«A staggered rollout of CBS Radio’s webstreams to Last.FM is underway and includes all formats, including music, news/talk and sports. The announcement follows last month’s agreement that saw AOL tapping into CBS Radio for content, and Last.FM CEO Felix Miller hopes it will lead to more collaboration» (2/04/08)

«Now, the company is starting to inject its presence within Last.fm, acquired last year by parent CBS Corporation for 0 million.  On Tuesday, the parties confirmed that all 140 CBS Radio stations will soon be streamed within Last.fm.  A radio player will offer the range of stations for US-based Last.fm users, a selection that includes WCBS-FM (New York), KROQ (Los Angeles), WXRT (Chicago), and WVEE (Atlanta).  Content from the stations will also be "scrobbled" into the personal profiles of Last.fm users. 
The move is part of a broader initiative to integrate the merged properties.  "The content and distribution power between these brands is incredible, and we're tapping into that strength to greatly expand our digital footprints while significantly improving the user experience on all our platforms," explained Felix Miller, chief executive and cofounder of Last.fm.» (Digital Music News) 

«What's being missed in this announcement but is very much between the lines is this: CBS Radio listeners will be able to create customized versions of their favorite CBS stations online. Undoubtably, KROQ (for example) will soon enable you to create "myKROQ, powered by last.fm." This will usher in an era where there is no such thing as a "station stream," per se, since the stream will vary based on the tastes of the listener that "programs" the stream. There will be as many "streams" as there are listeners interested in hearing them, each branded by your station. Further, it's only a matter of time before this capability is shopped to groups outside CBS - by last.fm and others. For your consideration, what does "radio" mean when one station can have infinite flavors?» (Mark Ramsey)

In fact, it’s fair to say that a bad song with the word ‘radio’ in it stands a better chances of being selected for airplay than a good song without. I’m sure you can think of a few examples»

"A rádio pode continuar viva se se modernizar." Quem o diz é Guilherme Costa, presidente da RTP, que ontem anunciou o lançamento da Rádio Lusitânia. Este canal, composto apenas por música portuguesa, já está a ser emitido, exclusivamente na Internet. E este é apenas o primeiro passo nesta plataforma, já que a RDP quer lançar, até ao final do ano, mais duas novas estações na Net. (...) Com emissão 24 horas por dia, o canal está disponível em http/radiolusitania.rtp.pt, e vai passar música portuguesa, especialmente os clássicos nacionais que marcaram os últimos 40 anos. (...)Jorge Alexandre Lopes salienta ainda que a Rádio Lusitânia terá programas, mas sem horário fixo. Além disso, o site tem a "identificação do que está a tocar, do que tocou e o que irá passar num espaço de duas horas", diz o responsável. Considerando que "a Internet é uma plataforma de aliança natural com a rádio", Rui Pêgo, director de programas da RDP, revelou ao DN que a empresa quer lançar, até ao final do ano, mais dois canais neste segmento, "um de cidadania e outro, cujo tema está ainda por definir".  Rui Pêgo explicou ainda que a estratégia da estação pública para a Internet passa por apostar em três vectores: "Os canais estratégicos (onde se insere a Rádio Lusitânia), os canais de oportunidade e os canais da marca (conteúdos do grupo produzidos por encomenda, como já acontece com a TAP". No segundo caso, trata-se de rádios criadas especificamente para um evento. Por exemplo, a RDP está a pensar lançar "uma rádio para o Euro 2008 e outra para o Rali de Portugal", conclui.

fonte: «RDP aposta na Internet e lança Rádio Lusitânia, Maria João Espadinha, DN 3/04/08

«As the source for exposure to new music, radio has hung onto its edge. Overall, more than half (55%) continue to name radio as their prime destination for new releases, followed by friends/other people (11%), "my kids" (5%), and music television channels like MTV (4%). Sites like Pandora, iTunes, satellite radio, and music magazines are all mentioned by 3% of respondents.»

«TechSurvey 2008», Jacobs Media, Março 2008

«(...) Most sites, such as Bebo, MySpace and Facebook, set a minimum age of between 13 and 14 to create a profile but none actively enforce the age limit. Ofcom's survey of 5,000 adults and 3,000 children found 49% of those aged between eight and 17 have a profile. (...) "Social networks are clearly a very important part of people's lives and are having an impact on how people live their lives," said James Thickett, director of market research at Ofcom. He added: "Children's lives are very different from what they were 20 years ago. Social networks are a way of creating a social bond." (...) The three leading social networks, MySpace, Bebo and Facebook, all say they remove profiles of users that are found to be too young on their sites.»

fonte: Children flock to social networks, 2/'4/08, By Darren Waters BBC News website

O estudo da OFCOM: http://news.bbc.co.uk/1/shared/bsp/hi/pdfs/02_04_08_ofcom.pdf 

«(...) radio’s reach has declined less than 3% in the decade between 1996 and 2006. (You certainly can’t say that about newspapers or network TV.)»

fonte: Taylor on Radio-Info, Wanted: Some backbone, 3/04/08

«Part of that “engage the consumer” business is to make sure that radio’s available on “every mobile phone, PDA and mp3 player within five years.” The Emmis boss says “we have to be there, we have to be 360 degrees, everywhere our customers are.” Many Nokia and Sony phones around the world already come equipped with radio, and Jeff says in this country, “We believe it’s a perfect solution to the WARN Act” about emergency notification. There are “discussions with the American cellular industry” about making radio standard in phones. As for iPods: Jeff says a radio unit is already a best-selling accessory for the iPod. (Nobody asked about AM radio, by the way: it’s got a less-certain path to inclusion in future devices.) Smulyan insists that radio “isn’t hiding from new technology, we’re driving it.»

fonte: Taylor on Radio-Info, Wanted: Some backbone, 3/04/08

«Social networking giant MySpace has made agreements with three of the four major label groups -- Universal Music Group, Warner Music Group, and Sony BMG -- to form MySpace Music, spinning off the existing MySpace Music site into a separate joint venture. The service will offer free, ad-supported audio and video streaming, sales of digital-rights-management-free downloads, and a Jamba-powered storefront for mobile music. (...) "Today represents the beginning of a new chapter in the story of modern music," said MySpace co-founder and CEO Chris DeWolfe. "We're proud to announce the marriage of the world's biggest collection of music content to the world's most popular music community. Millions of diehard music fans and artists already call MySpace Music home. By partnering with these industry leaders, our vision for MySpace Music as the definitive platform for unlimited artistic expression and unrestricted user experience is finally being realized."MySpace, Labels To Launch New Music Service, radio ink, 3/04/08

«MySpace is slow, burdensome and full of advertising -- the wrong environment for the demanding and tech savvy next generation. (...)4. The labels and MySpace (owned by Rupert Murdoch's NewsCorp) will split revenue from downloads, merchandise, concert tickets, advertising, etc. Such a deal -- for them. Nothing special for the consumer but pennies off an iTunes download and millions of songs they can listen to (but not own for free) on their computers. Sounds like the record industry version of win-win to me.»

«-- downloads will be DRM-free; video and audio streaming will be ad-supported

-- e-commerce will include merchandise and ticketing

-- the mobile storefront will be powered by News Corp-Verisign JV Jamba, think ringtones,. 

-- Roll out will take place over months

-- As expected, Sony (NYSE: SNE) BMG, Universal Music Group and Warner Music Group (NYSE: WMG) are on board.»

«Only problem is, the MySpace generation also intersects with another club -- the iPod generation -- and going against Apple (NASDAQ: AAPL) won't be a simple task for Rupert Murdoch and his social-networking empire. (...) Taking the crown from Apple isn't feasible, but I'll assume News Corp. isn't really gunning for Apple so much as it is attempting to ensure that MySpace remains a major player in social networking» MySpace wants to tune in to music profits Posted Apr 4th 2008

«New technology continues to rapidly move into radio listeners’ lives. This year, the "big gainers" in terms of occupying their time includes streaming video, iPod ownership (and podcasting), and text messaging. Almost the entire sample now owns a cell phone and has access to a hi-speed Internet connection. Never have radio audiences had so much access to so many different entertainment and information sources. The notion of "Control-Variety-Choice" that we identified in last year’s "Bedroom Project" manifests itself throughout Tech Poll IV.»

«TechSurvey 2008», Jacobs Media, Março 2008

«In-home radio listening – as was the case in the ’07 study – is diminished as respondents continue to utilize other media in their residences. (This was an alarming pattern that we saw up-close and personal in "The Bedroom Project.") In-car and at work listening, and audio streaming display positive momentum.»

«TechSurvey 2008», Jacobs Media, Março 2008

«Since this poll began in ’05, we have tracked incredible gains in iPod ownership, and this year is no exception. And our studies have accurately predicted continued growth. Now, nearly six in ten respondents own one of these portable devices, an increase of 23% over last year’s poll. And the iPod’s presence in cars continues to rise.

«», Jacobs Media, Março 2008

«The car has always been an important center of media consumption. In the next vehicle they buy or purchase, the most important tech item (besides an AM/FM radio and CD player) is the ability to connect an iPod or mp3 player (34%). This desire, coupled with rapidly growing iPod ownership, has important implications for the radio industry. GPS is mentioned by nearly one-fifth (19%), followed by a DVD player and HD Radio (both with 13%), satellite radio (12%), and Sync (7%)»

«TechSurvey 2008», Jacobs Media, Março 2008

«Similar to past studies, iPods impact radio listening. About one-fourth of those who own one say they listen to it exclusively or mostly for music (25%), especially Alternative fans and 18-34 year-olds. As the traditional Walkman verges on extinction, and the iPod becomes more universal, radio’s portability continues to be challenged»

 «TechSurvey 2008», Jacobs Media, Março 2008

(Resultados do estudo All About Teens que entrevistou 500 jovens dos 14-17 anos (59%) aos 18-19 anos (41%) residentes nas areas do Grande Porto e Grande Lisboa e foi apresentado no 4° Seminário de Marketing Infantil Kids & Teens, na Fundação das Telecomunicações; entrevistas online e offline; entre Junho e setembro 2007)

- A internet faz parte dos equipamentos existentes nos lares de 87% dos jovens portugueses entre os 14 e os 19 anos residentes nas áreas da Grande Lisboa e Grande Porto.  53% têm no quarto

- «Quais destes equipamentos / serviços tens em tua casa (qualquer divisão da casa)?E destes equipamentos / serviços que referiste ter em tua casa, quais os que tens especificamente no teu quarto?» Televisão 97% (69%); computador (pc) 88% (49%); leitor de dvd 88% (32%); internet 87% (53%); sistema de som [onde podemos encontrar rádio?] 65% em casa, 38% no quarto

- «E destes equipamentos / serviços quais aqueles que tens para teu uso pessoal? 97% tem telemovel, mp3: 74%, maquina fotografica digital 56%; ipod 16%

- rádios preferidas: CIdade, 48%, RFM, 34%, Mega FM 27%, Rádio Comercial 20%, Antena 3 18%

- sites mais visitados: Google, 71%, Hi5 70%, YouTube 69%

- o que fazem na internet: messenger 88%, email 80%, ver videos (youtube...) 66%, pesquisas para a escola 63%, downloads musica e filmes, 57%, visitar sites de redes sociais (Hi5, facebook,) 56%, jogos online 43%, ver videos 42%, pesquisa de sites de musica 42%

- niveis de consumo de media (todos os dias): televisão - 72%, internet no computador - 65%, rádio 29%, jornais menos de 10% [NOTA: estes resultados parecem ser contraditórios com os do Bareme]

- Em que períodos do dia, considerando apenas os dias da semana (excluindo o fim de semana) ouves normalmente rádio? E aos fins de semana em que períodos ouves normalmente rádio (excluindo os dias de semana)? 7-11h, 31%, 11h-14h, 9%, 14h-17h, 15%, 17h-20h, 21%, 20-00h- 19%; fimde  semana (mesmos periodos): 18%, 20%, 18% 17%, 18%

- «Em que períodos/ situações do teu dia-a-dia é que a rádio te faz companhia? Nas viagens de carro, 67%; quando estou a arrumar o meu quarto/casa, 41%; quando estou no computador 27%, quando estou a estudar 27%, nas viagens dos transportes publicos 27%, quando estou a caminhar a pé para algum lado 17%, não se aplica/não oiço rádio 10%»

-« Escolhe os 5 principais temas que sejam do teu interesse: Musica 60%; cinema 49%, Moda 30%, Futebol 28%»

«Até que ponto gostas de cada uma destas actividades. Utiliza, por favor, uma escala de 1 a 10, em que 1 corresponde a não gosto nada e 10, a gosto muitíssimo: Ouvir musica 80%, ir à praia 73%, Viajar 73%, navegar na net 69% (...)»

«Call it the YouTube effect if you will, but video is quickly becoming the core element of many radio station Web sites. Video also is at the heart of making your station’s Web site a revenue generator, some experts say.
“Video for a radio station’s Web site not only is a way to increase unique visitor page views but also as a revenue driver,” said Thom Callahan, general manager of the Radio Division of the Associated Press Broadcast News Center, whose company provides video content to member radio stations.
“Many of our members have been able to sell ads against video of all kinds, from local video that they shoot to news and entertainment that we provide.”
AP provides video services to radio stations as an ad-supported service, and many other suppliers of video content are doing the same, Callahan said, so the initial cost to offer video services is negligible.
(...)Video is becoming a core element of our Web sites. Growing bandwidth speeds and better codecs are making video a big part of any site,” said Halyburton.
(...) If your radio station is just beginning to dabble in video, be sure not to dominate your Web site with it, Callahan said. “It should be an enhancement and another reason to visit the Web site and ultimately listen to the radio station. Look at your online presence as just another channel to program,” Callahan [ Thom Callahan, AP] said. [PORQUÊ?]

fonte: Video Seen as Critical to Radio Industry’s Web Revenue RADIO WORLD by Randy J. Stine, April 4, 2008

O consumo mediático nos próximos anos, como se vê pelos anteriores, vai depender muito de como evoluir a internet; será mais social do que agora, permitindo mais comunicação e partilha; será mais inteligente, reconhecendo conteúdos? será sobretudo híbrida? As respostas condicionarão a forma como o consumo mediático - baseado na net - evoluirá.

«A Web 3.0 pretende ser a organização e o uso de maneira mais inteligente de todo o conhecimento já disponível na Internet. Esta inovação está focada mais nas estruturas dos sites e menos no usuário. Pesquisa-se a convergência de várias tecnologias que já existem e que serão usadas ao mesmo tempo, num grande salto de sinergia (...). A Web 3.0 organizará e agrupará essas páginas, por temas, assuntos e interesses previamente expressos pelo internauta.. Por exemplo: todos os filmes policiais, que tenham cenas de perseguição de carros, produzidos nos últimos cinco anos etc.»

«A primeira, Web 1.0, foi a implantação e popularização da rede em si; a Web 2.0 é a que o mundo vive hoje, em que os mecanismos de busca como Google e os sites de colaboração do internauta, como Wikipedia e YouTube, dão as cartas. A Web 3.0 seria a organização e o uso de maneira mais inteligente de todo o conhecimento já disponível na Internet.
De que maneira? Daniel Gruhl, um dos diretores do Almaden IBM Research Center, exemplifica. Até agora, disse ele à Folha, a rede é como uma lista telefônica com bilhões de páginas. Um mecanismo de busca como o Google permite que o usuário pesquise o conteúdo de cada página --todos os Silva, para ficar na metáfora da lista-- e mesmo utilize a "busca avançada" para restringir um pouco mais os resultados --todos os Silva de São Paulo.
"A Web 3.0 organiza e agrupa essas páginas, por temas, assuntos e interesses previamente expressos pelo internauta", afirma Gruhl --todos os Silva que torcem para o Corinthians, votaram no PSDB e são alérgicos a frutos-do-mar, digamos. Embora a tecnologia ainda esteja na fase de pesquisa, suas possibilidades comerciais são infinitas. E as empresas não estão cegas para isso.»

A proposito da questão aqui colocada sobre o que será a web 3.0, imagine-se, perante a oferta de milhares (cinco mil, dez mil?) rádios on line, um software que funcione como alertas/tags para nomes de artistas, palavras-chave em (nome de) musicas, etc.

A partir de uma lista de termos pré-definida (e constantemente editável), posso saber não só que músicas (que me interessam) estão a tocar em qualquer site do mundo como - quando essa informação estiver de tal maneira organizada/generalizada - as que vão tocar e as que me interessam.

Dificil? «Mediaguide currently tracks the real-time airplay of more than 2,700 terrestrial radio stations in every state in the U.S. This allows Radio Companion users to see what is playing right now on any of their favorite radio stations with just a few quick clicks on their BlackBerry smartphone. They can then select the music track to have its details sent instantly to their email account, with a direct link to click-through and purchase the song online.»

[este cenário faz equacionar diversas questões:

- excesso de escolha exige uma forte capacidade de selecção (a busca avançada do Google já não chega...), sob pena de se tornar ingovernável; o utilizador também vai ter de se adaptar para esse consumo activo

- acentua-se a capacidade de controlo do utilizador (ele só ouve o que e se quer)

- é uma forma de valorizar os conteúdos classicos da rádio, ainda que já alterados; isto mostra que o consumo activo pode basear-se, pode partir da rádio clássica, desde que ela esteja na net, tenha o seu streaming organizado e anunciado e entre nas diversas redes de procura); isto mostra também que a escuta FM/AM é um anacronismo e que não tem condições para continuar a vigorar; que há espaço para uma emissão programada de rádio desde que se adapte às exigencias.

OUTRO EXEMPLO de como a rádio convencional pode tentar resistir, desde que se adapte - DESDE QUE EVOLUA (sem ser necessário transformar-se noutra coisa que não rádio): a rádio pode avisar os interessados das musicas que vão passar, de acordo com escolhas/opções/tags definidas por esses interessados previamente. 24 horas antes? 12  horas antes? cinco minutos? quando o utilizador quiser... Além de conquistar utilizadores que não estarão a consumir essa emissão (caso contrário não teriam subscrito os alertas - por email? por SMS?), conquista uma poderosa base de dados com os gostos desses utilizadores; gostos que não deve negligenciar se quer fazer uma emissão que se adapte aos gostos desses ouvintes. Além do mais, está a dar importancia, poder ao utilizador, seguindo aquilo que parece ser uma tendencia evidente.

«Les huit activités principales les plus fréquemment notées par les adolescents, pendant l'écoute de la radio sur le journée moyenne dont on agrège les unités minimales de temps, sont des activités domestiques. (...) En effet, quel est le plus important ? L'activité dite "principale" ou bien la situation qu'elle forme avec l'écoute de la radio? Que la radio accompagne une autre activité veut-il dire qu'elle y est logiquement soumise? (...) La consommation solitaire et partagée, l'écoute domestique et délocalisée, la pratique du , latin, de l'après-midi et du soir par les adolescents font de la radio un objet multifonctionnel» (Glevarec, 2003b: 325)

APESAR DISSO, Glevarec recusa a função secundária da rádio, enunciada por Crisell:

«La radio n'a plus rien ici de l'objet aveugle et secondaire. Elle est un objet "immense" qui concerne tout aussi bien la place de la musique chez les adolescents, que les expériences à cet âge, ou encore le marquage de leur territoire par rapport aux parents.» (Glevarec, 2003b: 332(14))

A rádio parece ser propícia ao novo meio que a internet está a desenvolver/criar, a partir do momento em que o consumo d internet é multitasking (sobretudo entre os jovens); o audio, pelo facto de ser o único meio a depender apenas de um sentido (ler na net?), gera espaço para transmissão acumulativa (que pode ser rádio, sobretudo musical - a campanhia). Por exemplo, estar a enviar mensagens instantâneas (IMPs) e ouvir música; ouvir rádio?

Mas é preciso que a rádio musical se adapte; escuta secundária sim, mas nunca mais escuta secundária como antes (passiva);

[A INTERNET ABRE ESPAÇO/CRIA UM NOVO MEIO DE COMUNICAÇÃO, COM CARACTERISTICAS PRÓPRIAS, ALGUMAS NOVAS, OUTRAS EM RESULTADO DOS MEIOS CLASSICOS; MAS TAMBÉM PODE CRIAR CONDIÇÕES PARA A COEXISTENCIA DAQUILO QUE HOJE CONHECEMOS COMO RÁDIO, AINDA QUE EVOLUINDO E ADAPTANDO-SE; O CENARIO QUE SE ANTEVÊ É DE COEXISTÊNCIA E - SOBRETUDO - DE RIVALIDADE ENTRE OS DOIS, NA DISPUTA DE UTILIZADORES E DE RECEITAS PUBLICITÁRIAS; A GRANDE DUVIDA É SE O NOVO MEIO, MUITO MAIS PESSOAL E INTERACTIVO (E BARATO NA PRODUÇÃO), DEIXARÁ MARGEM/MASSA CRITICA AO VELHO MEIO, QUE MESMO ADAPTADO PODE NÃO CONSEGUIR GERAR AS RECEITAS SUFICIENTES PARA SOBREVIVER] 

http://cies.iscte.pt/destaques/documents/E-Generation.pdf

«A principal diferença entre estes projectos reside na metodologia de recolha de informação utilizada para cada um deles. O projecto E-Generation baseia-se numa metodologia de recolha de dados realizada através de um questionário presencial aplicado a uma amostra representativa da população, com idades entre 8-18 anos. No caso do projecto desenvolvido em conjunto com a PT.COM, a metodologia escolhida foi a aplicação de um inquérito online realizado pelo CIES-ISCTE, alojado na rede SAPO, a jovens utilizadores de internet. O inquérito esteve online durante um mês e totalizou 1377 respostas, das quais foram consideradas válidas 1353, o que nos permitiu fazer uma caracterização dos jovens utilizadores de internet que responderam ao questionário e da sua relação com as tecnologias e os meios de comunicação. Optámos, neste relatório, por integrar os dados tratados no âmbito do projecto “Crianças e Jovens: A sua Relação com as Tecnologias e os Meios de Comunicação”, pois a comparação e complementariedade da informação beneficia em muito a possibilidade de conhecer melhor a realidade, neste contexto, dos jovens e crianças em Portugal.» (cardoso, 2007: 27)

- Quando visitas páginas Web, quais dos seguintes conteúdos costumas consultar (inq online IO)? Música, 76,1% [rapazes 71%, raparigas 83%; mais visivel quanto mais se envelhece, dos 9 até aos 18 anos]; Jogos, 58,6%, desporto 51,2% (Cardoso, 2007: 47-48) [mostra que os jovens portugueses usam a net para procurar musica, que a musica é importante para eles e que a internet é alternativa para procurar musica]

- Utiliza a Internet ou emails para fazer alguma destas actividades (IN): Procurar informação relacionada com os estudos 86,5%, jogar jogos online 35,3; enviar ficheiros 25,2%, enviar fotogfrafias 22,7%, entrar em chats e comunidades virtuais 22,2%, ouvir rádio através da internet 20,4 (pag 80)

- Utilizas o telemovel principalmente para (IO): [entre as 10 respostas mais votadas não aparece ouvir rádio ou música] (171)

- Tens algum leitor de musica portatil em que possas utilizar ficheiros mp3 (IO)? sim 71,1 (9-12, 71,7%, 16-18, 69,5%); não 28,5 % (251); Tem algum leitor de musica portatil em que possa utilizar ficheiros mp3 (IN)? Sim, 28%, não 68,9% (entre todos, os que estão ligado à internet, sim 47,5% e 48,3% não) (259);

- qual é a marca desse leitor (IN): iPod 8,6%, Creative, 24,6%, Sony 16,1% (260)

- Desde que tem o seu leitor Mp3 passou a ouvir (IN) menos rádio 46,3%, igualmente 44,1%, mais 9,6%; ouvir musica noutros equipamentos: menos 49,3, igualmente 46,3 e mais 4,4% (261); 

- Aparelhos electrónicos que possui (IN), além da televisão: possui rádio/leitor de CD, 69,8%, possui computador pessoal fixo ou portatil  64,7% (311)

- Enquanto utiliza a internet, é frequente (IN): ouvir musica 56,0%, ouvir rádio 13,1%, utilizar chats ou programas de mensagens instantaneas (ex: MSN), 20,8% (315)

- Quando está a estudar costuma (IN): ouvir musica, 47, 2%, usar o computador 43,3, navegar na internet (procurando informações para o meu estudo) 35,1, ouvir rádio 25,6% (316)

- Actividades que realiza no tempo livre que tem em casa (IO): ver televisão (antes de jantar) 97.1%, depois de jantar 93,5; ouvir musica, 60,5 e 40,3% (354)

Muito se discute sobre o impacto da internet (como novo meio) nos meios clássicos - acabam? alteram? não modificam na essência?

Neste trabalho procuramos avaliar esse impacto no caso concreto da rádio, não tanto pelo lado teórico ou pela arquietectura das especulações, mas percebendo como é que determinados utilizadores - os jovens - se relacionam com o novo e com o velho meio (a rádio musical).

Poder-se-ia ter optado por realizado um determinado trabalho de campo estatístico, ainda que qualitativo, com essa amostra de utilizadores, mas essa hipotese apresentou desde o início duas limitações:

- ocuparia espaço e tempo que impediriam certamente outras análises;

- mais importante, a realidade portuguesa, tanto quanto o demonstram os dados disponíveis, não é (ainda?) reveladora das novas tendências, por conservadora. O impacto do novo meio ainda é residual, o comportamento - à luz dos dados disponiveis - é o mesmo há 20 anos (como se verá em capitulo proprio)

Por outro lado esses dados, esse trabalho de campo tem sido feito quer pela universidade (Gustavo Cardoso) quer pela industria, sobretudo pelo lado do marketing, e se nenhum dos trabalhos é directamente vocacionado para os impactos na rádio, todos ou quase todos falam nesse aspecto e na relação dos jovens com a música e por exemplo com os leitores digitais de áudio (mp3). No caso dos trabalhos liderados por Gustavo Cardoso, no âmbito do CIES/ISCTE, apresentam a amostras que seriam imbatíveis num trabalho isolado.

-se tivesses de optar entre internet e televisão, qual seria a tua escolha (IO)? internet 72,9%, televisão, 19,2% (307)

- se tivesses de optar entre jogos de consola ou computador e televisão, qual seria a tua escolha? Jogos de consola ou computador, 60,3%, televisão, 32,7% (308)

«Quando vês televisão, costumas estar: sozinho 80,9% (127)

-se tivesses de optar entre internet e televisão, qual seria a tua escolha (IO)? internet 72,9%, televisão, 19,2% (307)

- se tivesses de optar entre jogos de consola ou computador e televisão, qual seria a tua escolha? Jogos de consola ou computador, 60,3%, televisão, 32,7% (308)

«Verificaram-se bastante mudanças a partir dos anos 90 no panorama dos media, mudanças que se têm aprofundado nos dias de hoje e que prometem continuar. Uma das grandes mudanças, verificada no sector dos jovens inquiridos mais familiarizados com as novas tecnologias, é a perda do lugar central da televisão em termos subjectivos. Não se dá o caso de a televisão ser menos difundida hoje, antes pelo contrário, ela é difundida por vários meios, por radiodifusão, por cabo, pela internet, por comunicações móveis. Além disso, os seus conteúdos diversificaram-se, multiplicaram-se, chegando assim a nichos de mercados e satisfazendo interesses mais específicos, resultando numa experiência mais individual. Mas os dias da televisão como “lareira electrónica” e como um media essencialmente familiar estão em declínio.» (Cardoso, 2007: 390)

Quando o iPod surgiu e rapidamente se transformou num gigantesco sucesso, quem imaginaria que poderia ter este desenvolvimento? Ou seja, a tecnologia digital demonstra uma capacidade de permanente renovação e de surpresa.

Se por um lado devemos ter cautelas quanto às previsões e às consequências que tecnologias futuras possam ter, por outro também não podemos perder de vista que - como hipotese - qualquer previsão corre o risco de ser conservadora e limitada quanto aos verdadeiros impactos que poderão surgir.  O iPod prova-o.

GLEVAREC, Hervé (2003), La Place de la radio dans l'univers culturel des jeunes, in Olivier Donnat e Paul Tolila (dir), Le(s) Public(s) de la culture, Politiques publiques et équipements culturel, Volume II, Presses de Sciences Po, 85-92

«La radio pour les adolescents est, d'une part, un des supports d'une pratique juvénile décisive, à 'oir l'écoute de la musique, d'autre part, le lieu d'un investissement qui, chez les 14-16 ans, l'inscrit ans un véritable 'moment radiophonique adolescent' » (Glevarec, 2003, 85)

«La radio occupe une position double dans les pratiques des adolescents. Elle est à la fois un espace d'identification, à travers le "style", et un espace d'apparition de par son insertion dans la construction anthropologique de l'adolescence. Elle est traversée par une double catégorisation, identitaire et générationnelle. L'une porte sur la contribution de la radio à l'intégration, l'autre sur son apport à la construction du "moment adolescent" par rapport au temps et au monde adulte» (Glevarec, 2003b: 326) 

«D'un point de vue socio-historique, l'écoute adolescente des radios manifeste d'une part un fait générationnel - elle concerne les individus nés depuis les années 1980 -, d'autre part le moment adolescent comme moment de passage, de transformation, de questionnement et comme espace culturel propre en termes de style. Elles constituent un lieu d'identification pour certaines catégories de jeunes, à travers le genre de musique qui y est privilégié, mais aussi à travers les animateurs, les intervenants et les sujets qui s'y manifestent. » (Glevarec, 2003b: 332/14)

«La situation en France est telle que les radios y jouent un rôle sur le plan musical et sur celui des « problèmes des jeunes». Du fai t de leur udience élevée et de leur adéquation forte avec un public adolescent, les radios « jeunes» en France sont des institutions à la fois culturelles et sociales» (Glevarec, 2003: 85). E o autor dá dois exemplos para justificar esta afirmação:  a criação em 1997 de uma rádio musical de serviço publico para o adolescentes e jovens adultos, Le Mouv', e a difusão, depois de 2002, de resultados de audiencias de rádio a paryir dos 13 anos.

«Que représente, pour les 88,5 % d'individus âgés de 11 à 14 ans et les 93,3 % âgés de 15 à 19 ans qui déclarent "avoir un contact" avec une radio au moins une fois par jour, l'écoute de ce que l'on peut appeler les "radios jeunes" (Skyrock, Fun radio, NRJ, Le Mouv', pour ne citer e les plus ciblées) ? Cette audience adolescente a plusieurs traits: 1. elle est l'audience des programmes musicaux nationaux" la plus élevée selon la segmentation des tranches d'âge retenue par Médiamétrie (l'hypothèse que la tendance générationnelle soit modifiée par la construction d'autres catégories est mince)» (Glevarec 2003b: 320)

«(...)l'écoute va devenir plus domestique, s'inscrire dans une «culture de la chambre» [citando Simon Frith, The Sociology of Rock]. Il semble y avoir là une très forte interdépendance entre culture et support de consommation.» (Glevarec, 2003: 87)

«L'usage dominant que les adolescents font des radios qu'ils écoutent est un usage plutôt privatif. À la différence de l'Angleterre où la possession d'un téléviseur dans la chambre des adolescents est le fait de l'ensemble des classes sociales, seule la radio est, en France, le média possédé par la majorité des adolescents dans leur chambre. La radio de la chambre est traversée par la construction d'une séparation d'avec l'extérieur, tandis que les radios partagées (la cuisine, la voiture...) sont le lien d'une discussion entre membres de la famille autour des préférences» (Glevarec, 2003: 90) 

«Os consumidores de informação procuram mais do que palavras nas notícias on-line, preferem vídeo, áudio, conteúdos interactivos e infografias. Esta foi uma das conclusões do 9º Simpósio de Jornalismo On-line, realizado no fim-de-semana em Austin, no estado norte-americano do Texas.  (...) «Já não é só o áudio e vídeo. As pessoas precisam de algo para fazer», disse Alberto Cairo, professor da Universidade da Carolina do Norte, na sua intervenção no painel «Algo para as pessoas fazerem: Multimédia e Interactividade». O mesmo professor indicou que são as infografias que enriquecem conteúdos e fazem-no em três níveis: «instrução, manipulação, exploração», mas reconheceu que, embora os «sites» encham as suas páginas de funcionalidades gráficas, que estimulam o leitor, ainda há espaço para a narrativa linear. A directora de projectos interactivos da MSNBC.com, Paige West, afirmou que já nem se coloca a questão da interactividade. «Toda a gente o faz. Se não o fazem, deviam fazer», disse Paige West, acrescentando que a actual questão que se deve colocar é «como fazer» e integrar todos os componentes de uma história.«As palavras, o vídeo e o conteúdo interactivo necessita de ter um contexto. Tem de ser uma narrativa integrada», explicou ainda a responsável do MSNBC.com. Deste painel concluiu-se que o importante é ter algo novo e diferente para o leitor, uma ideia que se repetiu em vários outros painéis do simpósio. Numa ronda dedicada aos videojogos, Paige West explicou que para apresentar on-line um assunto «aborrecido» pode recorrer-se a um jogo. «Pode não ser algo muito interessante em texto, mas se deixarmos as pessoas controlar as variáveis, é extremamente estimulante», disse a mesma responsável. No painel «Os videojogos são importantes», os intervenientes concluíram que pequenos jogos podem ajudar a moldar o futuro do jornalismo. (...) A participação activa dos leitores foi também abordada ao longo dos dois dias em Austin, com a BBC, por exemplo, a apresentar a sua adaptação aos «blogs», ou a MTV a explicar como integrou o contributo do público numa rede social da estação.»

fonte: Internet: Leitores preferem conteúdos multimédia, Briefing, 8/04/08

«(...)Asked what kind of equipment they'd be likely use to listen to Internet radio, 83 percent of respondents said a home computer, and 43 percent said a computer at work. Thirty-eight percent said they'd use a cell phone or mobile device, while 22 percent said they'd use an Internet connection in their vehicle. (Percentages add up to more than 100 because respondents could list more than one device.)»

Radio Ink,, 9/04/08

«Assume for a minute that radio's revenue growth via the traditional commercial platform is going to continue to be challenging.  And if your station specializes in lower demand demographics like 18-34s and Teens, you know that radio has fallen out of favor with many key advertisers, with no apparent turnaround on the horizon.

Yet, many major advertisers haven't changed their target demographic strategy.  They've changed tactics.  And radio, especially formats like Alternative and CHR, has to respond to this shift in order to survive. (...)

Looking at it a different way, youth-targeted radio formats might be able to lead the way to revenue growth for the radio industry.  There are billions of dollars available chasing youth (maybe even more than for aging baby boomers).  Maybe these stations need to consider some serious experimentation by re-structuring their promotional, digital, and sales models.  Maybe they need to, in the words of Jason Calacanis at Summit 12 - "surrender" to the reality that the current business model is not the road to revenue growth.

Let's invent a new one, and in the process, begin to reinvent the way that radio interfaces with advertisers - and the audience.»

fonte: Follow The Money - Part II, Jacobsmedia, 9/04/08

«A Rádio Comercial vai lançar “até ao Verão” duas novas rádios temáticas no seu site, revelou ao M&P Pedro Ribeiro, director da estação pertencente à Media Capital Rádios.Comercial Concertos Mais Pequenos do Mundo é o nome de um destes novos canais temáticos que, tal como o nome indica, vai emitir de forma rotativa as “dezenas” de concertos já realizados neste formato com a chancela da Rádio Comercial. O segundo canal temático não tem ainda nome escolhido, mas definido está que vai aproveitar grande parte do “material que não chega a entrar em antena”. Entrevistas, reportagens ou outro material que não é colocado no ar e está disponível como podcast no site da Comercial, explica Pedro Ribeiro. Estas duas novas rádios temáticas elevam para oito o número de canais disponibilizados pela Rádio Comercial no seu site, juntando-se a 80 à Hora, in the Mix, Água & Sal, Músicas para Sonhar, Romance e Tuga.»

fonte: Comercial lança duas novas rádios temáticas 9 de Abril de 2008, por Maria João Morais  

«(...) fresher radio technologies could solve the problem.  Terrestrial streams frequently transmit identifying information using RDF, though emerging satellite and HD (or digital) radio streams package metadata far more effectively.  That means that fans can easily identify track information without the assistance of a deejay.

But HD radio technology actually enables a more interesting step.  Just recently, Clear Channel Radio started streaming digital stations that allow instant iTunes tagging, thanks to technology supplied by iBiquity Digital Corp.  More specifically, songs are tagged within an iPod for subsequent purchase on the iTunes Store.  

A total of 440 HD radio stations, and 340 HD2 stations now carry the capability, though just one tag-ready receiver is currently on the market.  "Radio continues to be the number one way that people discover new music, and the HD radio iTunes tagging capability lets listeners add songs to their iPod playlists with just a push of the button," explained Clear Channel Radio president and chief executive John Hogan.»

fonte: «Impulse iTunes Downloads: The Radio Rollout Begins». Digital Music News, 7/04/08  

«The latest American Media Services telephone survey finds one-third of Americans have listened to radio online, and 53% of them have tuned in within the last month. 83% say they’re likely to use a home computer while listening online, while 43% say they tune-in at work. One out of ten also say they would use a cell phone or mobile device.»

fonte:Americans turn up the radio — online Inside Music 9/04/08

«These services are coming to mobile phones, probably in the next year we’ll all be listening to pandora or last.fm in the gym on our phone instead of our limited library on our iPod. That’s when this new form of listening is going to explode. And that’s when Apple is going to wish it had thought more about streaming and less about file based music. But you can’t feel too badly about Apple because a good number of people will be listening to pandora or last.fm on their iPhones."»

«Some have argued that the answer is Internet radio. So how does terrestrial radio respond? By streaming their radio feeds online. This is not the future. Developing new content for the Internet -- including new radio content -- could be the answer and yet few radio companies will spend the money or hire the talent to do so.
Can you imagine where a consolidator like Clear Channel would be today if when they closed on its 1,100th radio station they also decided to invest in 1,100 more "stations" -- totally new, totally different -- with podcasting and social networking options -- online. (...) Radio broadcasters are the best providers of content on this earth.

They're just providing it in the wrong place to reach future audiences.

Radio broadcasters can do more than format programming.

The next generation needs prolific podcasts on a myriad of subjects.

The Internet is a delivery system.

Radio is a content business»

Radio vs. The Internet Inside Music Media, 8/04/08

«In Maslow’s hierarchy of needs -- that we studied in psych class -- it begins with the basics at the bottom of a pyramid. For example, physiological needs like breathing, food, water, sex, sleep, etc are basic needs before the others can be possible on top of these.

Let’s see what happens when the next generation’s media needs (as I observe them) are plugged into Maslow’s hierarchy of human needs:

Physiological = Computer (the basis of media life itself)
Safety = Cell Phone (provides security in actuality and in social life)
Love/Belonging = Facebook (friendship, community, sexual playfulness)
Self-Esteem = iPod (respect for music, respect for other’s music)
Self-Actualization = YouTube (creativity, spontaneity)»

Jerry Del Colliano, Music Inside Media, Gen Y’s Media Hierarchy of Needs 10/04/08

«Uma análise por targets mostra como os homens ouvem mais rádio do que as mulheres (respectivamente, 62.7% e 47.2% de audiência acumulada de véspera) e os jovens mais do que os idosos (com o grupo dos 25 aos 34 anos a liderar as audiências, com 70.9% de audiência acumulada de véspera). (...) Os jovens dos 25 aos 34 anos também apresentam maior afinidade com o meio e a sua curva de audiência mostra audiências quase sempre superiores à média durante todo o dia, tendo os seus momentos de maior consumo ocorrido entre as 8h45m e as 9h, com 21.7% de audiência acumulada de véspera e entre as 9 e as 9h15m, com 21.6% de audiência acumulada de véspera - valores quase uma vez e meia superiores à média do universo.

«(...) iPod/Portable MP3 player ownership continues dramatic growth. Nearly four in ten (37 percent) own an iPod or other brand of portable MP3 player; up from 30 percent in 2007 and more than two and a half times the number in 2005 (14 percent).  Nearly three-quarters (73 percent) of those ages 12-17 own a digital audio player. Audio podcasting usage continues to increase along side the proliferation of iPod/MP3 player ownership. Eighteen percent have ever listened to an audio podcast; up from 13 percent in 2007.  Nine percent have listened to an audio podcast in the past month (an estimated 23 million). fonte: « Weekly Online Radio Audience Increases from 11 percent to 13 percent of Americans In Last Year, According to the Latest Arbitron/Edison Media Research Study», Arbitron, 10/04/08

«Nearly Four in Ten Own an iPod/Portable MP3 Player (de 14% em Janeiro de 2005 para 37% em Janeiro de 2008) (slide 27)

Over Half Of Monthly Online Radio Listeners Watched Online Video In Past Month (edison media research)

Watched Online Video in past month 53%

Did not watch Online Video in past month 47%

(slide 20)

http://arbitron.com/downloads/digital_radio_study_2008.pdf

FORNEÇA VIDEO DA MESMA FORMA QUE CONTEÚDOS AUDIO

«Broadband has fueled remarkable growth of online video in addition to online audio. Digital consumers can easily fill their video fix on YouTube and thousands of other sites. It is important to provide compelling video options in addition to audio to hold your audience longer.» (slide 57)

«the medium is the message," and when you change the medium you change the message because, in part, you change what consumers can do and expect to do with that medium.

Take, for example, the world of TV as it adapts to the online world.

TV is chunked in programs just as radio is (In talk radio, a program is literally a show. In music radio, a "program" is really a "song.")

In most if not every case, the distribution model for TV programming online is by-the-chunk. Browse over to NBC.com and you "watch videos," you don't stream the network feed in real time.» Mark Ramsey

«O relativo desconhecimento da existência da blogosfera e da actividade de blogging é um traço que caracteriza a sociedade portuguesa. No conjunto da população portuguesa, apenas um quinto das pessoas sabe o que é um blogue (20%); e no conjunto dos internautas apenas cerca de metade sabe o que é um blogue (55%).

Quadro 1. Sabe o que é um Blogue (% em linha)

Sim		Não
Amostra da população portuguesa (n=2000)	20.1		79.9
Amostra dos internautas portugueses (n=677)	55.1		44.9

Entre os internautas portugueses, a navegação na blogosfera é uma prática ainda relativamente pouco enraizada. Apenas cerca de um quarto dos internautas costuma navegar na blogosfera (23.6%), e um sétimo construiu e mantém um blogue (14%).

Quadro 2. Proporção de Internautas Portugueses que navegam, interagem e produzem blogues (% em linha)

Sim		Não
Costuma navegar na blogosfera	23.6		76.4
Costuma interagir com blogues (comentários, emails)	21.9		78.1
Mantém um (ou mais) blogue(s)	14.0		86.0

Variáveis Sociodemográficas			População Portuguesa		Internautas Portugueses n=677		Produtores de Blogues n=51		Consumidores de Blogues n=87
Idade	8-17		12.1		24.7		39.9		22.7
18-24		11.3		24.5		26.8		29.9
25-34		16.8		24.2		23.2		26.9
35-44		15.7		15.3		8.5		13.4
45-64		26.3		11.0		1.6		7.0
65+		17.8		0.3		-		0.1

Os bloguers-produtores tendem a ser muito mais jovens que os bloguers-consumidores (40% dos produtores tem menos de 18 anos comparativamente a 23% entre os consumidores), são maioritariamente do sexo masculino (63%) e entre eles uma parte muito significativa é de estudantes (55%) do ensino secundário. (...) Os bloguers-produtores, sendo consumidores intensivos dos novos media e da Internet em particular, como vimos anteriormente, não deixam de ser consumidores intensivos de televisão no conjunto da população portuguesa. A principal singularidade é o facto de apresentar os mais baixos consumos de jornais e rádio, o que não será de estranhar uma vez que, como também vimos anteriormente, trata-se sobretudo de uma população jovem (maioritariamente com idades até aos 25 anos).»

fonte: «Blogues e Blogosfera.pt», coordenação editorial Rita Espanha, Obercom Março 2008 (Inquérito extensivo por questionário, através de uma entrevista directa, a uma amostra representativa da população portuguesa residente em Portugal continental, de idade igual ou superior a 8 anos de idade, a amostra final foi constituída por 2000 entrevistas. O trabalho de campo foi realizado entre Abril e Junho de 2006)

«According to the respondents in the study, AM/FM radio listening comprised only 62 percent of the hours they spent listening to the radio in the week prior to being surveyed. The total share of listening to AM and FM radio increases to 70 percent when listening to AM/FM streaming is included. Online streaming represents 16 percent of all reported time spent with radio, split evenly between AM/FM streaming and Internet-only radio. Satellite radio and the music channels offered through cable and satellite TV systems each account for an 11 percent piece of the pie. Among this sample of online consumers, listening to podcasts represent only 1 percent of total time spent with radio.Hanson added, "What this study highlights is that while Arbitron data may show that AM/FM listening is declining slightly each year, the bigger picture is this: Listening to radio in all of its forms is almost certainly growing significantly."» fonte FMQB, Online Consumers Flock To New Forms Of Radio, 11/04/08

[A questão aparentemente metodológica e apenas académica (escolástica?) sobre o que é a rádio - e a necessidade de nos entendermos sobre o que é ou não rádio apresenta-se decisiva na medida em que o que se decidir que é rádio determinará o entendimento sobre tudo o resto]

«(...) Radio One Inc., which is pinning future growth on Internet outlets, has acquired social networking company Community Connect Inc. for million. (...) It said Community Connect's sites have more than 20 million members. (...) Radio One (NASDAQ: ROIA) owns and operates 53 radio stations in 16 markets, including four Baltimore stations: WERQ-FM 92Q Jams, WOLB-AM 1010, WWIN-AM 1440 and WWIN-FM Magic 95.9. Its stations primarily target African-American and urban listeners» fonte: «Radio One buys social networking company for M», Baltimore Business Journal - by Jeff Clabaugh, 11/04/08 

(de acordo com o recenseamento geral da população de 2001)

8-17: 12,1%

18-24: 11,3%

25-34: 16,8 %

35-44: 15,7%

45-64: 26,3%

65+: 17,8%

(8-17 + 18-24 + 25-34 = 40,2%)

«A construção de programas de música leva a duas consequências: criação de redes sociais que trocam ficheiros com músicas, especializando o grupo com estéticas e gostos próprios e de grupo de fãs que se pode fechar; abandono da escuta da rádio, por ser um sistema orientado do programador para o ouvinte; actualização permanente, possível num período da vida (final do secundário e durante os primeiros anos de universidade), mas de menor intensidade no período seguinte (profissão, família), o que torna o gosto estético adquirido rapidamente obsoleto.» (Rogério Santos, UM PROJECTO DE PÓS-DOUTORAMENTO – QUE ME LEMBREI DE ESBOÇAR HOJE MAS NÃO VOU FAZER (2), 9/04/08) (ou seja, até que ponto estes comportamentos, identificados como sendo típicos da geração iPod, são meramente geracionais, conjunturais, ou perdurarão, estruturalmente?)

«(...)by 1930, 46% of American households had a radio, and 10 years later that number had grown to more than 80%. By 1970, radio ownership had already reached 98%, nearly the current ownership rate (99%). Of course, one may question the appropriateness of radio ownership as a measure of radio's popularity, for it is entirely possible that a great many radios simply sat unused, collecting dust. However, as seen (...), the increase in ownership is matched by a comparable increase in the number of radio stations» (Paik, 2001: 11)

«In the mid-1930s, children 9 to 12 years old listened to radio approximately 2 to 3 hours a day (DeBoer, 1937; JersiId, 1939). Lyness (1952) surveyed third-, fifth-, seventh-, ninth-, and eleventh-grade students in 1950 who lived in cities that had newspapers, radio stations, and movie theaters (but no television yet). All the children, except third-grade boys, named named radio as their most frequently engaged in activity at home in the evening. Overall, for girls time spent listening to radio increased with age, while for boys it decreased after the peak around fifth or seventh grade.

Even when television became the main mass medium, the amount of time that children and young adolescents spent listening to radio was very similar to earlier radio days. Confirming radio's consistent listenership, Lyle and Hoffman (1972) report that, even when television was the most favored medium, among their subjects, half of the first graders and 80% of the sixth graders reported listening to radio on the preceding day. Furthermore, 24 % of tenth graders reported listening 5 hours or more a day. This study shows that, regardless of television's dominance, at least children were still enjoying radio. Furthermore, they found that, with increasing age, more time was spent with radio and less withtelevision. » (PAIK, 2001: 11-12) 

«Such a heavy use of radio among adolescents exists even in present times, and it has been explained by many as providing teenagers with acceptable social cues; as gIvIng them something of interest to discuss with their friends (Brown, Eicher, & Petrie, 1986); as an important source for socialization (Adoni, 1979; Mendelsohn, 1964); and even as a way of rebellion against parental norms and a search for identification with peers rather than with adults (Golinko, 1984). Regardless of the explanations, it appears that television did not significantly affect (and has not affected) the time children and adolescents spent with radio. (...)I. Christenson and DeBenedittis (1986) asked first through fifth graders why they liked to listen to radio. More than 83% gave a response that referred to the musical content of the medium, and only 25% referred to seeking information. In their study, no significant gender or age difference in gratification was found. (...)Program choices are often not determined by any program or listener attribute but, rather, by the time (and location) of listening. [The study speculates that some of these programs are not the child's choice but that of their parents. In fact, these were programs heard in the car while driving].

(...)Wells and Hakanen (1991) found a gender difference in gratification. They found that female teenagers made greater use of music for mood management (mood enhancing or tranquilizing) than their male counterparts. For males, the most highly rated function ( radio was to get excited. This is very similar to the findings of Larson, Kubey, and Colletti (1989), who found that males listen to music that excites them, while females prefer ballads and love songs.» (PAIK, 2001: 12-13)

«Research in this area, however, is still in its infancy, and so little can be said with great certainty» (PAIK, 2001: 19) 

«iPod/Portable MP3 Player Now a ‘Must Have’ Among Teens» (slide 28):

12-17 anos: Janeiro 06: 42%; Janeiro 2007: 54%; Janeiro 08: 73%

18-24 anos: 31%, 39%, 51%

25-34: 30, 38, 48%

35-44: 30, 38, 46%

IMPACTO NA ESCUTA DE RÀDIO:

«Only 10% Report Less Radio Listening Due to Time Spent with iPod/MP3 Player» (slide 31):

Menos 10%

Mais 4%

Sem efeito 21%

«Ipod/MP3 Player Has Greater Impact On Radio Among 12-24-Year-Olds» (% By Age Group Who Are Spending Less Time with Over-the-Air Radio Specifically Due to Time Spent with iPod/Other Portable MP3 Player): 12-17: -22%; 28-24: -17%; 25-34: -12%; 35-44: -9% (slide 32)

CONCLUSÃO« New iPod models Continue To Fuel Growth of Portable MP3 Players: The introduction of the iPhone and new iPod models continue to propel growth. Nearly four in ten Americans now own an iPod or other portable MP3 player. Continued growth and ubiquity means media companies need to have a podcast and iPod/MP3 player strategy.»

(será um erro entender a Internet como uma espécie de meio que vem concorrer com os clássicos; a Internet não concorre com um, mas com todos. Mas a Internet concorre, integrando os anteriores, juntando-os, convergindo, criando algo de novo, fazendo coexistir os antigos mas de forma diferente, alterando-os; se a Internet fosse um meio concorrente, a história poderia repetir-se; assim, do que estamos a falar é de uma nova categoria, de uma nova ideia de comunicação)

«The history and evolution of media resemble that of species in nature: The introduction of a new medium (species) typically changes the uses and interactions among the existing media. This is not surprising given that the system consisting of media and ecological systems are both based on very similar principles (e.g., the survival of the fittest). (...) This is, in fact, how media have evolved as well Following the introduction of movies over a short span of time, they enjoyed their golden age, accompanied by relatively little change, until radio came along. The evolution of radio, television, and interactive media has followed the same general pattern. (...).

To survive radio’s challenge, the motion picture industry was forced to move to sound and later to color films. More direct and compelling challenges to movies came from television. Television provided the same entertainment function that movies provided but with the added convenience of delivering programs directly to homes. To survive this threat, the movie industry had to cooperate with television by providing materials for broadcasting. As for radio, it had to reinvent itself to survive the television challenge. Radio was forced to move from being a staple at the center of the living room to becoming portable and physically going to where television could not. The television industry, in an effort to survive with multimedia, introduced high-definition television, a breakthrough toward the computerization of home television sets. This digital technology is expected to provide multimedia Internet services for the television networks and local stations. Radio, too, has taken the step toward digital broadcasting in what is referred to as digital audio broadcasting. (PAIK, 2001: 24-25) 

«Subrahmanyam and Greenfield (l994) found that practice on a computer game (Marble Madness) reliably improved spatial performance (e.g., anticipating targets, extrapolating spatial paths) compared with practice on a computerized word game. Similarly, Okagaki and Frensch (1994) reported that ractice on the the computer game Tetris (a game that requires the rapid rotation and placement of seven different-shaped blocks (...)) significantly improved undergraduate students' mental rotation time and spatiaI visualization time on computerized spatial performance tests (...).Another study explored the role of interactive games in developing strategies for keeping track of events at multiple locations on screen. In a task where an icon could appear either of two locations (but with unequal probabilities), the researchers found that expert video game players had faster response times than novices at both high - and low - probability positions of the icon.  (Subrahmanyam et al, 2001: 83-84)

[isto irá relacionar-se com as novas utilizações/tendencias do segundo choque; os videojogos têm caracteristicas que fazem mudar o comportamento e as exigências dos novos consumidores]

[confusão positiva ou negativa para a rádio?]

Roberts e Christenson perguntaram a um grupo de jovens (pré e universitários) que meio escolheriam para levar para uma ilha deserta, dando como opções um receptor de televisão, livros, videojogos, computador, jornais, gravador video e cassetes video, revistas, rádio e gravações musicais (e formas de as tocar). . Since radio is almost exclusively a music medium among adolescents, radio and recordings were combined into a single "music" category».  (Roberts, 2001: 395). A musica veio em primeiro lugar em todas as opções e combinações; a televisão em segundo. «More than 800/0 of :he total sample made music one of their first three choices, and music was the first choice or nearly half.»

We agree with Keith Roe that, "in terms of both the sheer amount of time devoted to it and the meanings assumes, it is music, not television, that is the most important medium for adolescents" (Roe, 1987,pp.215-216) (Roberts et al 2001: 395)

«It should also be noted that music-listening estimates based only on radio use (e.g., Brown et al., 1986; Brown et al, 1990; Greenberg, Ku, & Li, 1989; Lyle & Hoffman, 1972) will produce lower figures than those that include questions about CD and tape playback and time spent watching music videos» (397) 

«(...) most studies have a tendency to underestimate young people’s popular music listening. Music is often a secondary, backgroound activity appearing in the adolescent’s environment without any conscious decision to introduce it. (...) Obviously, music’s tendency to slip between foreground and background raises questions about what kind of "listening" should be counted as true exposure» (397)   (USADO EM GERAÇÂO IPOD)

«(...) music can relieve tension; provide escape or distraction from problems; relieve loneliness; fill the time when there is nothing much to do; ease the drudgery of repetitive menial tasks and chores; fill uncomfortable silence; provide topics of conversation; make parties more lively; teach new vocabulary; articulate political attitudes; and perform many other uses for the listener (Christenson & Roberts, 1998). It is, in other words, an equipment with many uses» (Roberts et al, 2001: 398)

«For most kids, most of the time, music is a source of pleasure. They listen not to analyze lyrics and learn about the world, not to sort out emotions and feelings, not to facilitate social interaction, but simply because they like it. To be sure, popular music does teach them things, does help them to sort out emotions and feelings, does facilitate social interaction» (Roberts el at, 2001: 410) 

«Radio Remains the Leader For Learning About New Music… But Internet Gains (slide 49):

escolhe primeiro a rádio 63%; escolhe primeiro a internet 49%

«Radio Has To Reinvigorate Its Image as a Destination to Discover New Music (slide 58): In 2002, radio dominated the Internet for the image of the medium “you turn to for discovering new music.” Today, radio still leads the Internet but its advantage has been cut in half. Among teens, the Internet now leads radio for music discovery. Young people are unlikely to turn back to over-the-air radio itself for discovering new music but they may try Internet options provided by radio brands. Why aren’t the best music discovery sites coming from AM/FM radio?»

«Nearly One In Four Americans Have A Profile On A Social Networking Web Site» (slide 37)

«Weekly Online Radio Listeners Much More Likely to Have a Profile Page on Social Networking Sites (38)

«Nearly 4-in-10 Weekly Online Radio Users With a Social Network Profile Page Visit About Once a Day or More» (39)

CONCLUSÂO:

«Take Advantage of Connections To Social Networking Web Sites» (56): Social networking Web sites are where younger music fans are now going to discover music and to interact with one another. Those who listen to online radio are much more likely to participate in social networks. Offline radio, as well as Internet-only radio, need to realize they are now part of an even broader world of online options and respond accordingly.»

«AM/FM Radio Remains Important With The Rise of New Digital Platforms (slide 62):

• AM/FM radio remains vital with consumers.

Three quarters say they will continue to listen to AM/FM radio as much as they do now, despite increasing advancements in technology.

One in five say AM/FM radio has a big impact on their lives, second only to cell phones

Many may overestimate the impact of digital platforms on AM/FM listening. Digital platform users spend as much time (not less) with over-the-air radio compared with the average.

• The broadcast industry should promote and reinforce its virtues.»

«AM/FM Radio Remains Important With The Rise of New Digital Platforms (slide 62): (...) Many may overestimate the impact of digital platforms on AM/FM listening. Digital platform users spend as much time (not less) with over-the-air radio compared with the average.»

«Today 82% of kids are online by the seventh grade, according to the Pew Internet and American Life Project. And what they love about the computer, of course, is that it offers the radio/CD thing and so much more--games, movies, e-mail, IM, Google, MySpace. The big finding of a 2005 survey of Americans ages 8 to 18 by the Kaiser Family Foundation, co-authored by Roberts, is not that kids were spending a larger chunk of time using electronic media--that was holding steady at 6.5 hours a day (could it possibly get any bigger?)--but that they were packing more media exposure into that time: 8.5 hours' worth, thanks to "media multitasking"--listening to iTunes, watching a DVD and IMing friends all at the same time. Increasingly, the media-hungry members of Generation M, as Kaiser dubbed them, don't just sit down to watch a TV show with their friends or family. From a quarter to a third of them, according to the survey, say they simultaneously absorb some other medium "most of the time" while watching TV, listening to music, using the computer or even while reading.»

fonte: Mar. 19, 2006 The Multitasking Generation By Claudia Wallis Time

«The switching of attention from one task to another, the toggling action, occurs in a region right behind the forehead called Brodmann's Area 10 in the brain's anterior prefrontal cortex, according to a functional magnetic resonance imaging (fMRI) study by Grafman's team. Brodmann's Area 10 is part of the frontal lobes, which "are important for maintaining long-term goals and achieving them," Grafman explains. "The most anterior part allows you to leave something when it's incomplete and return to the same place and continue from there." This gives us a "form of multitasking," he says, though it's actually sequential processing. Because the prefrontal cortex is one of the last regions of the brain to mature and one of the first to decline with aging, young children do not multitask well, and neither do most adults over 60. New fMRI studies at Toronto's Rotman Research Institute suggest that as we get older, we have more trouble "turning down background thoughts when turning to a new task," says Rotman senior scientist and assistant director Cheryl Grady. "Younger adults are better at tuning out stuff when they want to," says Grady. "I'm in my 50s, and I know that I can't work and listen to music with lyrics; it was easier when I was younger."»

fonte: Mar. 19, 2006 The Multitasking Generation By Claudia Wallis Time

GLEVAREC, Hervé (2004), "Quel object social est la radio pour les adolescents?", Mediamorphosis, nº 10, pp. 85-92

«La radio des jeunes est en effect à la fois une forme culturelle et un certain type d'object social» [a reflexão do autor tem em conta a existencia de emissões ditas de 'antena livre' à noite ou ao fim da tarde em rádios destinadas aos jovens, emissões interactivas em que participam os ouvintes via telefone, emissões que foram reguladas pelo Conselho Superior do Audiovisual em 2003](Glevarec, 2004: 2)

«Les "libres antennes" des "radios jeunes" s'élaborent, elles, dans une ambiguïté de cadre: celui-ci n'est ni pleinement sérieux, ni pleinement ludique, ni tout à fait professionnel ni tout à fait ordinaire, ni strictement formaté, ni strictement situé. D'un point de vue très général, les "libres antennes" sont produites dans un cadre ludique et générationnel, où la transgression civile a jusqu'à maintenant été acceptée, mais un cadre qui doit rester dans les limites de sa transformation en une situation d'irrespect des personnes.» (Glevarec, 2004:3)

[isto remete-nos para a existência em França de programação que interessa aos jovens, ao contrário do que acontece em Portugal, por exemplo] 

«It wasn’t that long ago that terrestrial stations which stream crossed the 30% mark, and then the 33% level, and now John Blackledge at JPMorgan says “traffic at the terrestrial operators’ sites grew 3.8%” in February. While “traffic was down at all but six of the Internet radio operators.” Remember that we’re not talking about “listening”, or hours tuned or other measurements. This is unique visitors to Internet radio sites, sourced to Commscore Media Metrix and JPMorgan’s own estimates, and there are probably other sets of numbers out there. But Blackledge says the trend is clear: “We continue to expect unique visitors [to AM/FM-based station sites] to continue to post sequential and year-over-year growth in 2008.” Looking at all traffic: CBS-owned Last.fm jumped 39%, to hit 1.9 million unique visitors. (Expect more to come from closer ties between the CBSRadio stations and cousin Last.fm.) CBS sites grew 7%, Citadel/ABC sites grew 15%, NPR slipped 9% (“after record traffic in January”), while Clear Channel was off 1%. But Clear Channel still commands “an 18% share”, all by itself. Live365 was off 14%, Windowsmedia.com slipped 6%, though Pandora was 2% better».

«An even more promising delivery system is on the horizon: cell phones. "If you've got cell phones that also can be MP3 players, how hard is it to add a chip so that they could pick up FM and HD? Not hard at all," said John Crenshaw, operations manager of Clear Channel Columbus. The move toward listening to music on cell phones is well under way. A recent study from TNS Global Telecoms found that 43 percent of cell-phone users listen to some form of music on their phones. While much of that comes via MP3 players, use of FM players on cell phones could be ready to explode. About 30 percent of U.S. cell phones can receive FM radio, and the industry is hoping for more, Rehr said. According to surveys by America Online, more than half the respondents say they would listen to the radio on their cell phones if it became available»

«Radio needs to become a service provider for portable media players so listeners can customize the traffic they want to hear on their device, for example. In a session during Sunday’s Broadcast Engineering Conference, Wilson said radio’s current, inefficient frequency allocation would need to be re-worked to permit such customization. He would co-locate channels and use single-frequency networks to make more efficient use of spectrum.
He expects pushback from the FCC and broadcasters on such a frequency re-allocation, but he said radio needs to adapt to changing times to survive.» RWONline, Wilson: Radio Needs to Adapt or Face Obsolescence, 14/4/08

«A grande idéia da web 2.0 é a troca de informações e de conteúdo entre os internautas. Mas aí há também uma armadilha: graças a essa facilidade, se perder na internet é a coisa mais fácil. São tantas as redes sociais que lembrar-se de atualizar seu perfil em cada uma já complica. Pior para quem é seu “seguidor”, que se desdobra para acompanhar o que você anda lendo, escrevendo, fotografando ou assistindo (perdoe o gerundismo).

Hoje há vários serviços que prometem desembaraçar esse imenso novelo. São sites que agregam várias redes sociais e programas de mídia social em um único espaço. Exemplo: junta-se em uma só página o seu blog, seu microblog, seu perfil no YouTube ou na rádio online Last.fm. A cada vez que se atualiza um desses serviços, essa mesma página também o fará, mostrando, de forma organizada e cronológica, todas as suas atividades digitais.»

«On October 23, 2001, the first generation of iPod was released. The model name was iPod and had the storage capacity of 5 to 10 gb. It used FireWire connection to computers and it had a mechanical scroll wheel.»

«According to the Radio Next study, released today at RAIN’s Las Vegas Summit, 38% of time spent listening to “radio” is via delivery modes other than terrestrial AM and FM broadcasts. That is, listening to satellite radio, cable radio, Internet-only webcasts, online simulcasts of AM/FM programming and podcasts accounted for well over a third of the total time spent with radio among respondents. Sponsored by Solutions Media Group, Ando Media, and this publication, the study also indicates all of online streaming (Net-only webcasters plus AM/FM streams) accounts for 16% of total radio listening (split evenly between the two); satellite radio and cable radio each account for 11%. Given that the study was conducted online and based on self-reporting, “the results are certainly a bit more ‘ahead of the curve’ than we’d see today in a study of the general population as a whole,” RAIN publisher and research vet Kurt Hanson admitted. “Nonetheless these results can certainly be considered a bellwether of where radio is headed in the near future.” And while AM/FM listening levels may be declining year to year, when growth of other modes of radio listening are taken into account, “listening to radio in all of its forms is almost certainly growing significantly,” Hanson also said.»

fonte: «RADIO NEXT STUDY: 38% OF RADIO LISTENING IS INTERNET, SATELLITE, OR CABLE RADIO”», RAIN, 14/04/08

«America’s AccuRadio has partnered with FlyTunes to create an interface for the iPhone and iPod Touch to enable over 320 channels to stream to the wi-fi enabled devices.
AccuRadio is an Internet only broadcaster and reaches almost a million listeners per month with hundreds of channels of rock, pop, jazz, classical, oldies, country, urban, latin, vocals and world music»

«(...)Rehr continued, "We know that the world has changed. Consumers have more options than ever before. The media landscape is rapidly changing. We’re being buffeted by forces larger than our industry. Some in the business are a bit disoriented. Some are overwhelmed by the changes taking place. Frankly, some are not optimistic about broadcasting’s future."
After noting that "broadcasters can be a bit of a cynical bunch," Rehr said, "I’m afraid that some people in this business have been staring so long at the door that’s closing, they haven’t seen the new door that’s opening. The digital door." (...) Listeners still want what they’ve always wanted. Technology hasn’t changed that -- it has just changed the devices of delivery. This is not to diminish the challenges or uncertainty of the radio business. In fact, I think one thing that’s changed is that many in the industry have been so worn down by the battles and buffeting, that they themselves have forgotten the magic of radio. But we have not forgotten." (...) being local, in and of itself, is not what defines radio’s value. It’s the accessibility and the connection with radio personalities. And it’s being everywhere and available to everyone. A radio is not a jukebox.(...) "If you’re listening to radio, you want to hear a human voice sharing that same moment in time that you are. There is power in that personal bond. A CD doesn’t have that connection. An iPod doesn’t have it. No, our model is not broken."» Rehr: ’Radio Remains Relevant’, Radio Ink, 15/04/08

«Os resultados de Março de 2008 do Barómetro de Telecomunicações da Marktest indicam que os jovens entre os 15 e os 24 anos enviam diariamente uma média de 29 mensagens escritas.  Os resultados do trimestre móvel de Março de 2008 do Barómetro de Telecomunicações indicam que 5,9 milhões de residentes no Continente com 10 e mais anos costumam utilizar o serviço de mensagens escritas (SMS). A utilização deste serviço tem crescido, com o número médio de mensagens enviadas a mais do que duplicar nos últimos dois anos. De facto, os dados do Barómetro de Telecomunicações para Março de 2006 contabilizavam uma média semanal de 34 mensagens enviadas, um valor mais de duas vezes inferior à média de 77 mensagens enviadas por semana em Março de 2008. Em média, por semana, são enviadas 77 mensagens, o que corresponde a cerca de 11 por dia, mas uma análise deste indicador mostra comportamentos muito diferenciados, sobretudo entre os jovens. O target dos 15 aos 24 anos mostra ter uma padrão muito diferente da média, com valores que mais do que duplicam este número. A partir dos 25 anos, a utilização desta forma de contacto cai significativamente, observando-se valores bastante abaixo da média»

«CBS Radio re-launched their legendary NY rock radio station WNEW recently. It's a group blog about music, it's a last.fm group (built by the combined scrobbling history of all of the group members), it's an internet radio station, and it's available over the air on HD2 at 102.7 (you need an HD radio to get it).(...) Maybe the golden years of the 70s and 80s are long over, due to the iPod and other forms of portable music and the changing dynamics of the music industry. But I think radio does understand what it has to do in order to hang onto its audience and bring new listeners (younger more technologically inclined) into the fold.» It's A Blog, No It's A Radio Station, Wait It's Something Altogther New Fred04.15.2008

«It must be NAB's role as a lobbying arm that predisposes it to see PR as a hammer and every challenge as a nail. You don't reinvigorate by saying you will. You reinvigorate by doing what's reinvigorating. When that happens, you don't need to "remind" listeners of anything. Nobody wants to be "reminded" of stuff they already take for granted. They want to hear about what's new. And that, my friends, is radio's true challenge. Radio can make much more headway with its audiences in a new media world by grabbing opportunities which satisfy listener needs in new and exciting ways. This is what CBS did with last.fm. This is what Radio One did in its dive into social networking.» Mark Ramsey

(uma visão optimista...)

«Bob Pittman may be known to most of the world as an Internet visionary, but he was a broadcaster first and he told the NAB Show Radio Luncheon yesterday that it is frustrating to hear people talk about radio as if there’s something wrong with the business. “Radio is mobile, it’s easy to use, it has a lot of choice,” Pittman said. Repeating comments we’d heard him use previously when talking about new media, he said what makes a great consumer business is convenience and brand – and “radio wins on both counts.” The one-time radio programmer noted, “I think there are probably no better brand builders in the world than radio programmers.” Despite all of the hype about the Internet replacing broadcasting, Pittman, who is currently an investor in radio and TV groups as well as new media, insisted “the Internet is not television or radio.” People still turn to broadcasting for entertainment, while they use the Internet to manage their lives.» fonte: Pittman: Internet does not compete with radio and television, RBR 15 April, 2008

«If your definition of “2.0″ is a much more collaborative experience, where many people provide the content you’re looking for, then Radio 2.0 was born with the advent of the request show or the phone-in. Of the ‘old media’, I’d claim that radio has always been the most democratised, most involving media there is. If your definition also includes “giving control to th audience”, then (quite apart from the superficial control that request shows give the audience), again radio has a good story to tell. Listen-again services, like the BBC provides with their BBC iPlayer for Radio, have succeeded in takng radio away from being an uncontrollable linear stream of content to one that is more malleable. It’s particularly good for niche programming - if you look at programmes like Radio 1’s Essential Mix, you see that it has nearly as many listeners online as onair. The iPlayer provides the long-tail and discoverability of content that is the issue with an old-fashioned linear stream.»

«Many radio stations have focused recently on ‘more music’, and less local presenter involvement - particularly the commercial radio operators. It seems a little peculiar to me that radio has taken away the main differentiator between it and my iPod: after all, my iPod plays a better choice of music that I can find anywhere on the radio. (.,..)There are millions of young people enjoying speech radio every day, though some might not think they’re listening to the radio; after all, a good bit of speech radio, prepackaged and made available as a download, is what most people call a ‘podcast’. I believe that radio’s future depends on great content. If programmers focus their attention at the bits between the records, and less slavishly on following their music testing, then we can ensure radio’s future. If radio is just to become a non-stop ‘music aggregator’, then last.fm and services like it will always do that job better (even if last.fm’s algorithms need rather a lot of work).»

«And of course, anyone can make great radio: from newspaper companies, tv, even banks and restaurants. The only difference with this form of great radio… is that you’ll not hear it on the radio.»

«Radio revenues were off 8 percent overall in March, the RAB reports, with local down 8 percent compared to March 2006 and national more than doubling that, with a 17 percent dip. Local and national combined for a 10 percent decline.

The 8 percent overall decline is the sharpest for 2008 so far: Revenues were off 6 percent in January and 2 percent in February.

National revenue has fallen by double digits in three of the last four months: It was off 12 percent in December, 13 percent in January, and 1 percent in February. Local revenue's 8 percent dip in March followed dropoffs of 4 percent in December, 5 percent in January, and 4 percent in February.»

«In the US, eMarketer projects that the number of user-generated content creators will rise from 77 million in 2007 to 108 million in 2012. The content is being read, seen and heard, too. The number of consumers of user-generated content will increase from 94 million in 2007 to 130 million in 2012. “US Internet users are creating and consuming user-generated content in record numbers,” says Paul Verna, eMarketer Senior Analyst and author of the new report, User-Generated Content: In Pursuit of Ad Dollars, “across an ever-expanding range of online content that includes video, audio, personal profiles, avatars, photo sharing, Wiki entries and product reviews.” (fonte: «Can User-Generated Content Generate Revenue? eMarkeeter APRIL 17, 2008

«(...) WiMax is even better than WiFi -- that very local wireless way computers and phones can connect to the Internet.
WiMax would give consumers high-speed access to the Internet using phones, mobile devices and laptops. Mobile video might benefit the most because WiMax would allow high quality pictures to be transmitted over the air.
(...) The eventual construction of a high-speed, wide-area quality wireless link to the Internet has tremendous repercussions for the traditional radio industry that would just like all technology to go away and let it return to transistor radios.
Universal WiMax would make it seamless for consumers to have Internet-based music, information, communication with them everywhere. The advantage that radio transmission now has -- it's everywhere and it's free -- would be reduced to one thing.
It's still free. (...) If automakers are including WiFi capability in some new cars, can you imagine what WiMax -- a much wider range signal from transmitter to transmitter -- would mean to terrestrial radio operators?»

Jerry Del Colliano, Watch WiMax Inside Music Media, 17/04/08

«Universal WiMax would make it seamless for consumers to have Internet-based music, information, communication with them everywhere. The advantage that radio transmission now has -- it's everywhere and it's free -- would be reduced to one thing. It's still free. But consumers would likely pay a premium to get Internet on-the-go.
That's why Internet streamers could be the next broadcasting revolution when their delivery system is put into place.
(...) I'm thinking -- and you may be, too -- that terrestrial radio companies might be ready to get into the content business. That's pictures, video, text and audio and become a new age broadcaster. How exciting is this? The salvation of Internet streamers is the arrival of a WiMax network. But some broadcasters seem to have a hard time seeing that the salvation of a dying radio industry is also this new form of wireless accessibility. Not transmitting a terrestrial stream over the Internet. That's so 20th century! But creating new content for the delivery system of a new age.»
fonte: Jerry Del Colliano, Watch WiMax Inside Music Media, 17/04/08

«(...) the impact of radio play on sales of sound recordings using a sample of American cities. The results indicate that radio play does not have the positive impact on record sales normally attributed to it and instead appears to have an economically important negative impact, implying that overall radio listening is more of a substitute for the purchase of sound recordings than it is a complement.»

Liebowitz, Stan J., "Don't Play it Again Sam: Radio Play, Record Sales, and Property Rights" (January 5, 2007). Available at SSRN: http://ssrn.com/abstract=956527

«(...) as we see in our new Tech Poll, let's not forget about how the vast majority of Americans still find out about new music:

Now, critics will chime in that this survey is a self-fulfilling prophesy because it is conducted among radio listeners.  But since 90%+ of the U.S. falls into that category, there's not much of a skew to this data.  Hey, if it makes you feel better, subtract 5 or 10 percentage points from FM radio and look at this chart again.  If I was a new band with music to expose and sell, my chips would still be on good old FM radio.  Why the record industry would criticize the incredible power of this traditional medium defies logic» (fonte: The Selling of Music - 2008 Style Jacobsblogs, 17/04/08 

«(...) First, in the 18-34 demo, this youngest surveyed segment spends far more time listening to “personal music” (CDs, MP3s) (46%) than to AM or FM broadcasts (27%). Second, the computer is the most popular “player” for 18-34’s “personal music” (as opposed to stereos or CD players), which shows they’re comfortable with the PC as a music source. Yet this demo only spend 12% of listening time with online radio, so perhaps there’s an opportunity for webcasters to grow with this audience segment. (...) Why is listenership not growing faster? The biggest reason given: 78% said they’re “just not in habit yet,” which is a behavior that can change. More alarminly, 69% said Internet “buffering” issues made it too annoying to listen.

fonte: RAIN NEWS 04/17: RAIN SUMMIT RECAPS, for more from the RadioNext study, click here.

«Para comemorar o 10º aniversário, a Mega FM lança um novo site que será apresentado no dia 21. Criado pela equipa de web design do Grupo Renascença, apresenta um novo formato, uma nova imagem, mais interactividade, apostando numa maior comunicabilidade com os ouvintes da rádio. Destaca-se a criação de uma comunidade de ouvintes online, a Mega VIP, um espaço onde os ouvintes podem partilhar fotos, fazer amigos e ainda ter acesso a passatempos, Meet n Greets, (possibilidade de se encontrarem a sós com as suas bandas preferidas) e promoções. Segundo Nelson Cunha, director de programas da Mega Fm «um dos objectivos é promover a interactividade entre os ouvintes que têm a Mega FM como a sua rádio preferida, e tomam o site como o ponto de partida para novos contactos e experiências»

«Detroit Radio Advertising Group President and CEO Bill Burton came up with the fabulous motto "An Automobile Is a Radio With Four Wheels" many years ago and it is and has been the most dramatic statement of radio's out of home dominance. We mean no disrespect to Bill or his fine organization as we look ahead to changes that may be on the horizon, but an automobile could one day be the Internet with four wheels. »

Este não é um estudo sobre os efeitos dos media - ou da rádio, em concreto - nos jovens; é um estudo sobre os efeitos da relação dos jovens com os novos media (por outras palavras, como é que eles, ligado à internet, estão a ’tratar’ a rádio); não se estudam programações radiofónicas, mas tenta-se antecipar o que é um conjunto de novos comportamentos poderão fazer a essas programações

Os jovens e a rádio sempre mantiveram uma relação muito forte; essa relação parece estar a perder-se (de acordo com varios indicadores, nomeadamente quantitativos).

Numa linha de usos e gratificações, tentar-se-á perceber porque é que ou já não ouvem ou começam a deixar de ouvir (e com que implicações ao nivel do consumo de outros meios, sobretudo de informação musical), da mesma forma que tentar-se-á perceber quais são os substitutos da rádio, o que é que estão a usar de novo, nomeadamente, para se relacionarem com a música (e que impacto ao nível daquilo que são novos meios e sobretudo de um novo consumo activo)

LASICA, J. D. (2007), The Mobile Generation: Global transformations at the Cellular Level», A Report of the Fifteenth Annual Aspen Institute, Washington

«Although a 2000 study by Eurescom [Rich Ling, The Mobile Connection (San Francisco: Elsevier, 2004): 16-17].showed some educational and income-based differences in access to and use of the mobile telephone, on the whole, Ling and other observers conclude that the “digital divide” issues associated with the personal computer and the Internet do not appear to apply to the world of mobile telephony. A mobile phone requires the user to dial a number to put a call through—no extraordinary feat for most people. Beyond that basic function,multimedia messages, Internet chat, and other advanced functionalities seem to befuddle rich and poor, educated and uneducated alike.» (Lasica, 2007: 6)

«A recent survey found that 80 percent of Americans ages 18 to 29 own cell phones, and 65 percent of those users send text messages on a regular basis. (...).[Allen G. Breed, “Nation Takes to Texting,” Associated Press, October 16, 2006].A vice president at the research firm M:Metrics told Advertising Age, “They [cell phone users age 13-17] are crazy for mobile. They see [a mobile device] as this little digital communicator that they can take with them wherever they go.” Bradley Johnson, “Connected and Craving: Teens Hungry for Latest Cellphone Technology,” Advertising Age ,March 20, 2006.Available online: http://adage.com/americandemographics/article.  (...)the Pew survey found differences in cell phone use among various age groups. The survey makes clear that young cell phone users—those between ages 18 and 29—have different experiences with their cell phones than do older Americans. Compared to older cell phone owners, young adults are more likely to reserve their calls until the hours that do not affect the minutes used in their rate plan; they are more likely to make spontaneous calls when they have free time; they are more likely to use a cell phone to avoid disclosing where they are; and they are more likely to feel burdened by the intrusions the cell phone brings into their lives. In addition, they are more likely to experience sticker shock when monthly bills arrive.Rainie and Keeter, “How Americans Use Their Cell Phone.”.Young people in particular are embracing forms of participatory media. Already, 33.2 percent of 18- to 24-year-old Americans post photos to Web sites via mobile phones, according to another survey.Olga Kharif, “Social Networking Goes Mobile,” Business Week,  May 31, 2006. Available at  http://www.businessweek.com/print/technology/content/may2006/tc20060530_170086.htm (...) Studies show that young consumers are among the heaviest users of premium wireless features such as messaging, game downloads, photo services, sports information, and entertainment news. Teens ages 13-17 use phone features to get restaurant and movie information at more than twice the national average.» (Lasica, 2007: 10)

«Arturo Artom, founder and CEO of Netsystem in Milan, concurred that the 1990s notion of convergence—the idea of a single box containing a television, computer, and telephone—is dead. “The future is making niche devices that perform tasks exceptionally well,” Artom said. At the same time, Warrior added, mobile phones serve as a “sharp multiplier” of access devices as increased digital functionality is integrated into them.Many new cell phones come bundled with features such as digital picture-taking, e-mail, MP3 music playback, video, and so on. Those kinds of feature add-ons are likely to continue in the years ahead.» (LAsica, 2007: 15)

OMNIPRESENTE (em tempo e espaço; a qualquer hora e a qualquer momento)«Indeed, the cell phone, rather than the personal computer, is the constant companion for today’s hip and socially networked consumer.Why wait until you get home to log onto the PC to tell your 10 closest friends about your date? Teens use a network-friendly cell phone to relay stories, pictures, and videos instantly. “You can use [the mobile application] in this 2- or 3-minute gap while waiting for a train,” Kakul Srivastava, product manager for photo-sharing site Flickr, told Business Week. “People are out there, living their lives. They are not sitting in front of the computer.”Olga Kharif, “Social Networking Goes Mobile,” Business Week, May 31, 2006. Available at http://www.businessweek.com/print/technology/content/may2006/tc20060530_170086.htm.) (LASICA, 2007: 11)

INTERACTIVIDADE ao máximo «(...) wireless technologies are already affecting how members of the Mobile Generation interact with others—across the hall, down the street, or around the globe—through text, voice, and pictures. On a deeper level, we are beginning to see glimpses of how increased connectivity will affect such basic underpinnings of our social fabric as individuality, privacy, and identity. For example, the combination of location-specific technologies with mobile-commerce records can create a profile of individual actions, behavior, and even thought that exceeds anything previously possible» (LASICA, 2007: 15)

«Companies such as Google, Yahoo!, and Facebook have designs on mobile social networking. “The connectivity of technology has moved mobile,” said moderator Charles M. Firestone, executive director of the Communications and Society Program at the Aspen Institute. That facet of ongoing dialogue can be witnessed not only in texting but in the phenomenon of sharing photos, and now videos, with friends, colleagues, and loved ones.» (Lasica, 2007: 20)

«I don’t see technology as a foreign object “impacting” and “transforming” social life and cultural patterns. Rather, the relationship between technology and society is more organic and co-constitutive. Technologies are objectifications of particular cultures and social relationships and, in turn, are incorporated into the stream of social and cultural evolution. In other words, Japanese technology and usage patterns are likely to replicate in other contexts only to the extent that there are similarities in the overall “technosocial” ecologies of mobile media practice and communication. Nothing “inherent” in the mobile handsets themselves is socially or culturally transformative.» Mizuko Ito, “Personal Portable Pedestrian: Lessons from Japanese Mobile Phone,” Japan Focus, October 30, 2005., in Lasica, 2007: 17

O estudo RadioNext (abril 2008) mostra, para consumidores dos EUA, que «Services that allow users to customize their channels generate large, loyal audiences» (LAUNCHcast is way out front as #1service —while #3 Pandora converts most of its past year listeners (14%) to “favorites” (9%)» (slide 22); « Though streaming AM/FM signals helps to extend reach in the short run, the online audio programming that is most likely to succeed over the long term will not sound or work like AM or FM radio. As popular online services such as LAUNCHcast and Pandora demonstrate, the online audio consumer is looking for programming that realizes the possibilities offered by the Internet for personalized, customizable content.» (29) (RadioNext, 2008)

O estudo Radio Next perguntou aos inquiridos qual a mais-valia da rádio AM/FM relativamente a outros concorrentes audio.

40 por cento responderam a facilidade/conveniência da distribuição, sendo que entre os 18-34 a afirmação ainda é mais clara (46%); em segundo lugar aparece os beneficios oferecidos pelos conteúdos exclusivos (30%), menos valorizados pelos 18-34, depois os beneficios dos conteudos não-exclusivos (20%) e em ultimo lugar o argumento da relação com a localização (13%) (slide 17).

Leitura a fazer: «For the moment at least, terrestrial radio continues to be valued by most Americans. This value hinges not so much on content but on a distribution advantage that may soon disappear. This points terrestrial radio in two strategic directions: 1. Aggressively develop and secure unique content. 2. Use its current distribution advantage to drive audience and advertisers to new platforms.» (slide 29)

«Universal WiMax would make it seamless for consumers to have Internet-based music, information, communication with them everywhere. The advantage that radio transmission now has -- it's everywhere and it's free -- would be reduced to one thing. It's still free. But consumers would likely pay a premium to get Internet on-the-go» (Jerry del Colliano)

O estudo Radio Next perguntou aos inquiridos qual a mais-valia da rádio AM/FM relativamente a outros concorrentes audio.

40 por cento responderam a facilidade/conveniência da distribuição, sendo que entre os 18-34 a afirmação ainda é mais clara (46%); em segundo lugar aparece os beneficios oferecidos pelos conteúdos exclusivos (30%), menos valorizados pelos 18-34, depois os beneficios dos conteudos não-exclusivos (20%) e em ultimo lugar o argumento da relação com a localização (13%) (slide 17).

Leitura a fazer: «For the moment at least, terrestrial radio continues to be valued by most Americans. This value hinges not so much on content but on a distribution advantage that may soon disappear. This points terrestrial radio in two strategic directions: 1. Aggressively develop and secure unique content. 2. Use its current distribution advantage to drive audience and advertisers to new platforms.» (slide 29)

«Universal WiMax would make it seamless for consumers to have Internet-based music, information, communication with them everywhere. The advantage that radio transmission now has -- it's everywhere and it's free -- would be reduced to one thing. It's still free. But consumers would likely pay a premium to get Internet on-the-go» (Jerry del Colliano)

HERRERA, Susana (2006), Internet y las nuevas formas de participación de los oyentes, <em>Comunicação e Sociedade</em>, vol. 9-10, 2006, pp. 83-90

O estudo Radio Next perguntou aos inquiridos qual a mais-valia da rádio AM/FM relativamente a outros concorrentes audio.

40 por cento responderam a facilidade/conveniência da distribuição, sendo que entre os 18-34 a afirmação ainda é mais clara (46%); em segundo lugar aparece os beneficios oferecidos pelos conteúdos exclusivos (30%), menos valorizados pelos 18-34, depois os beneficios dos conteudos não-exclusivos (20%) e em ultimo lugar o argumento da relação com a localização (13%) (slide 17).

Leitura a fazer: «For the moment at least, terrestrial radio continues to be valued by most Americans. This value hinges not so much on content but on a distribution advantage that may soon disappear. This points terrestrial radio in two strategic directions: 1. Aggressively develop and secure unique content. 2. Use its current distribution advantage to drive audience and advertisers to new platforms.» (slide 29)

RadioNext: «This benchmark survey was conducted from October to December, 2007 among a total of 2,378 online North Americans, aged 18+.The full survey was administered to 1,183 online Americans, with a parallel survey of selected questions administered to 1,195 online Canadians.

(a rádio - entendida cada vez mais como plataforma multimedia - tambem poderá/deverá solicitar aos seus utilizadores que lhes enviem fotos e videos para serem alojados online; talvez se torne mais normal, contudo, que os consumidores-produtores escolham sites associados a imagem para esse envio. Poderá a rádio utilizar os seus consumidores/cidadãos para relatos 'radiofónicos'? Com que riscos? Com que adesão? Uma coisa é filmar/gravar (sem aparecer) outra protagonizar)

«É aquilo que pode ser definido por jornalismo do cidadão, em que pessoas sem formação jornalística, por se encontrarem no local do acontecimento como, por exemplo, um acidente, registam imagens ou vídeos que são depois enviados aos meios de comunicação e, a partir daí, transmitidos»
 

Ouvinte é aquele que ouve (!); a partir do momento em que - mesmo num espaço que tradicionalmente estava dedicado ou partia da rádio - ele não apenas ouve mas faz outras coisas (vê, lê), fará sentido chamar-lhe ouvinte? Mais, a partir do momento em que ele até pode estar na página de uma rádio sem ouvir (a emissão), que sentido fará chamar ouvinte?

Propõe-se, em alternativa, duas novas designações (que, como se verá, não são sinónimas), além de ouvinte (quando estivermos a falar da emissão audio conhecida hoje como rádio):

- utilizador (todo aquele que utiliza a internet)

- consumidor (aquele que procura conteúdos quer sejam audio, video, texto, etc, sobretudo associado ao consumo activo de audio)

(um exemplo de como o comportamento da geração iPod - os seus hábitos, os seus comportamentos - vai influenciar a definição de um novo tipo de consumo, o consumo activo; no caso, ao não encontrarem na rádio as musicas de que gostam, procuram onde isso é possivel)

«Too much repetition, not enough new music. Any programmer knows that if you cut the playlist and play the hits, your ratings will go up. But with this generation it is different. They really do like obscure songs. Many are so anti-repetition that they will just walk away from it. Some can't understand why radio stations insist upon telling them that they play the greatest variety when the playlists are so obviously short. This is a deal breaker with the next generation» COLLIANO, Jerry del, Gen Y Consults Radio Inside Music Media, 14/04/08

«Make content for their portable devices. Many students faithfully listen to podcasts. Podcasting is the next radio -- have I said that lately? The reason I keep saying it is because it is. The next generation wants to time delay its entertainment. They want to control it -- stop, start, go back, advance. They are less likely to tune in to 24/7 programming and more likely to "subscribe" (for free -- I'm just using the term "subscribe" to mean sign up) to what they want. This is mandatory -- get into podcasting. And if you're going to do it with the current air staff, you'll lose. You need an entire new approach from content, production, marketing and sales. (...) Two, learn about podcasting. You're going to see me talking about the new radio a lot in the future. I am jumping in with two feet -- not just with one toe. I advise the same to you. Podcasting is not as easy as you think. Of course, it's easy to do technologically -- that's not what I'm saying. It's the content, the presentation, new ways to market (no commercials) and make a profit. If it sounds like radio on a memory stick, it won't pass the test with Gen Y.»
COLLIANO, Jerry del, Gen Y Consults Radio Inside Music Media, 14/04/08

«They want to be your program director. In the past year I’ve observed how much this generation wants to "mash-up" or contribute to the entertainment they listen to. Hell, YouTube is the "mash-up" capital of their world. You can shoot it, add music, collaborate, stage it, fake it, steal it -- and you never need a PD (As a former PD this hurts me to write that line). Any radio strategy that doesn’t include listener participation and active input will fail. Back in the 60’s when stations first started playing "Instant Gold requests" on-air, listeners burned up the phone lines to call in a request. Radio hasn’t gone very far beyond that.»
COLLIANO, Jerry del, Gen Y Consults Radio Inside Music Media, 14/04/08

segundo Jerry Del Colliano (COLLIANO, Jerry del, Gen Y Consults Radio Inside Music Media, 14/04/08):

«(...) When I arrived at USC four years ago for my radio sabbatical, I was shocked to find young people so distanced from radio. It didn’t take me long to find out why. Other alternatives. More time on the computer, cell phones, social networks like Facebook, but the worst cut of all was the one that could have been prevented. (...) So, here’s what I observed as their advice to radio:
1. Too much repetition, not enough new music.

2. Feature knowledgeable djs.

3. Fewer commercials.

4. Make better commercials.

5. Forget HD.

6. Personalities are the appeal.

7. Make content for their portable devices.

8. They want to be your program director.

«Aunque la interactividad no es algo nuevo en radio, la llegada de Internet ha venido a multiplicar las posibilidades con las que cuentan hoy los oyentes para dirigirse al medio. (...) Estas posibilidades - que se prevé se consoliden en un futuro cercano - ofrecen ventajas tanto para los oyentes como para los profesionales. La principal aportación que las nuevas tecnologías han supuesto para la participación de los oyentes ha sido el fomento de una mayor interactividad.(...) [83] En las disciplinas comunicativas interesa destacar sobre todo la denominada “interactividad conversacional” que, en la práctica, es la más relacionada con la participación del público en los procesos y productos comunicativos. Esta dimensión se encuentra presente, por ejemplo, en la definición que Jensen (1999: 59-60) propone para la interactividad, a la que define como “la habilidad potencial de un medio para permitir que el usuario ejerza alguna influencia en el contenido y/o en la forma de la comunicación mediada”. En similares términos se expresa Sádaba (2000: 148) para quien la interactividad es “la potencialidad de un sistema tecnológico de favorecer procesos comunicativos eficientes al permitir la presencia de elementos que hacen análoga la comunicación mediada por la tecnología al diálogo”. (...) En concreto, la interactividad se vehicula a través del correo electrónico, los foros, las encuestas o las áreas de charla. [84] Así, entre 1940 y 1980 la participación perseguía una finalidad lúdica, divulgativa y de entretenimiento, era numéricamente reducida y sólo se ubicaba en algunos tipos de programas como los concursos, los consultorios, los programas de discos dedicados y la denominada radio de beneficencia.(...) Desde los años 80, la participación de los oyentes ha experimentado una transformación sustancial. A las tradicionales finalidades lúdica, divulgativa y de entretenimiento, se añade hoy una finalidad diferente: la de que las llamadas sirvan para interpretar la realidad.[85] (...) en los últimos diez años, la llegada de los sistemas digitales a la radio ha otorgado un fuerte impulso a la noción de interactividad. Nuevamente, el mayor desarrollo está teniendo lugar gracias a la generalización del uso de Internet, ya que, al menos hasta el momento, la red aparece como el nuevo soporte de integración y convergencia en la era digital. En la defensa de Internet frente a otros soportes digitales algunos de los argumentos más citados son: la mayor sencillez ya que no se requiere concesión administrativa, el menor coste, la ausencia de fronteras y la existencia de un mercado potencial amplio y en expansión creciente [86]» (Herrera,2006:  )

Jensen, J. (1999) ‘The concept of interactivity in “interactive television” and “interactive media”’, en Jensen, J. & Toscan, C. (eds.) (1999)

Interactive Television. TV of the Future or the Future of the TV?, Aalborg: Aalborg University Press, pp. 59-60.

Sádaba, M.R. (2000) ‘Interactividad y comunidades virtuales en el entorno de la World Wide Web’,

Comunicación y Sociedad, XIII, 1: 139-166.

Se, como parece pacífico, a rádio foi dos meios clássicos aquele que melhor se adaptou (o que mais se aproximou) à 'utopia' da interactividade, o que mais usou os ouvintes (mais beneficios tirou), estará agora em vantagem numa nova utilização? [até que ponto as novas tecnologias  e a internet em particular não igualizam tudo e põe tudo em plano de igualdade, fazendo esquecer 'privilegios' anteriores?] Terá condições para ser mais interactiva do que outros meios? Porque é que não usou mais, antes? Fundamentalmente porque - além dos receios de perda de controlo - a tecnologia não permitiu esse desenvolvimento; e portanto não seria tanto uma questão de vontade, de querer. Por um lado nem os ouvintes, mesmo desejando mais (desde pelo menos Brecht), conseguiriam imaginar como é que poderiam consegui-lo; Por outro, a tecnologia não fomentava, potenciava ou permitia esse desenvolvimento

http://www.pulso.org/Espanol/Nuevos/radioparticipacion040716.htm

«Consecuencia de su especificidad sonora, la radio posibilita una mayor proximidad psicológica entre el emisor y el oyente. Estos rasgos son derivados tanto de la propia naturaleza mediática de la radio —basada en los productos sonoros— como de la importancia y sensibilidad del oído en cualquier proceso comunicativo en general y en la recepción del medio en particular. Esta marcada dependencia del sentido auditivo otorga a la radio una mayor proximidad psicológica que, a su vez, favorece el establecimiento de una mayor complicidad entre los profesionales del medio y su audiencia. De este modo, la radio queda convertida en una especie de interlocutor válido por excelencia, que lo sabe todo, que todo lo puede y que incluso alivia las preocupaciones de la vida cotidiana:» (Herrera, 2004)

«(...) computers maintain and exaggerate gender, racial and social class inequalities (Sutton, 1991), In this sense, the Internet may play a role in widening rather than narrowing the social distance between traditional "haves" and "havenots" (Tarpley, 2001: 554)

«New techologies, like old ones, are simply tools. The extend to which they improve or hinder the cognitive, behavioral , social and physical aspects of children's lives is ultimately a factor of the way in which they are used» (Tarpley, 2001: 555)

«Research on the effects of the Internet and other technologies is limited by the relative infancy of the technologies themselves» (Tarpley, 2001: 555)

«Radio must loosen up control on content. Understand the true importance of mashups and consumer control of content. To proceed by building interesting channels based on topics and music genres will not be enough to win a meaningful market» (Jerry Del Colliano)

«Podcasting is about as long tail as it gets. Although there are a few highly-rated podcasts with more than 100,000 listeners/viewers, most podcasts have far smaller audiences, highly-focused on niche interests.
According to long-tail theory, these targeted audiences should be especially valuable to advertisers and marketers. Although the audiences are small, each listener or viewer is very interested in the subject, and the audiences should therefore carry commensurately higher ad pricing. (...) “Podcasting is, by its nature, a niche medium, and this is not likely to change," said Paul Verna, senior analyst at eMarketer. "But podcasting delivers a level of end-user engagement that is rare in today’s multi-format world.”» (Remember Podcasting? Listeners Do. eMarketeer, APRIL 24, 2008

«From Inside Radio:

Bonneville’s new media director James Webb says radio needs to stop thinking of its cume as “listeners” and consider them to be “users.” He says “Listeners are engaged only when the radio is on. Radio users connect with you in other ways.”

Yes, yes, yes.

And consider: If your "audience" is "users," then you are by definition members of the new media community, not the "radio industry" per se.

Your competition - and your aspirations and opportunities - have just opened wide.

How does that change what you do, when you see your "listeners" as "users"?

Think about it.»

Sobre o assunto:

A cronica de James Webb The End of “Listeners”: «Listeners are engaged only when the radio is on. Radio users connect with you in other ways, strengthening your brand and encouraging loyalty with each touch. They access your content whenever they want, however they want.

Many of our listeners - ahem! - users, return to our sites every day. Pictures, video, and more get posted on the web to supplement the on-air message. When the show is over, users go online and discuss it or pass it on. News junkies get timely text alerts, and hundreds of captive radio users stream our music station in their offices. The interesting thing about this is that new media, used effectively, propels users to listen to the radio more, not less.

Research has show again and again that web users are not particularly loyal. However, that changes when users are also engaged in broadcast media, particularly when there is additional, compelling content available there»

(Preservar a sua identidade - manter-se como rádio, e apenas adaptar-se; evoluir até deixar de ser rádio - o dilema que vive a rádio nesta altura)

«The reader will quickly be struck by two things. The first is how how extraordinarily resilient radio is, notwithstanding its frequent designation as the 'Cinderella' medium. In the context of convergent tendencies in the mass media, some of the essays attribute its resilience to an ability to preserve its distinctiveness, others to the ease with which it can incorporate new features such as interactivity and visual text» (Crisell, 2006: vii-viii)

«(...)  all the essays in this collection say much the same thing: that radio retains a distinctive and vital role in our multi-media world and is a fascinating, complex and rewarding object of study»  (Crisell, 2006: xiv)

«It is conceivable that some of the iconic deficiencies of radio [blindness, medium as 'secondary'] will be offset by the new digital technology. Internet radio can offer still pictures, video clips - even printed text to remedy the evanescence of the medium's spoken words. But the question then arises as to whether this would be 'enhanced radio' radio with added pictures; or 'reduced radio' - radio which has been relegated to the status of a soundtrack. Given the primacy of our faculty of sight the latter possibility may seem more likely. Would this mean the end of radio as we know it?» (Crisell a, 2006: 6)

«Radio, on the other hand, has an advantage even over the printed text in being entirely non-visual and can thus let as a secondary intellectual medium - one through which we can absorb many if not all forms of information and ideas while being free to do something else. (...) the blindness of radio should be seen as a precious asset» (Crisell a, 2006: 10) 

«(...) if we wish to broadcast informative and analytical material, then having regard to the innate character of radio and television and starting, as it were, with a tabula rasa, we will find it more effective to do so through the blind medium of radio than through the pictorial medium of television.» (Crisell a 2006: 12) 

(com que implicações ao nivel do proprio futuro da rádio? isto significa que ela se deve continuar a centrar no seu elemento sonoro, em detrimento das caracteristicas multimedia? colocar a questão no consumo passivo)

«Radio -- The Cinderella Medium»

«Creative Advertisements for the Cinderella Medium: The Case of Flanders, Belgium »

«“Radio is the Cinderella medium,” said David Ogilvy, comparing radio to the poor stepdaughter of media»  

«Radio is referred to by some advertising people as the ”Cinderella medium.” It can be spectacularly successful if everything clicks—the right offer, the right message, the right copy, the right stations. Or radio spots can fall on deaf ears» (slide 4) 

«It is not musical diversity but intellectual potential that is the primary reason we must keep faith with radio in this multi-media age» (Crisell a: 2006: 18)

«The first experiment with web radio is attributed to the campus station at the University of Kansas that began continuous broadcasting via the Internet in December 1994 (Kaye and Medoff 1999). Commercial radio stations in the United States followed suit about a year later, and since then the number of stations with a web presence and form of Internet broadcasting has multiplied substantially» (van Selm et al, 2006: 266) 

[On Dec. 3, 1994, students working at the University of Kansas’ student radio station, KJHK, became the first radio station in the world to provide a live, continuous programming signal on the Internet.]

(a rádio que resiste em tirar partido das potencialidades oferecidas pela net, nomeadamente a interactividade)

«Although large numbers of radio stations are now making use of the Internet, the nature of that use varies substantially. By far the primary use ofthe sites is for station-related promotional purposes. Based on a content analysis of the sites of commercial radio sites in the United States, Lind and Medoff (2000) report that nearly three-quarters of the sites they investigated contain promotional materials such as programming guides, profiles of staff and other forms of station information. Considerably fewer stations - between 10 and 25 percent - provide information related to news stories, sports and the weather. Contact with stations was for the most part arranged through e-mail links. Other forms of contact or feedback - listener surveys and registration forms, discussion groups and bulletin boards sessions - were organised by small fractions of the stations studied. No more than 15 percent of the sites examined by Lind and Medoff (2000) provide chat opportunities for listeners.» (van Selm et al, 2006: 267)

RESISTIR, a partir da rádio, em aderir: «The BuZz web radio staff, on the other hand, showed a reluctance to provide listeners with too much influence over programme content» (279-280) 

« US teens are nearly universal users of the Internet and e-mail, according to the Pew Internet and American Life Project-National Commission on Writing report titled "Writing, Technology and Teens," conducted from September to November 2007. The study was conducted to determine the relationship between online and "real" writing. While educators hope to turn teens' heavy use of electronic text into solid writing skills, the data should also interest marketers who want to reach teens. [12-14 anos: 92%; 15-17: 96%] Responding teens were heavy users of electronic communications overall: 71% had a mobile phone, 59% had a notebook or desktop PC, 58% had a social network profile and 27% had a blog.»

«US Teens Compose Constantly Online», eMarketeer, APRIL 25, 2008

«Listeners of web radio who participated in the focus group interviews also emphasised that on-demand music services provide a degree of individual control and may become an important characteristic of future Internet-based radio prograrnming. In contrast, the focus group members did not make use of this feature themselves. (...) One of the focus group interviewees expressed this position as follows: ’You just do not always feel like chocsing between alternatives or formulating your own preferences. That’s too much of an effort.’(...) there was limited interest in becoming an active user of the interactive tools made available.   (van Selm et al: 2006: 272-273) [Interviews were held in 1999 with five website radio staff: four programme hosts and one web master. The online survey was held amongst visitors to the website and was completed by forty-one respondents. Focus group interviews were held survey respondents who indicated they were regular participants of the BuZz chat box. Two  focus group interviews were held, each with four persons» (271)],

[EST ESTUDO, ENTREVISTANDO GENTE QUE TRABALHA NA RÁDIO E UTILIZADORES/OUVINTES, MOSTRA UMA GRANDE DIFERENÇA ENTRE AMBOS 273-274: «The above statements suggest a discrepancy between radio programme hosts and ’chatters’ regarding the value assigned to interactions during the web shows. The focus group members expressed a degree of disappointment with the way in which the hosts incorporated the chat box into the web-based radio programme.» 274«This lack of enthusiasm for the contribution of chat box by programme hosts did not go unnoticed by listeners» 275) «In summary, interactive media can facilitate two-way communication. It remains uncertain, however, whether radio programme hosts are adequately aware of the implications of programme hosts are adequately aware of the implications of this for their work. Their status as radio ’stars’ is, in a sense, duced to that of facilitator or moderator of a website where lies are discussed and music played. » (van Selm, 275)

«Traditional gratifications associated with listening to radio programming, such as being entertained and informed (see, for example Lind, Medoff and Rarick, 2001), suggest that listeners of web radio programming would be reluctant to seek to exercise control over the content of web radio shows. In this case study it appears that listeners appreciate being entertained by a mixture of web radio items and music selected by the programme hosts» (van Selm et al 279) 

Uma das vantagens deste estudo com a geração iPod é que eles, não conhecendo a rádio (ou não tendo estabelecido uma relação duradoura com ela) não se sentem ligados a ela, não estranham as mudanças, as diferenças, a propria 'descaracterização'.

Mas como entender o mesmo relativamente a gerações pós-35 anos, aquelas que cresceram a ouvir rádio?

«(...) there was limited interest in becoming an active user of the interactive tools made available. Another possibly - yet to be verified - thought is that using a web radio site as a place from which music can be downloaded transforms the image of the site to that of a database with a specific content and, hence, strips the site of its identity as a radio station. Listeners of web radio may expect web radio to provide traditional radio programming along with the availability of a number of multimedia tools. This aspect is suggested by Lind, Medoff and Rarick (2001) in their study; they reported that listeners appreciated traditional radio functions as well as the new capabilities pro. provided by the Internet.» (van Selm, 2006: 273) 

«The concept of interactivity has been the topic of considerable study, particularly regarding the Internet and multimedia (for example, van Dijk and de Vas 2001; Hanssen, Jankowski and Etienne 1996; Jensen 1999; McMillan and Downes 2000; Rafaeli 1988). Regarding web radio, Lind, Medoff and Rarick (2001) suggest that one of the factors for visiting web radio stations is the possibility of interaction with others. Other factors they mention include enhanced reception, the passing of time, information acquisition and entertainment.

A general description of interactivity has been proposed by Rafaeli and Sudweeks (1997) as 'a process-related, variable characteristic of communication settings. Like face-to-face ommunication, computer-mediated communication has the capacity of enabling high interactivity. One postulated outcome of interactivity is engagement'. Jensen (1999) has extended this description to a typology of communication patterns and has applied it to forms of Internet communication. He builds on the four information traffic patterns identified by Bordewijk and van Kaam (1982): transmission, consultation, registration and conversation» (van Selm et al, 2006: 267-268)

«According to the radio staff interviewed, the main distinction between web radio and conventional radio is the incorporation of interactive features into programming. Both interactive tools provided by BuZz, the archive and the chat box, were considered valuable by the staff of this programme.» (van Selm et al: 2006: 272) 

[EST ESTUDO, ENTREVISTANDO GENTE QUE TRABALHA NA RÁDIO E UTILIZADORES/OUVINTES, MOSTRA UMA GRANDE DIFERENÇA ENTRE AMBOS 273-274: «The above statements suggest a discrepancy between radio programme hosts and 'chatters' regarding the value assigned to interactions during the web shows. The focus group members expressed a degree of disappointment with the way in which the hosts incorporated the chat box into the web-based radio programme.» 274«This lack of enthusiasm for the contribution of chat box by programme hosts did not go unnoticed by listeners» 275)

«In summary, interactive media can facilitate two-way communication. It remains uncertain, however, whether radio programme hosts are adequately aware of the implications of programme hosts are adequately aware of the implications of this for their work. Their status as radio 'stars' is, in a sense, duced to that of facilitator or moderator of a website where lies are discussed and music played. » (van Selm, 275)

(a rádio que resiste em tirar partido das potencialidades oferecidas pela net, nomeadamente a interactividade)

«Although large numbers of radio stations are now making use of the Internet, the nature of that use varies substantially. By far the primary use ofthe sites is for station-related promotional purposes. Based on a content analysis of the sites of commercial radio sites in the United States, Lind and Medoff (2000) report that nearly three-quarters of the sites they investigated contain promotional materials such as programming guides, profiles of staff and other forms of station information. Considerably fewer stations - between 10 and 25 percent - provide information related to news stories, sports and the weather. Contact with stations was for the most part arranged through e-mail links. Other forms of contact or feedback - listener surveys and registration forms, discussion groups and bulletin boards sessions - were organised by small fractions of the stations studied. No more than 15 percent of the sites examined by Lind and Medoff (2000) provide chat opportunities for listeners.» (van Selm et al, 2006: 267)

RESISTIR, a partir da rádio, em aderir: «The BuZz web radio staff, on the other hand, showed a reluctance to provide listeners with too much influence over programme content» (279-280) 

«Although we would not want to exaggerate the suggested relation between web radio and communIty media features, we do feel the use of interactive Internet tools has implications for both programmers and listeners. Consultation of audio archives demands a more active stance than many conventional radio listeners may be willing to accept. And web radio programmers that incorporate chat services into their repertoire of listener-oriented activities will have to take input from listeners more into account than they normally may consider appropriate. These developments create, in fact, a dilemma for both prorammers and listeners. The more radio stations make use of the interactive and multimedia potentials of the Internet, the less the programming resembles conventional radio fare. (...) In our study of the radio programme BuZz suggests that this transformation is problematic and tends to be resisted by all involved.» (280) 

«Lind and Medoff first concluded that at the time of their study, most broadcast executives were guilty of not realizing the potential of their streaming efforts. Specifically, the researchers found that although stations understood the value of using the Web's interactive capability to establish better interaction with listeners, Webcasters largely failed to utilize information and design features capable of attracting the psychographically unique Internet user. Moreover, stations were especially lax in offering visual information with their streamed signals (information that was offered was primarily local in nature), sites were not well maintained, and stations seemed surprisingly slow to develop additional revenue-producing opportunities from this new medium.» (Evans, Smethers, 2001: 7) [The Lind and Medoff research provides an important snapshot in the development of Cyber radio in the late 199Os, although the data, while highly relevant at the time of the study, have been rendered somewhat dated with the passage of time, an inescapable risk associated with studying rapidly evolving media technology -pag 8].

«these new forms of transmission offer both opportunities and threats to the radio broadcaster but also provide some challenging theoretical debates for the radio academic.» (Berry, 2006: 284)

(eis um exemplo de como se podem chegar a conclusões erradas partindo de permissas erradas, porque limitadas ao tempo em que vivemos; é fundamental não deixar que, por exemplo, as limitações/caracteristicas tecnicas enviesem as reflexões, seja tambem por falta - excesso? - de ambição; o autor subscreveria isto, hoje?)

«What do we mean by 'radio'? One could argue that the attribute which has made radio so enduring is its portability, but the exigencies of the new technology are such that the only way one can access online material is to use a computer connected to the internet via a telephone, digital or corporate line. This presents some key problems in the reception of radio or audio content. Home computers are linked to the Internet via a nodem using conventional copper telephone wires, which by their nature can carry only a limited amount of data at any one time. Therefore if one assumes that listening is secondary to the user's purpose in being online, she or he is already using much of the available bandwidth to download webpages, images or e-mails. And as the latter are downloaded the audio connection may pause, stutter or stop completely» (Berry, 2006: 284) 

« (...) we can define radio as being a programme or series of programmes intended to be received without images and broadcast live rather than accessed on demand» (Berry, 2006: 285)

A partir do momento em que será cada vez mais raro - pressupõe-se - assistirmos a uma escuta absolutamente passiva, como a que se verifica ainda hoje pela transmissão convencional, substituida por graus/níveis diferentes (e graduais) de intervenção por parte do utilizador (compelido a tal pelo novo sistema radiofónico - participe, vote, escolha, comente, etc), até que ponto nomeadamente quando se fala em rádio de palavra será possivel o multitasking? ou seja, até que ponto o consumo audio não será de tal maneira absorvente (primário) que não nos permitirá fazer outras coisas em simultâneo, com tudo o que isso possa significar para o consumo do meio (melhor consumo, mais dedicado, mas menor consumo, em termos quantitativos - uma coisa compensará a outra?)

A partir do momento em que será cada vez mais raro - pressupõe-se - assistirmos a uma escuta absolutamente passiva, como a que se verifica ainda hoje pela transmissão convencional, substituida por graus/níveis diferentes (e graduais) de intervenção por parte do utilizador (compelido a tal pelo novo sistema radiofónico - participe, vote, escolha, comente, etc), até que ponto nomeadamente quando se fala em rádio de palavra será possivel o multitasking? ou seja, até que ponto o consumo audio não será de tal maneira absorvente (primário) que não nos permitirá fazer outras coisas em simultâneo, com tudo o que isso possa significar para o consumo do meio (melhor consumo, mais dedicado, mas menor consumo, em termos quantitativos - uma coisa compensará a outra?)

«Girls continue to be heavier users of electronic communications than boys. According to the Pew study, 44% of teen girls send text messages daily, compared with 28% of boys. And girls were twice as likely as boys to send messages daily through social networking sites (31% compared with 16%). “The role of technology in teen girls’ lives cannot be underestimated,” said eMarketer senior analyst Debra Aho Williamson. “Because they use an array of communications devices on a daily basis, marketers must think about extending their messaging to a variety of platforms to effectively reach them.”»

«US Teens Compose Constantly Online», eMarketeer, APRIL 25, 2008

«The Internet was proclaimed for many years as the future of radio but while this may be true for music services the same cannot be so confidently said for speech. Overuse means the Internet is getting slower and more crowded: most sites will be able to support themselves through advertising, but as the cost of speech is usually higher it has less chance of succeeding.(...)» (Berry, 2006: 288)

«In short, the digital age could prove to be more 'talkative' than its analogue predecessor was» (Berry 295)

(a partir de uma reflexão sobre a televisão)

«Es probable que los niños acudan a los videojuegos a falta de programas adecuados en la televisión.(...) Secundariamente, los videojuegos son una posibilidad atrayente como sustitución de una programación televisiva inadecuada» (SALGADO CARRIÓN, 2006: 99).

 «La relación entre radio y televisión en el marco de la audiencia infantil no tiene carácter antagónico, en el sentido de que cuanto mayor es la audiencia de uno de estos medios menor es la del otro, sino que la radio y la televisión funcionan como elementos complementarios sin que esto implique la dependencia de uno sobre otro»  (SALGADO CARRIÓN, 2006: 177).

«Existing media companies have traditionally been in the best position to invest in the development of novel technologies. This advantage has customarily resulted in a pattern where the content and business operations of newer media forms mostly reflect those of the ancestral technology, (...). Consequently, because many Cyber enterprises have been launched by terrestrial broadcasters, the resulting Internet-delivered stations operate much as their over-air counterparts and largely reflect traditional radio content.» (Evans/Smethers, 2001: 6)

«The Lind and Medoff research provides an important snapshot in the development of Cyber radio in the late 199Os, although the data, while highly relevant at the time of the study, have been rendered somewhat dated with the passage of time, an inescapable risk associated with studying rapidly evolving media technology -(Evans, Smethers, 2001: 8]

«Content will remain a crucial determinant of success for streamed radio stations. Each of the study's 50 participants agreed that content, specifically the programming offered via a station's streamed signal and the information and features presented on the accompanying Web site, will determine the success of streamed stations, just as programming composition determines the success of conventional broadcasting. As one participant noted, "Content is always the most crucial component. In radio, we say, 'You can't listen to a 'watt.'" You can only listen to programming. The carrier is a [minor] detail to the consumer/listener." (evans/Smethers, 2001: 9)

«Stations will need to create their own communities of listeners, which will be defined by program, lifestyle, and consumer interests. The Cyber radio revolution may promote further audience fragmentation (Ganchiff, 2000), an understandable prediction, considering that Web distribution could potentially bring about the birth of thousands of new stations competing for listeners. Radio’s natural ability to program to narrowly defined audiences will fit nicely with the Internet’s established ability to develop and cater to online "communities" of users. Therefore, the successful Cyber stations will be the ones who  can further identify and develop relationships with targeted groups» (evans/Smethers, 2001:13) RAZôES COMERCIAIS

«The radio Web site should be used to enhance the station’s image and make a further bond with the core audience. Much as Lind and Medoff (1999) suggested, the visual information that accompanies the audio signal at a station’s Web site is an important factor for drawing and retaining potential audience members. Moreover, a station’s Web site design may even be used to build new relationships with listeners. As one subject offered in commenting on this question,"The station’s Web site is not going to be just an enhancement, it will become the core of the station." (...) Other panelists suggested that an Internet presence offers much more than just serving as an extension of the station; rather, the Web site offers the potential to develop entirely new services and branding opportunities and, in the process, entirely new audiences» (Evans/Smethers, 2001: 14)

«(...) streaming would foster entirely new consumption habits for radio, first by making more stations available to listeners and then by changing the hours when people listen» (Evans/Smethers, 2001: 14-15)

PRENSKI, Mark (2001), Digital Natives, Digital Immigrants, <em>On the Horizon</em>, NCB University Press, Vol. 9 No. 5, October

[como reagir? como fazer melhor? como dar mais informação do que aquela que já é dada pelos canais de streaming?] «consumers, most of whom are accustomed to accessing information they want from the Internet, will expect much more from online radio stations than just audio music services.» (Evans/Smethers, 2001: 18)

O panorama radiofónico francês relativamente aos jovens é um caso a parte - tanto quanto o conhecimento da realidade nos permite fazer essa afirmação (por exemplo relativamente a Portugal, Espanha, Grã-Bretanha, Brasil ou Estados Unidos, os mercado melhor conhecidos); seja pela realidade descrita nos estudos sociológicos de Hervé Glevarec (as rádios jovens que falam de problemas desses jovens e que deixam que sejam esses jovens a falar, basicamente a Skyrock, NRJ, Fun Radio), seja adesão dos jovens a essa realidade (numa grelha de preferências, consultados jovens dos 8 aos 19 anos, ouvir rádio é algo que cerca de 65% dizem gostar bastante, acima, por exemplo de ver um filme na televisão ou no video, abaixo dos 40%, sobretudo a partir dos 11 anos - 2003c, pag 7; 88,5% dos jovens entre os 11 e os 14 anos e 93,3% dos 15 aos 19 anos em França ouvem essas estações ou ainda Le Mouv' e Chérie FM; 2003d: 30)  seja pela qualidade, persistência e, permita-se, paixão dos próprios e múltiplos estudos - integrados num projecto de pesquisa sociológica liderado por Glevarec, com Pinot e Choquet, 'Radio libre, L'écoute  radiophonique des adolescents, Study Report; Department of Analysis and Forecasting, Ministry of Culture).

Nem a televisão, nem a escola nem a família: «L’intérêt sociologique de la radio en France réside dans le fait qu’elle est le seul espace d’une prise de parole et d’une apparition publiques des  adolescents, notamment parce qu’une part de sa programmation est une diffusion quotidienne d’émissions de radio libre ou libre antenne de plusieurs heures le soir» (2003c: 2-3)

«Ces émissions traitent directement de "problèmes qui concernent les adolescents et dans lesquels ils se reconnaissant» (2003c 3)

«La radio des adolescents trouverait utilement à être située sociologiquement dans la tension contemporaine entre deux théorisations inverses que sont le moment adolescent et la fin de l’enfance» (2003c 3)

A rádio funciona como um rito de passagem: «(...) nous voudrions proposer ici la notion de lieu de passage par analogie avec le "rite de passage" théorisé par Van Gennep» (2003c 4) 

«Les radios pour les adolescents sont à la fois agents de socialisation à ce que pourrait être un âge adulte et agents de socialisation à l’espace public.» (2003c 31)

O QUE É QUE A RÀDIO TEM DE ESPECIAL: «L’isolation et la durée momentanée de l’écoute, le décalage subjectif à son principe, les catégorisations et frontières symboliques produites, la position de mentor des animateurs, le cadre amical et professionnel de la production, tous ces éléments indiquent d’une part que face aux auditeurs, la radio produit des catégorisations, des signifiants et des repères, d’autre part qu’elle satisfait à l’autonomie ou au discours de f.’autonomie de la part des adolescents» (2003c 31)

«what characterizes youth radio is the presence also of so-called interactive or talk programmes. In the. UK and the US this is called zoo radio: 'a kind of mix of pop music, gossip, pop psychology and humour' (Glevarec 2003d: 30) 

«Youth radio stations in France broadcast two sorts of programmes each day: music; and, in the evening, between 9 p. m. and midnight - sometimes Iater - interactive talk.. This second type of programme, which the stations call 'libres antennes. ('free on the air' or 'free radio') is central and we would like to focus on it. Presenters and listeners who phone in taIk about a wide variety of topics, essencially 'problemes des jeunes': sexual practices, drugs, relationships between girls and boys and others, football, TV programmes, political news...» (2003d: 30)

«The central characteristic of youth radio stations is their mixed, or what we call their 'in-between' nature. This dimension is essential in order to characterize what is going on there, the type of link which is established with the presenters, and the enjoyment of the adolescents. (...) They exist in-between: between two social spaces, being both institutional and friendly, presenter and pal, presenter and switchboard operator» (33-34) 

Sobre o momento adolescente/a adolescência: «Moment psychologiqueou physiologique? Moment sociologique? Le premier revient à considérer une étape quasi-biologique, le second un champ social de luttes et de représentations entre groupes ou bien un effet de la structure des rôles, au sens structuro-fonctionnaliste, entre famille et société civile» (Glevarec, 2003c: 32) 

Existirá, neste contexto, a tentação quer para sobrevalorizar a importância do consumo activo quer para subvalorizar esse mesmo consumo.

Uns dirão que tentados a controlar os conteúdos ou, apenas, pressionados pela adesão dos operadores (que incentivarão a esse 'activismo') cada vez mais gente quererá ter papel activo, se não produzindo, pelo menos seleccionando ou, no mínimo, interagindo*. Ainda assim, é correcto dizer que serão nos próximos anos uma minoria?

Outros dirão que há uma moda e que os indices de participação não aumentarão consideravelmente; o publico maioritário limitar-se-á a ouvir, à comodidade, à opção mais barata; que o consumo activo é um capricho;

Em que ficamos? Haverá cada vez mais gente a usar essas ferramentas.

Uma coisa parece certa: devemos colocar em dois planos a analise - a rádio hertziana convencional e a utilização da net;

* Fará sentido equacionar três níveis de consumo activo:

- mínimo, que corresponde apenas à interactividade (responder a um passatempo, pedir uma musica, emitir um comentário, sugerir a um amigo); é um passivo-activo

- médio, que corresponde à 'customização' ou personalização (escolher, recusar, intervir no produto); criar uma playlist ou uma selecção de podcasts/tags não significa o passo seguinte, da produção; ele limita-se a organizar, à sua maneira, os conteudos disponibilizados; é um activo-passivo, porque não cria, mas não aceita tudo o que lhe dão;

- máximo, que corresponde à produção (além de consumidor, também cria conteúdos, aproveitando ou não materiais disponibilizados pelos operadores, conteúdos que faz girar por diversas plataformas e que podem ser aproveitados pelos operadores e por outros consumidores - podcasts, por exemplo, mashups, etc); é um activo 

GLEVAREC, Hervé (2003c), "Le moment radiophonique des adolescents: rites de passage et nouveaux agents de socialisation", Reseaux, n° 119, pp. 27-61

«De entre las numerosas encrucijadas a las que deben hacer frente hoy los medios, hay una especialmente grave. Se refiere a la relación entre los medios y los públicos. El laberinto parece tener los siguientes extremos: por un lado, parece aceptado que la audiencia es uno de los elementos más importantes en las profesiones de comunicación. Por el otro, sin embargo, sus profesionales huyen de un contacto demasiado cercano y comprometedor[ citando o antigo Director Adjunto y ombudsman de The Washington Post, Charles Seib, recogidas en Dader, J.L., “El acceso crítico a los medios”, en AEDE, núm. 7, 1983, p. 89.  ]. Así, con frecuencia, la intervención del público en los medios se acepta cuando se realiza para efectuar felicitaciones, aplausos y ayudas y sólo ocasionalmente fuera de estos propósitos. (...) es frecuente que los directivos y programadores argumenten que ellos son empresas privadas y que si hay alguien que tenga que juzgar su actividad, que sea el propio mercado el que lo haga. De esta manera, la participación del público en los medios queda reducida a los datos de rating y las cifras de audiencia son invariablemente utilizadas por los programadores como sinónimo de aceptación popular de su oferta. » (Herrera, 2004b: 1)

A industria do consumo passivo quer a vertente quantitativa do publico (as audiencias), A industria do consumo activo quer uma participação qualitativa;

«(...) las posibilidades de participación del público en los medios van mucho más allá de su mera presencia en un dato de audiencia, con el que es posible estimar de manera aproximada el número de audiencia al que llega un mensaje pero que resulta claramente insuficiente para conocer aspectos más cualitativos. Por si fuera poco, en los últimos años todo este repertorio se ha visto multiplicado a partir de la interactividad que posibilitan las nuevas tecnologías, a través por ejemplo del correo electrónico, las áreas de charla, las encuestas y los foros» (Herrera, 2004b: 12)

«No cabe duda de que los últimos avances en este terreno han hecho de la interactividad un elemento fundamental en el surgimiento de una nueva forma de entender la comunicación, el ocio y las relaciones interpersonales.» (Herrera, 2004b: 12)

«la llegada de Internet a la radio ha multiplicado las oportunidades tecnológicas con que cuenta la audiencia para participar en el medio. De esta forma, a las tradicionales cartas, teléfono, buzón de voz y participación a través del vox pop (Herrera, 2003: 145-166), se suma hoy todo un abanico de nuevas posibilidades gracias al uso del correo electrónico, el chat, el sms, los foros, los encuentros virtuales, las encuestas o los blogs» (Herrera, 2008: 3) 

A autora estudou as novas modalidades participativas em rádios jovens (para publicos jovens): «En concreto, esta preferencia está motivada por el mayor entusiasmo con el que éstas han venido incorporando estas nuevas modalidades participativas, algo a su vez muy relacionado con la especial predilección que estas emisoras muestran por los cambios en general y por el uso de las nuevas tecnologías en particular» (2008,6-7).

e concluiu que:«en el último año y medio, todas las emisoras de radio para jóvenes están haciendo una mayor incorporación de las nuevas modalidades participativas. En algunos casos, esta acogida se está haciendo de manera muy intensa y entusiasta si bien el planteamiento queda un poco diluido al estar estructurado por programas en lugar de por modalidades. (...) parece que la tendencia de dar cada vez más espacio y posibilidades para la participación de los oyentes se incrementará y dotará de nuevos contenidos. Por lo demás, se prevé que los nuevos planteamientos no sólo acojan las nuevas modalidades para la participación que permite Internet sino también las posibilidades participativas que surgen con la llegada de la denominada web 2.0» (11)  

«Today‟s students – K through college – represent the first generations to grow up with this new technology. They have spent their entire lives surrounded by and using computers, videogames, digital music players, video cams, cell phones, and all the other toys and tools of the digital age. Today‟s average college grads have spent less than 5,000 hours of their lives reading, but over 10,000 hours playing video games (not to mention 20,000 hours watching TV). Computer games, email, the Internet, cell phones and instant messaging are integral parts of their lives.» (Prenski, 2001: 1)

«Rehr [NAB President/CEO David Rehr ]continued, "We know that the world has changed. Consumers have more options than ever before. The media landscape is rapidly changing. We're being buffeted by forces larger than our industry. Some in the business are a bit disoriented. Some are overwhelmed by the changes taking place. Frankly, some are not optimistic about broadcasting's future."  After noting that "broadcasters can be a bit of a cynical bunch," Rehr said, "I'm afraid that some people in this business have been staring so long at the door that's closing, they haven't seen the new door that's opening. The digital door." He said, "If we don't believe in ourselves, how do we promote our future? How do we promote our business and its valuable content?"

(...) Listeners still want what they've always wanted. Technology hasn't changed that -- it has just changed the devices of delivery. This is not to diminish the challenges or uncertainty of the radio business. (...) "If you're listening to radio, you want to hear a human voice sharing that same moment in time that you are. There is power in that personal bond. A CD doesn't have that connection. An iPod doesn't have it. No, our model is not broken."» (Rehr: 'Radio Remains Relevant', Radio Ink, 14/04/08) 

GLEVAREC Hervé (2003d) com CHOQUET, Arnaud, "Youth and 'free-radio' programmes : Young people's links with radio", Radio Journal, International Studies in Broadcast and Audio Media, Vol. 1, nº1, pp. 29-46

«What should we call these "new" students of today? Some refer to them as the N-[for Net]-gen or D-[for digital]-gen. But the most useful designation I have found for them is Digital Natives. Our students today are all "native speakers" of the digital language of computers, video games and the Internet.» (Prenski, 2001: 1)

KEARNEY, Paul, e SKELTON, Stephen (2003), Teaching Technology to the Playstation Generation, Bacit, vol 1, nº 2

Linda Tod (2002) fala numa 'playstation generation' («The playstation generation are already technologically literate – this literacy needs to be harnessed and used as a key to future learning and not just a source of amusement.») (pag 8)

Kearney e Skelton (2003) falam também numa 'geração playstation', «Today’s computing students arrive in our classroom familiar with a wide range of technology. They are used to rapid change and fast paced, interactive environments that this brings. This is the Playstation generation and engaging them in the classroom requires us to be innovative and creative with our learning strategies» (pág 1)

TOD, Linda (2002), Creating the best teachers for the playstation generation, ATEA Conference, Julho

(este é um texto de uma empresa que trabalha com e para a indústria de rádio nos EUA)

«Since broadcast radio’s beginning in the 1920s, there have always been naysayers. And, with every new technology that comes along, the critics predicted the end of the medium.
Television’s arrival brought dire predictions of the end of radio’s relevancy. Who after all would want to listen to radio when they could watch moving pictures? But radio adapted, maintained and even grew its audience. When cable and the Internet came along, media pundits again predicted radio’s demise, but radio adopted streaming online content, among other things, to extend its listening audience and brand. In addition, internet radio has grown to the point where it now claims 29 million listeners per week.
Now MP3 players have media analysts predicting that radio will surely falter. Again, radio is responding by providing things that listeners get best from radio, like local and breaking news, weather, traffic, and special listener programming. And by providing streaming and MP3 downloads, radio is embracing the very technology that was said to mean its downfall.
We often survey radio stations about their audience and programming and consistently find that stations, rather than running away from new technologies, are embracing them to extend their listening audience and provide another outlet for branding and promoting their programming. If any medium has demonstrated staying power, it is radio. As the cassette tape, walkman, discman, and other consumer mediums, have been ushered into the dustbin of technology’s yesteryear, radio has remained. And as television now begins the switch to a digital signal, radio likewise has increased its quality and accessibility through HD radio, satellite radio, streaming, podcasting, and a strong web presence. So tune in to radio and see what all the fuss is about – news, talk, music, weather, traffic, laughter and tears – all without those distracting moving pictures» (Radio Can't Be Stopped , Tuning In, News Generations, 25/04/08)

«Radio stations have embraced the reality that reaching an audience means going where that audience is.  And today, that audience is online.  The Internet has transformed radio into a visual medium where listeners can more accurately be referred to as users.  And by implementing social networking media, like personality websites, blogs, MySpace pages, and Facebook profiles, radio stations are reaching audience members with an unprecedented level of interactivity»

«(...) by implementing social networking media, like personality websites, blogs, MySpace pages, and Facebook profiles, radio stations are reaching audience members with an unprecedented level of interactivity.  A recent survey conducted by News Generation among the top-20 radio markets collected more information about which type of social media stations are using and the function they serve. (...) Among 36 stations surveyed, virtually every station reported that they use a webpage to provide extra publicity for the station and to stay connected to listeners.  Websites appeal to the active listeners/users who visit the radio station site almost as often as they tune to its frequency.  In order to satiate an ever-growing interactive appetite though, station websites must give their listeners more than what they can get on the air.  Dana Hall from Radio-info.com states, “Social networking through your favorite station is one arena where broadcasters should be taking their websites.”  Hall urges stations to go beyond their on-air format by offering web-only contests, expanded interviews with core artists, DJ blogs, systems for listeners to chat amongst themselves, and featured podcasts.  By utilizing more interactive tools, a station website can help define and sustain a station’s brand. (...) almost half of the survey respondents utilize DJ blogs, and several offer links to a DJ’s MySpace page or Facebook profiles.  Why throw listeners to external sources outside the station realm?  Again, that’s where the audience is.  MySpace currently services 110 million users and Facebook houses 59 million.  These users post their favorite photos, contacts, videos and songs and so naturally, their favorite radio station and DJ fall right in line. »

fonte: Station Listener Turned Station User, by Megan Heffernan, News generation newsletter, Volume 11, Issue 1 Primavera 2008

«A Antena 3 reformulou o seu site, com vista a proporcionar uma melhor navegação e modernizar o seu layout. A grande novidade do novo site é a Antena 3 TV. «O vídeo é cada vez mais uma ferramenta que podemos utilizar para cativar mais público. E, tendo a música uma forte ligação com a imagem, estamos a tentar tirar partido do vídeo como forma de complementar a música», disse ao briefing José Mariño, director-adjunto da Antena 3. Outro grande objectivo do site da Antena 3 foi o de «sem assustar, disponibilizar todos os conteúdos da rádio de forma simples e dinâmica». O site tem, por exemplo, um espaço de destaque dedicado aos blogs internos que devem, em pouco tempo, «ser todos transferidos para o servidor da RTP», contou ao briefing José Mariño. No entanto, «ainda há muito para fazer», explica o director-adjunto da Antena 3. «Queremos, por exemplo, poder dar aos nossos ouvintes a possibilidade de através do site saberem, ao segundo, quais as músicas que estão a dar na nossa rádio, e quais já foram transmitidas. Actualmente não nos é possível fazer isso porque o nosso software de transmissão não é compatível com o do site. Mas estamos a planear para breve uma reformulação total do software e hardware da Antena 3 para poder melhorar o nosso serviço». CARO JOSÉ MARIÑO: não esquecer a possibilidade de criar perfis de ouvintes que levem à criação de comunidades online a partir por exemplo de interesses comuns (generos de musica, determinados grupos, etc), Novo site da Antena 3 aposta em vídeos e blogs Briefing, 2008/04/29 Marina Chiavegatto

«Major labels are now suing Project Playlist, a company that involves former MySpace executive Shawn Gold.  The suit, filed in Manhattan District Court, alleges "massive infringement" and involves majors Warner Music Group, Universal Music Group, and EMI.  Project Playlist (at playlist.com) allows users to assemble and distribute personalized playlists using content hosted across the internet.
Project Playlist does not host the content within the playlists - instead, it cobbles together content from the vast storehouse of user-stored material.  That loosely resembles a model offered by Seeqpod, which allows users to search, stream and virtually assemble playlists using online-available content.  Seeqpod is currently being sued by Warner Music Group.  Project Playlist executives declined to comment on the suit.» Project Playlist Hauled Into Court; Majors Allege Massive Infringement  Digital Music News, 28/04/08

 «Project Playlist is free to users and shows advertising to pay the bills. It looks like other free streaming sites (like Last.fm, for instance) that offer similar functionality and ad-supported streaming, but in this case the labels don't see any cash. Project Playlist insists that it pays royalties to the three big US performing rights organizations, BMI, ASCAP, and SESAC. These groups represent songwriters and music publishers, but they don't cover the labels that own the copyrights in the actual sound recordings. While terrestrial radio in the US only has to pay songwriters in order to play music, other services like satellite radio and webcasters pay royalties to both groups.» (aqui)

A proposito destes textos, uma reflexão:

- a tecnologia digital veio mudar o conceito de rádio tal como a conhecemos; já se experimentaram as mais variadas definições e restam os elementos decisivos (que já nada têm a ver com a tecnologia): o som, a emissão única, a escuta passiva (que não se pode manipular). Isto é rádio. E a definição final

O que este texto nos diz é que chegámos ao momento da 'morte de definição'.

Substituída porquê? Ninguém se atraverá a uma nova definição (seja porque é uma incognita o que vai acontecer seja para não cair no erro de tantos).

«Not everyone wants to spend time messing with configuration settings and preferences. We do enough of that stupid computer stuff already, right? Even geeks like me just want to be blown away by something fresh and new. Asking us to invent, quantify or define that for a Radio service provider is plain stupid. We like stuff, or we don’t. Maybe we can be persuaded something is good. That’s the battleground»

«"What the concept of private-label Internet radio allows businesses to do," Lassoff says, "is reach very narrow demographics with the messages that are most attractive to them. If you want to target only young women living in condos, you could never do that with traditional radio. Private-label Internet radio allows you to do this with laser-like precision."
Meanwhile, private-label Internet radio gives advertisers complete control over not just the content of their ads, but the programming paired with that content.
"A financial company could produce talk-radio programming that delivered not just financial news, but special coverage and promotion of that company's family of funds and services," says Josh Epstein, sales manager at Internet Broadcasting Group.
Internet Broadcasting Group can launch a new Internet radio station for just a few thousand dollars, while a federal license for a new traditional station costs hundreds of thousands of dollars. Similarly, a new traditional radio station typically takes years to develop, but a new online radio station can be established in just a few weeks.»

fonte: 'Traditional radio is dying,' firm says

«Segundo os resultados do estudo Netpanel da Marktest, o número de utilizadores portugueses do site de partilha de vídeos Youtube aumentou 14 vezes desde o início de 2006.

 O Netpanel contabiliza 1 501 mil portugueses com 4 e mais anos que visitaram o site Youtube a partir de suas casas durante o mês de Março de 2008. Este número representa 49.7% dos portugueses.

O site de partilha de vídeos actualmente mais popular comemora o seu terceiro aniversário, assinalado em Portugal por um forte incremento no seu número de utilizadores. Face a Janeiro de 2006, o número de utilizadores únicos deste site aumentou 14 vezes, passando dos 107 mil então contabilizados para os actuais 1 501 mil.

Em Janeiro de 2006, o número de utilizadores deste site representavam 3.5% dos internautas nacionais, ao passo que actualmente o seu peso ascende a 49.7%, o que significa que metade dos portugueses que navegam na Internet a partir de suas casas acedem a este site» (fonte: «Utilizadores do Youtube aumentam 14 vezes em 2 anos, Marktest.com, 29/4/08)

«Let's breakdown a fairly recent RCW Wireless news account:
"A recent study from TNS Global Telecoms found that 43% of all mobile users listen to some form of music on their phones, and 73% of smartphones double as music players. And while the use of MP3 players on phones is up 78% in the last year, mobile radio uptake has seen a whopping 140% increase".
The high use of mobile devices for listening to music is not surprising, but mobile radio listening is. The reason may be that this study was worldwide in scope including countries where radio has not yet committed consolidated suicide.
"TNS — which polled an astounding 16,000 consumers in 29 countries for the study — also found that 45% of users list AM/FM as one of the top three factors in purchasing a mobile phone".
I'll make you a money bet that if you polled U.S. consumers only, you would find AM/FM's effect on purchasing a mobile phone almost negligible.
Ask anyone.
Who do you know that requires AM/FM access on a mobile device? The next generation will tell you that they have moved on beyond radio. It's simply not important to them.
"Meanwhile, a recent study from the Pew Internet & American Life Project found that 17% of U.S. mobile users play music on their phones, nearly matching the 19% who use mobile e-mail or surf the wireless Web".
Note the lower use of mobile phones for listening to music. Keep in mind many of these folks listen to MP3s not streaming radio. (...) «The cell phone may be everywhere but consumers don't necessarily want it to do everything.» (Jerry Del Colliano, Cell Phones Are Not Transistor Radios Inside Music Media, 30/04/08) 

«CC TARGETS YOUNGER DEMOS WITH ONLINE MUSIC PORTAL/SOCIAL NETWORK: Clear Channel has launched an online music service and social network called eRockster, targeted to 13-34-year-olds. The service was actually introduced over the weekend at the California rock festival Coachella by the actor Eric Szmanda (from the CBS show “CSI”), who is credited as “producer and inspiration” for the service. Beginning May 2, eRockster will reportedly be made available from Clear Channel station sites including KYSR-FM/Los Angeles, WWDC-FM/Washington, D.C. and WRFF-FM/Philadelphia. ERockster content may also be ported to HD2 side channels and as an on-the-air syndicated show. “We want to be be playing everything from indie rock to hip-hop to classic rock to soul to dance rock,” Szmanda explained in a press statement.« fonte: «CLEAR CHANNEL LAUNCHES eROCKSTER FOR YOUNG ONLINE LISTENERS·Apr 29, 11:46 AM by: Paul Maloney»

Observação: é um serviço limitado à América do Norte; permite escolher entre varias opções, tem musica, tem videos, tem blogues, tem comunidade. É um compromisso face à emissão clasica, mas é tambem um avanço (permite selecionar, a partir da oferta existente, e construir a sua lista personalizada

«Clear Channel’s new radio station, or The Arrow, or Virgin Xtreme, or any number of other “music jukebox” channels, just play a mix of music which is suboptimal, for me, to that available from a computer program or a website - or, even, from a tightly tuned iTunes. Surely the future of radio isn’t just non-stop music jukebox channels? Can’t one-to-one technology do that job better? Or is the job of a programme director really just the job of a music scheduler these days?» (is all about music, James Cridland, 4/05/08)

«In addition to the streaming player, listeners also can use an on-demand feature and choose individual songs or entire CDs. The erockster playlist currently weighs in at more than 800 tracks, and will eventually feature a library of more than 5,000 songs»

«CONSUMERS WANT MUSIC, NOT SUBSCRIPTIONS: Music subscriptions services aren’t catching on with consumers, according to figures released by the RIAA. Subscriptions to services like Rhapsody and Napster grew from 1.7 million subscribers in 2006 to just 1.8 million in 2007 — an increase well under 1%. Revenues actually fell 2.6% over this same time span (from 6.2 million to 0.9 million). As Digital Music News reports, there are fewer companies competing in the space. Rhapsody has taken over MTV’s Urge, and RealNetworks (Rhapsody’s parent) is assuming control of Yahoo Music.» (fonte: CONSUMERS WANT MUSIC, NOT SUBSCRIPTIONS, Apr 29, 11:46 AM by: Paul Maloney»