1. The groups and their texts. The groups produce more or less numerous and various texts of various structure and subject with different types of employees and classes of models. All the groups of the historical cultures have prepared, used, changed those models of communication that we call texts. The whole procedures, practices and materials with which the texts are produced, widespread, transmitted and destroyed must be considered as the components each culture structure itself with.

    2. To do what. Texts are the product of the job on the normative apparatuses and the semiotics’ system through which the groups are composed and they differentiate, maintain or destructure the different aspects of their identities, uses, mentality, laws, customs and traditions. This job also asks for different forms of show and representation - from the suits to the decorations, from the parades to the architectural perspectives, from the rites to the arts. The texts are prepared by the groups to shape different aspects of this identity, so as to communicate it to their inside and the outside, to modify it or to destroy it. With various texts the groups continually work on all the panels of the chessboard of signs with which every culture is structured.

   3. For everybody. Each group has the tendency to permeate with their texts the whole community they are part of. Also in the case of the reserved shows and of the limited circulation books the prohibition or the obstacles to the share are  a signal of the difference that every group tries to mark. It is an aspect of the conflict that animates all the communities. The groups project their image in the texts and for this reason they commission them, buy them, celebrate them, and set them in the museums and in the anthologies.

  4. With different aims. The texts are prepared with different aims, according to the groups’ demands. The most frequent are: (i) the preparation, the strengthening, the transmission, the amplification of key-words, (ii) the configuration and its control of the group, also on the guiding principles transformation, (iii) the widespread of packets of ideograms destined to to the rules or the norms that regulate the great fields of its imaginary: religions, mentality, ideologies, politics, customs. Every group chooses, shapes, refuses a textual repertoire in order to organize and to regulate its dynamics.

   5. A system. The group prepares its texts so as to use them as regulators of its daily life. Even if we look at those texts called art works we must keep in mind that they belong to an articulated system of texts. It is possible to reconstruct only each text’s sense (the function that has had for the group) only by understanding its position in the culture chessboard and in the system of the texts it is part of and inside which it was possible to produce it.
   
  6. Technicians and texts. The groups use technicians of various type (scribes, writers, painters, sculptural, engravers, architects, teachers and other). The groups sometimes organize schools of technicians, they sometimes valorize individuals who have proper communicative competences in order to widespread the key-words or icons in the expectations’ system of the group, they sometimes interdict the activity of it with various forms of censorship. With these they feed their minimum and transient market of poems, etiquettes, dressing practices, representations of the itself.

   7. Persuasive or forced. The transmission of the texts and their contents happens with procedures, techniques and materials which are different from group to group and from culture to culture. The transmission can be persuasive or forced: from the evenings spent around the fire to the stories told in the garden, from the schools to the concentration camps, from the torture to the meetings. The groups promote the preparation of the texts and they adopt, check and refuse, with various forms of control, those texts that the technicians write or paint to interpret their values.

  8. Not directly. The observation of the composition of groups (families, guilds, classes, clans, communities, associations, etc.) doesn't allow to directly get proper data for the reconstruction of the function of the works of art. More evident are the connections among the groups and the job of the technicians that put in form of representation icons, rules, events, people, as actions that characterize them and produce them. These connections are characterized by various forms of relationships: patronage, dependence, constraint and others.

    9. Some languages. Many groups of the historical cultures have prepared and considered proper for this purpose some languages of representation or art that allow various forms of share, fun, communication. These languages and the relative textual corpora have a remarkable part in the show and configuration of the groups’ dynamics and for this they have been particularly taken care of, customized, formalized and imposed in a lot of and different historical circumstances.

  10. Strength and text. As soon as the strength position of the group that prepares and uses a series of texts changes, alternative forms to the pressure are introduced in the ways of the communication. The use of the text is less and less obligatory, its sense has opened more and more, and it can be interpreted with various registers (from the sententious one to the comedian), the ways of its transmission are modified.

  11. Many documents. European cultures relatively preserve documents of these recent trials - from the ca 30.000 years B.C. up to the showing up of the writing (ca 3200 B.C.). Museums, files and libraries preserve necklaces of shells and pens, songs and military marches, images and poems, rocky incisions and woodcuttings, frescos and statues. Each of these texts has been used by some groups for some of their goals. The historian of cultures deciphers the function of it and often succeeds in reconstructing some sections of the culture which has produced them and in outlining some components of the scenery where those texts have produced sense.

  12. Some texts. Some texts have been worked on more than others with the purpose to represent a fashion, the architecture of an ideology, the alterations of a custom. The languages of art, talks specialized in the representation and used for producing texts characterized by many levels of sense organization (works of art), use material taken from semiotics of various typology and are activated by the groups in order to cover the representation fields that momentarily appraise necessary for the goals above suitable.

 13. Not everybody. In every culture some segments of the groups have difficulties of various type in the elaboration and use of an image of the system and they use only some sections of it. Right out of here come the apparent frictions among the cultural levels. Some uncertain categories ( for instance, popular and courtly) that have partly misguided the search on the arts of the last two centuries, are prepared to be equipped by studies on the function of the work of art and on its variable effectiveness of producer of sense.

 14. Transmission. The groups transmit texts one to the other through three dominant formalities: (i) verbal-prossemic-iconographical texts related to the custom (a prayer, a formula of regard), (ii) practices (the technique of workmanship of a rake, the gesture to touch the foot of the saint), (iii) formalized texts (of the arts of the representation) and languages. These formalities have the purpose to transmit instructions on a vast number of practices (from the use of the crews to the prayers, from the way to cut the grain to the technique in order to construct a knife).

 15. Four reasons. This transmission has four frequent purposes: (i) formative (for new generations), (ii) normative (inside the group), (iii) popular (outside of the group), (iv) distinctive (in order to mark the difference from other groups).

 16. To everyone his text. Every group uses models of various witnesses, for various scopes, and needs various ways to organize itself because its components are various: as a matter of fact, language, purposes, techniques change also as few generations grow up. The image of the territory is also a text: orienting in an area with ties to the frontiers and prohibition to travel is different from the fantastic exercises on a large one with of routes and doors in order exiting.

 17. Exchanges. Groups exchange texts and practices with several processes. Some groups imitate the dominant groups duplicating their practices in a poor way (for dresses, or jewels); young people experience forms of deviance wearing unusual dresses or using breach jargons, while emergent groups adopt scandalous trends. Depending on the cases and, generally, through a series of minimal events this alters more or less considerably custom and, as a consequence, its demand for texts, too.

18. Fluctuations. Groups are fluctuating as an effect of the transformation processes which are more or less emphasized in the different phases of the cultures’ development. For this reason texts are continuously recycled or cancelled or marginalized, like useless instruments.

19. Text and use. The text grows up in its use. In the 2007 nobody of in Rome showed enthusiasm to the perspective to read a work in which an émigré named Enea disembarks on Lavinio and founds Rome. The text sense is related to the change of the channels through which the texts themselves are transmitted. So, even the local or national textual traditions are to be considered fluctuating.

20. A crescent number of texts. Works have a pilot function: if  groups do not use the works they do not get dynamic inside and they risk to get to their extinction. That’s why groups use a crescent number of texts in order to control the transformation processes, above all when they are more and more complex and quick expresses and are related to not secondary aspects of their mentalities and ideologies.

21. Corpus, flows, dynamics. These texts are observed by historians and analysts as a corpus that they gradually shape the traditions of the groups’ cultures and pilot their use. Our perspective observes their dynamics, too. Corpus and traditions are material continuously in use and they are transmitted, renewed, transformed, altered, counterfeit, interpreted, adapted by the processes that more or less quickly invest all the aspects of a culture and its groups, also with variable textual flows. Texts are carriers and poles of guideline of those dynamics that interested the historical cultures, even those appearing static to the observatories for lack of materials or for the difficulty to reconstruct materials and logics.

22. Aggregations. Hence the necessity to observe the transformations, the insurgences, the decline of the corpus, their temporary aggregations - in traditions, kinds or fields - their pressure on the imaginary quadrants the groups do use in order to operate. The analyst and the historian job must preview the use of a logic able to guarantee the observation of the processes of texts’ continuous reconfiguration in parallel to dynamics that involve the communities which use them. The observation of procedures with which the groups prepare their texts makes the reconstruction of historical cultures and active cultures processes possible.

23. System dynamics. The groups transformations’ scenery changes continuously. As a consequence the texts system changes too, and its ways of organization in kinds, traditions, hierarchies change as well. Laws, sacral texts, collective memories, also reposition even though they seem to constitute the carrying aces of the cultures. The change is related to the generations’ succeeding, to the sense variation in the passage from an individual or microgroup to the other, to the contacts with other cultures, to the epidemics, genocides, invasions, noisy or silent scarcities, apparently lacking in texts.

24. Textual system and quadrants of the imaginary. Texts’ system is organized in fields similar to the quadrants of the imaginary that more or less all the members of the groups perceive, though having various levels of formalization and competence. The one who observes the single quadrants must take into account the fact that texts coexist and tend to maintain more or less stable nevertheless the transformation processes that invest the cultures, since all the groups stretch to maintain integral some, also marginal, aspects of own identity.

25. Time ago. Many decades ago and in an other century it was possible to study the social homologies between novels and classes, a classification then partially able to describe the communities processes of stratification and interaction. With the emigration, the global market and the informative opened, interactive and tendentially uncontrollable field of Internet, it is easy to see how the readers (and the writers) are oriented on the basis of social interethnic fundamentals: sex, objects, violence, fear. The fundamentals ones do animate the totality of the art and communication works produced in order to feed the groups. It is a process in its starting phase; as a matter of fact inside of the market-countries it is still difficult to distinguish the local tendencies and articulations, and this is the reason why the market of the representation production is oriented to work on the fundamentals.

26. Some hypotheses. (i) the groups produce also those texts we call art works. In this phase several forms of interaction multiply and they interest texts and traditions coming from various areas and continuously put on the game table of the planetary culture by the several communication channels and their demand of contents. This type of analysis is useful in order to prepare adapted sceneries describing the historical cultures, but also in order to plan the communication of the arts, even when representation rules and tendencies are in phase of deep alteration, like in the case of the medial culture.

27. With the sense of the limit. With the sense of the limit we do not write here of literature or other arts. This type of search is interested in the observation and in the analysis of the textual flows that the groups produce and that they say a lot on their reconfiguration processes and on tendencies as far as the representation languages are concerned. It is well known that the location of the transformation processes and of the tendencies is one of the structuring components of the industrial society that is visibly emphasizing even in the medial culture. Observing groups’ composition allows to sell goodies, also artistic and literary beyond ideological and political ones.

28. On this line of research. The research on the ways of the imaginary production - its rules and icons and the sequence of textual events and with which it continuously develops and restructures (common places, processes, practical, traditions) and on the languages used (arts, customs, prossemics, gestures), produces surveys on the languages and the arts groups do produce themselves with through several forms of extension.

29. A putting in scene. The languages/traditions that we call arts contribute to this putting in scene. This is the chosen field by this line of research with the hypothesis that it is a part of the cultures’ machine and that its operation is to be observed within its working way.

30. Arts. The arts’ field (and among them, literature) must be maintained in race by works, debates, censorships which are also meant to control the events produced by social dynamics. Even the most static society continuously moves and it is adapted to the always new circumstances that are introduced under the generational change pressure, the continuity or the crises in the communication of the basic information and practices.