The study aims to discuss document productivity in the case of the Samudera Raksa Ship Museum. To answer this, the researchers made a productivity document study based on (1) Blasius Sudarsono's axiom, which states that "In the beginning, it was the human will to express what he thought and/or felt;" (2) Sudarsono's thoughts regarding documents as processes and products; (3) Lund’s concept of document creation; (4) Sabine Roux's thoughts on the rhizome concept in the document productivity process; and (5) the concept of museum communication by Yudhawasthi. Based on these theoretical frameworks, an analysis of the document productivity in the case of the Samudra Raksa Ship Museum is outlined with the formulation of research questions: (1) Is the document productivity a cycle? (2) How is the document productivity cycle in the case of the Samudra Raksa Ship Museum? This research was a qualitative study and research data were obtained through an in-depth interview process with three research informants, literature search, and field observation. The informants are (1) curator of the Samudera Raksa Ship Museum and Borobudur Temple area management, (2) the leader of Digital Technology Development of the Samudera Raksa Ship Museum, and (3) a former crew of the Samudera Raksa Ship. From the mapping, the researcher found the dimensions that reflect a cycle: 1. document creation stage where knowledge, the object/message/document as well as the media and technology are used to produce. 2. The product produced does not stop as a work, but humans can continue to interpret and reinterpret it, thereby producing knowledge and/or knowledge. Then, 3. returning to the initial cycle, namely creation, which drives the next creation process. 4. All of these steps involve communication and documentation 5. All of the processes are human brain simulations.

Today we live in an information society, which is to a large extent also a document society (Buckland, 2018). In our daily lives, we must cope with an ever-growing flood of different documents, keep track of them, pick out relevant content, and produce documents in suitable forms. In addition, tools based on artificial intelligence (AI) technology, such as ChatGPT[1], are making their way into the document world, challenging us with new affordances, and questions about how to deal with them and what changes this will bring. Existing documentation models such as the model of complementarity (N. W. Lund, 2004), the ontology of human expression (Olsen et al., 2012), and the document phenomenology (Gorichanaz and Latham, 2016) contain valuable indications from which we can learn a lot about the process of document production. However, current models are missing out on the relations between the variables of the greater system in which they are embedded such as documents as instruments, the community, rules, and the division of labor, as well as the subject's actions, motives, and greater goals in the documentation activity. This conceptual paper presents the model of documentation activity, which on the one hand can unite and expand existing models in the field of document theory, and on the other hand provide a common crystallization point for practitioners and scholars from related fields to analyze the documentation activity within a dynamic socio-technical system. The model of documentation activity is developed along existing document theory concepts using activity theory (AT) (Engeström, 1987) as a framework. [1] ChatGPT is a system for natural language processing (NLP) based on deep learning technology which was developed by the company OpenAI. ChatGPT can generate human-like conversations by understanding the context of a conversation and generating appropriate responses. (Deng and Lin, 2023).

This paper reports on an experiment which connects document design with document theory. Document design is about what documents should do. We use the example of document graphs and of Cosma, a visualization program created during the HyperOtlet research programme, to show how theory can inform design decisions and help conceptualize results.

A certain ecologist art form has been on the rise for the past twenty years. Those artworks include documents. The analysis will take two examples : Tale as Tool, and Chroniques de l’accueil. The use of documents doesn't deal with representation, as it used to be in art, but with inquiries. The ecological art tries to trigger testimonies and transformations of the common representation of nature. They don’t use documents as a trace but for their diplomatic capabilities. The document doesn’t record events or facts but it changes the situation. The ecological artists come with this paradoxical art stance : recording the existing state of social relation to transform it.

An introduction to the life and work of Robert Pagès (1919–2007), French social psychology researcher and theorist of documentation. From 1946 to 1948 Pagès was a student in the program in documentation directed by Suzanne Briet that later became the Institut National des Techniques de Documentation (INTD). A 1947 thesis was published in 1948 as an article entitled “Transformations documentaires et milieu culturel” (Documentary transformations and cultural context). It received little attention until recently. The article, now reprinted and translated, examines the rise of new media and how they have largely displaced lived experience and bookish knowledge in a society that has become increasingly planned and coordinated. A notable feature of this article is his distinction between unique, particular objects, which he called “autodocuments,” and specimens that are representative of whatever group they are specimens of. A second thesis of classification was published in 1955 as Problèmes de classification culturelle et documentaire. Pagès founded and directed a laboratory for social psychology. He developed an indexing language (named CODOC) with interesting syntactic and notational characteristics for materials collected in the laboratory. Pagès writings and leftwing political activism are briefly noted.

We propose to explore the modalities and problematics of the co-design of a multimedia device documentary. The project “Innovation Labs Observatory,” led by the Conservatoire National des Arts et Métiers (CNAM) and the collective Codesign-it!, explores a new way of doing intervention-research by designing a website for the diffusion of multimedia documents and for the documentation during the project. In addition to giving access to different types of co-designed documents (texts, podcasts, videos, pictures…), this website can also be considered as a new form of material for the research in progress. Here, we present the way we used to proceed for the design and the exploitation of this info-communicational dispositive in a research-intervention process.

In this article, we aim to expand digital literature analysis to evaluate organizational textual content, vital for contemporary organizations' communication and operation. By comparing traditional literary structures with this new content format, we identify various dimensions influenced by it, including marketing, technology, economy, media, society, and culture. The dynamic nature of the internet, search engine algorithms, and AI's impact on content prompts a shift from prioritizing quantity to emphasizing quality, echoing Lucien Karpik's 1989 perspective on the value economy.

This essay documents 3D-printed sculptures displayed at the 2023 Annual Meeting of the Document Academy. To raise awareness about the cultural significance of the mechanisms that produce digital substance, the sculptures lend material heft to some of the abstractions that help to constitute textual representations of a sixteenth-century Korean lyric and modern Korean poems from the early twentieth century in digital environments. The essay also describes previous exhibitions of the sculptures that utilized augmented reality technologies. By documenting the ways augmented reality technologies represented 3D-printed sculpture that documents digital texts that represent printed documents and manuscripts, the essay suggests how recursive documentary practices can be designed to enable cultural memory while acknowledging the inevitable losses associated with cultural reproduction.

The purpose of this short paper is to sketch the problem of whether documentality, in the sense of the appearance of evidence, must always take the form of a type-token relationship. In contrast to a type-token epistemology common in the Library and Information Science tradition, the paper argues that there is precedence for a theory of documentality that views evidentiality as a product of the powers of particulars to make themselves present. To make this argument, it appeals to Robert Pagès theory of documents and, over a half century later, Bernd Frohmann’s proposal for a philosophy of information, “Documentality.” Such a theoretical framework as Documentality may center its analysis around the problem of the evidentiality of natural entities rather than sociocultural or bibliographic entities. The paper argues that Documentality offers a theory of evidence or information through functions, performances, and powers rather than through content representation. Such a contrast describes the epistemology of Neo-Documentation versus that of earlier Otletian Documentation and the Library and Information Science tradition that follows from it.

As Joanna Drucker (2014) convincingly argues, “Most information visualizations are acts of interpretation masquerading as presentation" (p. 10). This article investigates the visuality and built-in argumentations of the Alvin interface for digitized Swedish cultural heritage, focusing on how the platform defines a document and the effects this definition has on the accessibility and interconnectedness of documents related to lesbian and feminist histories. This paper addresses how (failed) systematization and an emphasis on large quantities of documents and metadata breathes new life into outdated historiographies and renders documents and information related to feminist and lesbian histories and connections between these histories invisible. In doing so, platforms reinstitute divisions and stereotypes about feminist and lesbian history criticized by Adrienne Rich in her seminal essay “Compulsory Heterosexuality and Lesbian Existence.” Platform designers must begin to take seriously queer and feminist researchers' emphasis on context and the need to build flexibility, interconnectivity across private/public boundaries, fuzziness, and incompleteness into cultural heritage platforms from the outset.