Chapter 8. Global content management 125thestr<strong>in</strong>gsandcodes,i.e.,theconceptsandthemessages.Whenknowledgeisthenpackaged as a product <strong>for</strong> a certa<strong>in</strong> audience, presented <strong>in</strong> certa<strong>in</strong> media presentation<strong>for</strong>ms, then we can speak about content, which also has to be managed <strong>in</strong>specific repositories and to be processed <strong>for</strong> publish<strong>in</strong>g purposes, <strong>for</strong> <strong>in</strong>stance.As soon as we <strong>in</strong>troduce another dimension, that of culture and cultures, communicat<strong>in</strong>gcontent across cultural boundaries becomes a crucial issue. S<strong>in</strong>ce wetalk about localisation as the process of culturally adapt<strong>in</strong>g any product to a marketbelong<strong>in</strong>g to another culture than that of the orig<strong>in</strong>al market of a product,content also needs to be localised when it should be presented to other cultures.<strong>Translation</strong>, as a part of the complex process of localisation, is one crucial step <strong>in</strong>this process, but not the only one. Content localisation may very well <strong>in</strong>volve morethan translation <strong>in</strong> the traditional sense, i.e., we might have to re-create part of thatcontent <strong>for</strong> another culture, or at least change fundamentally the way this contentis presented to a certa<strong>in</strong> culture.S<strong>in</strong>ce ‘content’ is a relational concept, we have to ask ourselves, what conta<strong>in</strong>ssometh<strong>in</strong>g, i.e., what is the conta<strong>in</strong>er, and what is <strong>in</strong> this conta<strong>in</strong>er. A book (with itstable of contents), <strong>for</strong> <strong>in</strong>stance, is such a conta<strong>in</strong>er, or a database with the <strong>in</strong><strong>for</strong>mationentered <strong>in</strong> the records as the content. A text or a term can also be conta<strong>in</strong>ers,with the semantics of sentences and the mean<strong>in</strong>g of the term as the content. Butthis dist<strong>in</strong>ction between conta<strong>in</strong>er and content cannot be made <strong>in</strong> a very clear-cutway. We are faced with a semiotic dilemma. Form and content always <strong>in</strong>teract. Themedium we choose to present certa<strong>in</strong> <strong>in</strong><strong>for</strong>mation will have some impact on this<strong>in</strong><strong>for</strong>mation; the structure of the <strong>in</strong><strong>for</strong>mation will also lead us <strong>in</strong> the choice of anadequate medium. Usually we cannot completely separate the conta<strong>in</strong>er from thecontent, the <strong>for</strong>m from the content, the term from the concept, the semantics fromthe text, the medium from the message, etc. Despite the heuristic validity and necessityof an analytical separation, we need a synthesis <strong>in</strong> the sense of a dynamic<strong>in</strong>teraction, an <strong>in</strong>teractive complementarity. At the same time we also might wantto trans<strong>for</strong>m one <strong>for</strong>m of knowledge representation <strong>in</strong>to another one, <strong>for</strong> certa<strong>in</strong>purposes and tasks, and then have to be sure that the content of each knowledgerepresentation does not change – a difficult task.Similar to typologies of data, <strong>in</strong><strong>for</strong>mation, and knowledge, we also need acontent typology.There are different criteria <strong>for</strong> dist<strong>in</strong>guish<strong>in</strong>g types of content:– the doma<strong>in</strong> where specific content is created <strong>in</strong>: any field of scientific knowledge,a bus<strong>in</strong>ess branch, a profession, a <strong>for</strong>m of art, a type of social activity,etc. For this type of dist<strong>in</strong>ction, we may also differentiate different degreesof specialisation (highly technical and scientific, mono-discipl<strong>in</strong>ary or multidiscipl<strong>in</strong>ary,popularised, etc., depend<strong>in</strong>g on the audience targeted);
126 Gerhard Bud<strong>in</strong>– the <strong>for</strong>m of representation: text, picture, personal action, etc. or the medialmanifestation: website content, the ‘story’ of a film, of a video, a piece of musicrecorded, a digitised scroll, etc.Here we see aga<strong>in</strong> that the <strong>for</strong>m of represent<strong>in</strong>g content and the medium chosento do this is constitutive <strong>for</strong> dist<strong>in</strong>guish<strong>in</strong>g types of content.First of all, the purpose of the content: <strong>in</strong>struction, education, research, aestheticand artistic purposes, etc. Secondly, the k<strong>in</strong>d of content product that isdesigned <strong>for</strong> a particular target audience (e.g., a multimedia CD-ROM <strong>for</strong> 6-yearold children to learn a <strong>for</strong>eign language, e.g., English). In addition to a contenttypology, we also have to look at the structures of content. In this respect, andregardless of the content type, we can make use of term<strong>in</strong>ology eng<strong>in</strong>eer<strong>in</strong>g andontology eng<strong>in</strong>eer<strong>in</strong>g. Term<strong>in</strong>ologies and ontologies are the <strong>in</strong>tellectual (conceptual)<strong>in</strong>frastructures of content, both implicitly (<strong>in</strong> the <strong>for</strong>m of personal or subjectiveknowledge of the content generator), or explicitly (as objective knowledgelaid down <strong>in</strong> a specific presentation <strong>for</strong>m).So we can conclude that concepts are content units (conceptual chunks) andthat conceptual structures (the l<strong>in</strong>ks among concepts) are the structures of content.Aga<strong>in</strong> we have to remember that the multi-dimensional content typologywill determ<strong>in</strong>e the concrete structures of content that users will encounter <strong>in</strong>specific products.3. Global content managementAfter hav<strong>in</strong>g <strong>in</strong>vestigated a little bit <strong>in</strong>to the concept of content, we can now lookat content management and how cultural diversity determ<strong>in</strong>es this practice. S<strong>in</strong>cethe target audience of any content product is always culture-bound, i.e., belong<strong>in</strong>gto one or more cultures, we can simply state that content management alwayshas to take <strong>in</strong>to account cultural factors <strong>in</strong> content design and all other processesand tasks of content management. The language(s) spoken by the target audience,social and historical factors, among many others, are examples of criteria <strong>for</strong> concretemanifestations of content management. Also at the meta-level of contentmanagement, those who are content managers are also culture-bound. Those whohave designed and created content products, such as multimedia encyclopediason CD-ROM, have to be aware that they themselves are belong<strong>in</strong>g to at least oneculture (<strong>in</strong> most cases, there will be one pre-dom<strong>in</strong>ant culture <strong>in</strong> such contentmanagement teams), and that this very fact will unavoidably determ<strong>in</strong>e the waythe content of the product is designed.In addition to the phases of creation and design of content, there are other keyprocesses of content management at the process<strong>in</strong>g stage:
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27 Beylard-Ozeroff, Ann, Jana Král