, decided to extend the quantity of radio stations in the country. For that to happen, he signed the liberation of publicity selling by the radios, which increased in number and in size, not being based on Roquette-Pintos idea anymore, but with profit intention, fitting in the American publicity model. So, the Brazilian radio gets the especially prepared text for an impoverishing speech. The programming was structured into modular spaces financed by multinationals just remember the Esso Reporter4- of superficial subjects. It was the senses massacre described by Ana Baumworcel (2001, p. 113). Massacre from a language that controls, reducing the linguistic forms and the reflection, abstraction, development and contradiction symbols [] in a silencer historicalpolitical process. They are senses that are avoided, demoralized, made impossible, staying out of the speech, they lost their meaning. The mobilizing richness of the programs and sound files, object of reflection of this article, definitively is not the fundamental aspect of the Brazilian radio production. And, even in the moment of the reorganization of the radio in Brazil, it was not the production quality that changed and guaranteed the public reconquest. With the new entertainment proposals moved to the television, radio started to adopt a programming that assembles music and sport (entertainment) and journalism (news and provision of services). Aided by the miniaturization and portability offered by the transistor, the means of communication becomes the companion of all hours, by which someone tells something to another person. However, the messages took bond effect, no for its contextual and discursive depth, but for the communicators power of speech. At the moment that the radio leaves the center of the room and arrives to the bottom of the ear, the listener ears a private storyteller, at first with a very popular propensity at the AM radio stations. Thus, the radio wins the commercial flop, goes through the dictatorship with the exploit of quality music, brought by the Modulation in Frequency (FM) technology; it gets even stronger in the 80s with the new period of the journalistic information appreciation and the popular movements; all this process will open way to the appearance of radios exclusive for news, in the 90s. But, the production patterns have kept highly insipid, when it comes to radio language and its semiotic nature. It cannot be denied that there were important attempts to chance this situation. In 1937, the forerunner and radio producer Nilo Ruschel registered Porto Alegre city in the program City streets and Neighborhoods in Review. They were the first radio report incursions in Rio Grande do Sul. The narrations have built a city imagined through lamentation and nationalism, the synchrony between ancient traditions and the signs of
4

The journalistic production of the United Press International Agency, sponsored by the oil multinational Esso, which had become source of the dissemination of ally information, in World War II.

change in the pre-New State context. When the technical capturing was impossible, the soundscapes noises were described by the narrator (GOLIN, 2007). It is still noteworthy the special report series entitled So Paulo de Ponta a Ponta, produced but the journalist Vera Lcia Fiordoliva and divulgated, in 1999, by the So Paulo Eldorado Radio. In the series, the journalist takes the narrator role who leads the public through hearing until the soundscapes of the extreme East, North, South and West of So Paulo State. It is realized the landscapes of several places through characteristic sounds: the crab legs sound and the sounds of the dolphins at Cardoso Island (South) or the beginning of a horse ride around the obelisk that, in Dourado city, marks the center of So Paulo State (MENEZES, s.d). It is more common, however, to see those different iniciatives in the radios and projects of universities. One example is the project Porto Alegre: soundscapes developed between 2005 and 2007 by the students of the Jounalism Major at the Library and Communication School from the Rio Grande do Sul Federal University. The series of documentaries and reports proposed other perception and imagination benchmarks from the city to beyond voice and word, experiencing a different hearing from the environment and the sound mapping interpretation through the radio expression (GOLIM, 2007). These interactive and communicative possibilities presented on radio were also tested in a shy way in a project of scientific journalism on the radio. It was a workshop taught by the researcher Ana Paula Machado Velho, at Maring University Center Cesumar, in 2002, what generated a product called TomeCincia. In the following year, this initiative had its structured upgraded by two journalism students from the same institution, through a paper oriented by that researcher. In that occasion, it had won the name Sapientia, since there was already a project with the old name, at So Paulo University. They were radio skits of five minutes that presented stories about scientific curiosities. The subjects were presented proposing dialogues with doctors and researchers to encourage the transmitter/receiver interaction. These conversations were illustrated with sound effects, which gave movement and context to the presented situations. The result was a program that encouraged the scientific curiosity of the listeners, who were able to dialogue mentally with the ideas presented by the little programs, encouraged by humor questions, sound effects and vignettes with a lot of movement. Sapientia was so highly accepted that it became a program at Maring State University (UEM), between 2003 and 2004, institution in which the researcher works, in a partnership with the Physics PET group coordinator. This was the embryo to the appearance of several UEMs PET programs, which are in the air until today. That experience is one of the examples used in the practice of the radiojournalism subject, taught by Ana Paula Machado Velho, at Cesumar, as a way to make the students to understand the role, the function of each one of the radio language elements and its weight in the message efficiency. The students are taken to realize how the material is tailored and then it is requested that they use their semiotic competence to put in the productions much more than words, music and effects, but a complex system of sounds, in which each one of the used elements ears a function of representation, it earns meaning.

Concluding remarks It is believed that it is necessary to find new analysis methodologies that might awaken researchers, teachers and students to a greater comprehension of the reality of each means and its expressive possibilities. The way might be the insertion of research in the fundamental assumptions of Medias Archeology, proposed by professor Zielinski, relating it to the Medias Ecology, once we cannot make such changes with taking under consideration the environment where they were produced and how they were received by society. It is necessary to make clear, however, that the corpus of this investigation is not in the media or in the support, but in their expressions, in the formatted, organized, disseminated message that carries the subjectivity of the subject that produces it, using his creative possibilities and the available technology. Nowadays, the sound broadcasting is going through promising moments. The urban life demands the individual to spend almost the entire day outside home, taking him to look for information and entertainment on the radio. He seeks contact with the world in such a way that he doesnt have to use his hands, that are busy with the professional tasks or with the wheel; he wants to listen to the other, instead of the soundscape noises of the city. To be connected to the vehicle of communication is to be connected to life. In this context, time of exposure of people to the radio has expanded. Now, it mobilizes the listener from 6 am to 7 pm, not only in the morning, as reported for decades. A research released in Srgio Martins text, The New era of Radio, published by Veja magazine, in march 2005, has shown that young people, or the TV generation, have rediscovered the radio. In 2011, 96% of people who are between 21 and 39 years-old listen to radio, according to IBOPE. Thats because in the programs communicators speak of daily things, using humor and informal interviews with celebrities, opening space to the listeners participation. It is the new era of radio, in which it is sti ll being faced the migration process to the World Wide Web environment, where new terminologies for the sound products are being worked, as the podcast. Therefore, it is not possible to keep the same practices used throughout history, in our analogical dial and the Internet pages. It is necessary to propose new ways of thinking the radio, using the new technologies and narrations that might adequate do the new times of the societys relationship with the sound products. These new shapes proposals have passed, undoubtedly, through the academys researches. The universities laboratories need to encourage and make possible experimentations, by which the exchanges of experiences of students from different areas. This article is the proposition of a new integration movement of different actors in initiatives that might redefine the radio production. This movement has characteristics that refer to the anarcheological process, which reviews the different aspects from the past to the new proposals discovery. As suggested by Zielinski, effectively explosive models may be called innovative, in the scientific language. Zielinski warns us in many ways about this necessity. He says that cultivating difference dramaturgies is an effective medicine against the growing ergonomics of the technical media world that are happening under the banner of ostensive linear progress (p. 283). More than not following the social changes, by imprinting new features to media products, Zielinski warns us to the fact that we cannot stay behind machines.

And they have multiplied in nature and shape, making possible new narration possibilities. Ana Baumworcel says that is necessary to understand radio as means of artistic and cultural expression of a certain people, which encourage the conflict of ideas, thoughts, opinion of all social classes, but also the customs, habits, values, behaviors, beliefs, as well as all the manifestations that express the sensations, feelings, human emotion (BAUMWORCEL, s.d, p. 9). This leads us to Brecht, that in the 30s Germany, reminds us that the senses and reason are not elaborated as being in opposition. They are forces involved together in a stimulating social game, that we may call art. For him, it is a kind of creative, artistic production that can convert the government reports into answers to peoples questions, [] to put together the lines between the commerce and the consumers [] on bread high prices. [] Finally, the formal mission of the radio is to give these instructive attempts an interesting feature, in other words, making interesting the interests (1932, p.41-42). It is more than that. It is necessary to establish a relationship between this archeological process and the Media Ecology, which studies the means of communication as human intervention environment, including the new historical, material and economic perspectives and the communication process interaction, what leads to the comprehension of the human motivation in a specific context and the way it interferes in the current reality, establishing a connection between Archeology and Ecology. This is the cue that allows to strengthen this articles proposal, to suggest a dip int o a methodology that seeks to understand the media objects and its expressions under the archeological and ecological (technological + environmental) tendency. This immersion dynamics is compared to the organization of a diagram to the exploit of archeolo gical sites. It is a quest for experiences and materials that should the mined and selected as elements of the archeological analysis. These reflections should reveal the history of the object, but also understand it as a result of a producers work, in a certain moment in a specific place. The nature of the material that will be explored might be as varied as possible, becoming sound bibliographies, interviews and reports, aiming to give life to the new proposals and new messages, finally, new products.

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BRECHT, Bertold. Teoria do Rdio (1927-1932). In: MEDITSCH, Eduardo (org). Teorias do Rdio: textos e contextos. Florianpolis: Insular, 2005. FOUCAULT, Michel. A Arqueologia do Saber. Trad. L. F. Baeta Neves. Petrpolis: Vozes, 1972. GOLIM, Cida. A Expresso Radiofnica de Uma Cartografia Sonora: estudo da srie Porto Alegre, Paisagens Sonoras. Revista Intexto/PGCOM-UFRGS. 2007. Available at:http://www6.ufrgs.br/estudiodeaudio/textos/paisagens%20sonoras_revista%20intexto .doc. Accessed in: August 20, 2009. MACHADO, Irene. O Que H de Novo no Sculo XX?. Revista Galxia, n. 3. 2002. So Paulo: PUC/SP, 2002. MARCONDES FILHO, Ciro. Quem Manipula Quem? Poder de Massas na Indstria da Cultura e da Comunicao no Brasil. Petrpolis: Vozes, 1986. MEDITSCH, Eduardo. Rudolfo Arheim e o Potencial Expressivo do Rdio. In: MEDITSCH, Eduardo. Teorias do Rdio: textos e contextos. Florianpolis: Insular, 2005. MENEZES, Jos Eugenio de Oliveira. Cultura do ouvir: vnculos sonoros na contemporaneidade. 2007. Paper presented at the VII Meeting of the Research Centers in Communication NP, Sound Radio and Media, during the XXX Intercom. Santos Congress. http://intercom.org.br/papers/nacionais/2007/resumos/R0644-1.pdf. Accessed in August 12, 2009. OLIVEIRA, Erick Felinto de. Um futuro complexo, hbrido, incerto e heterogneo. Interview with the IHU (Unisinos Humanitas Institute) Magazine. Available at: http://www.ihuonline.unisinos.br/index.php?option=com_content&view=article&id=41 04&secao=375 Accessed in December 1st , 2011. SPERBER, George Bernard (Org.). Introduo pea radiofnica. So Paulo: EPU, 1980. ZIELINSKI, Siegfried. A Arqueologia da Mdia: um tempo remoto das tcnicas do ver e do ouvir. So Paulo: Annablume, 2007.