O adulto que se comporta eternamente como jovem
«Ser jovem tornou-se numa aspiração, numa pressão da sociedade ocidental, que está a envelhecer ano após ano. As mudanças demográficas estão a provocar alterações profundas em termos económicos e sociais, com repercussões nas atitudes e comportamentos dos indivíduos. Uma das alterações mais visíveis é o adulto que se comporta eternamente como jovem. A valorização exacerbada de tudo o que é jovem advém da importância desta faixa etária em termos económicos (poder de compra e faceta altamente consumista), mas essencialmente, do poder de influência e persuasão que tem junto da sua (enorme) rede de amigos e familiares. (...) O estudo da Publicis permite ver além das aparências. Os jovens manifestam comportamentos complexos e incoerentes, mas apenas ao olhos dos adultos: vulneráveis, mas poderosos (dependentes, mas influenciadores da sociedade e do mercado); intimidade no anonimato (net); saudáveis, mas pouco (rejeitam junk food e consomem drogas e álcool); críticos mas mega-consumidores; individualistas, mas integrados no todo (egoístas e altruístas). Estes comportamentos paradoxais espelham, de certa forma, uma sociedade cheia de contradições: mais eficiente devido à tecnologia, mas com menos tempo disponível; sem tabus, mas a um preço demasiado elevado (ex.: Sida). Não obstante o comportamento paradoxal, as motivações dos jovens são extremamente consistentes e duradouras.»
fonte: Estudo TWEENS traça perfil dos jovens portugueses, Sapo Mulher, Març08
Os jovens 12-25 em Portugal
«As crianças e os adultos querem ser jovens. E até as marcas, das mais variadas áreas, imitam a linguagem, o comportamento e o estilo dos jovens com o objectivo de influenciar este público-alvo. Esta é uma das principais conclusões do Tweens, um estudo psicossociológico realizado pela Publicis Portugal, que tem como alvo os jovens entre os 12 e os 25 anos. (...) Os jovens, verdadeiros profissionais na arte de gerir a imagem, assumem que, mal têm dinheiro, não resistem a uns ténis de marca ou a trocar de telemóvel. Na busca pela perfeição, a beleza tornou-se numa obsessão (quase) fatal. A dependência das tecnologias ultrapassa a das drogas. Substituíram a linguagem oral pela escrita (abreviada e modificada): Directa e simples, mas profunda e autêntica, é mais fácil para os jovens escrever ou ler, do que falar ou ouvir. Criam o seu próprio “Youniverse”, uma, duas ou várias identidades virtuais no ciberespaço, onde expressam os seus sentimentos e constroem as suas identidades próprias. Substituíram o inter-rail pelo inter-plane. Criam a sua música. São os seus próprios heróis»
fonte: Estudo TWEENS traça perfil dos jovens portugueses, Sapo Mulher, Març08
Os telemóveis e a música
«I have written several times before that cell phones are a natural platform for advertising supported music.
The key connections between cell phones and ad-supported music are:
- Cell phones are optimized for audio, and music is an audio medium.
- Cell phones are essentially a beefed up portable MP3 player.
- Advertising supported downloaded music enables advertising to be pulled and delivered in a natural way.»
fonte: The Marriage Between Mobile and Music 29/11/07
Visual e interactiva
«SWR has selected The Technology Partnership (TTP) to join the ‘Future Radio’ project which will trial innovative new visual interactive radio services in Germany. The ‘Future Radio’ project will start its first trial in Stuttgart this summer. SWR and TTP will present the aims of the ‘Future Radio’ project to broadcasters and operators at CeBIT in Hannover, 4th-9th March 2008. Under the ‘Future Radio’ project SWR and TTP will work to define an open service delivery specification that enables new visual, interactive and download services on any digital radio receiver. These services will enable mobile phone users to listen to digital radio and to view, navigate and store visual content, such as images, slides, weather information, music tracks and podcasts which are broadcast in association with radio stations. (...) SWR has the vision and innovation to drive delivery to Germany’s critical younger audience and this will also lead to new revenue opportunities for commercial broadcasters. A key vehicle for this will be our nanoDABTM Bluetooth and DAB hands-free mobile phone accessory.” Bernhard Hermann, SWR Director of Radio Programmes commented: “A radical rethink of digital radio services is required to captivate the younger audience and penetrate mass market appeal in the future. The ‘Future Radio’ project aims to do this by giving 500 young trialists the ability to give feedback on what content is engaging to them and how it should be delivered. Where as traditional radio is normally a one-way medium with occasional feedback our trial aims to actively encourage users take part in creating exciting services.” The team believes visual, interactive and rich multimedia services will stimulate the evolving listening habits of young consumers and will help position digital radio on mobiles as a viable broadcast medium offering new areas for public service broadcasters and their wealth of public value content as well as revenue opportunities for commercial radio stations and network operators, who can offer their commercial services. These will include mass advertising through downloadable special offers and coupons, as well as a range of value-added content services requiring user interaction, for example competitions, music charts, shopping, voting and user generated content.”» fonte:SWR and TTP to Revolutionise Digital Radio in Germany Euroinvestor, 04/03/2008
Sobre o projecto "Future Radio" (Alemanha)
«SWR has selected The Technology Partnership (TTP) to join the ‘Future Radio’ project which will trial innovative new visual interactive radio services in Germany. The ‘Future Radio’ project will start its first trial in Stuttgart this summer. SWR and TTP will present the aims of the ‘Future Radio’ project to broadcasters and operators at CeBIT in Hannover, 4th-9th March 2008. Under the ‘Future Radio’ project SWR and TTP will work to define an open service delivery specification that enables new visual, interactive and download services on any digital radio receiver. These services will enable mobile phone users to listen to digital radio and to view, navigate and store visual content, such as images, slides, weather information, music tracks and podcasts which are broadcast in association with radio stations. (...) SWR has the vision and innovation to drive delivery to Germany’s critical younger audience and this will also lead to new revenue opportunities for commercial broadcasters. A key vehicle for this will be our nanoDABTM Bluetooth and DAB hands-free mobile phone accessory.” Bernhard Hermann, SWR Director of Radio Programmes commented: “A radical rethink of digital radio services is required to captivate the younger audience and penetrate mass market appeal in the future. The ‘Future Radio’ project aims to do this by giving 500 young trialists the ability to give feedback on what content is engaging to them and how it should be delivered. Where as traditional radio is normally a one-way medium with occasional feedback our trial aims to actively encourage users take part in creating exciting services.” The team believes visual, interactive and rich multimedia services will stimulate the evolving listening habits of young consumers and will help position digital radio on mobiles as a viable broadcast medium offering new areas for public service broadcasters and their wealth of public value content as well as revenue opportunities for commercial radio stations and network operators, who can offer their commercial services. These will include mass advertising through downloadable special offers and coupons, as well as a range of value-added content services requiring user interaction, for example competitions, music charts, shopping, voting and user generated content.”» fonte:SWR and TTP to Revolutionise Digital Radio in Germany Euroinvestor, 04/03/2008
Sobre a expressão 'Millennials'
Nos Estados Unidos, a expressão Millennials é muito abundante e serve para descrever todos aqueles que nasceram depois de 1980. É uma expressão sobretudo demográfica, ainda que muitas vezes usada em diversos contextos sociais, e corresponde a um alinhamento sequencial de classificação de gerações muito tradicional nos Estados Unidos.
A expressão foi criada por «Strauss and Howe (William Strauss and Neil Howe) are authors and speakers known for their theories about a recurrent cycle of generations in history. The two have co-authored a number of books on the subject and have a publishing, speaking and consulting company called Life Course Associates» (wikipedia); «The Fourth Turning (1997) is the third book by William Strauss and Neil Howe. It expands the theory they presented in their first book Generations by examining the generations in Anglo-American history since the War of the Roses (1459-1487). It classifies every generation into an archetype explaining the function, motivation and course of each. The second half of the book specifically looks at the five most recent generations (G.I., Silent, Boomers, 13th and Millennial)»
«Meet the Millennials, born in or after 1982 (...) » (Howe, 2000: 4); nascidos até 2002 (pag 41)
«The first Millennial babies were born in 1982, walked in 1983, talked in 1984, reached kindergarten in 1987, and entered middle school in 1994 and high school in 1996.» (Howe, 2000: 309)
Uma geração que muda a sua relação com os meios
«Young people are increasingly able to switch between different technological platforms and different contents (both those created by media companies and user generated contents). And they are engaged in redefining their relationship with media, in terms of both the social role played by media and the technologies, places, times, patterns and rituals of consumption practices» (Mascheroni, 2008: 29)
O reconhecimento da expressão 'iPod generation'
«Young Italians are part of the so-called "web 2.0 generation" or "iPod generation" and are actively participating in the processes of transnational media consumption.» (Mascheroni, 2008: 30)
Sobre a delimitação de um campo de estudo geracional (11-35)
Mascheroni et al no seu estudo Young italians' cross media cultures criam uma amostra que vai desde pré-adolescentes (11-13), passando pelos adolescentes (14-18), continuando com os jovens (19-24) e terminando nos jovens-adultos (25-35).
(ou seja, nascidos entre 1973 e 1977)
A internet intervém em todos os níveis do sistema mediático (é diferente)
Nunca antes , como acontece com a internet, se dá uma intervenção tão radical no sistema de comunicações; mudando não apenas emissão, mensagem mas tambem recepção.
«This attention to the forces and the subjects shaping media technologies is one of the striking features of the convergence paradigm. While the advent of new media and the digitalization process provide the conditions for widespread change within the media system, these same conditions are being actively shaped by the various actors populating the contemporary media environment: that is to say, by multimedia conglomerates (on the supply side), by public institutions (on the governance side) and by users themselves (on the consumption side). A medium, therefore, can not be defined unless one starts from its accompanying 'protocols' and "practices", which shape it on the cultural, economic and social level (Scaglioni, Sfardini, 2007).» (Mascheroni, 2008: 14)
«Other social technologies have radically changed societies in recent history such as the automobile, telephone, radio and television. However, unlike the internet, these technologies remained fairly static in many ways. For example, cars are still used primarily for transportation, telephones for voice or text exchanges, radios and televisions to receive (and not send) programs. Similarly, remember Henry Ford's quip, "[the car] can be any color, so long as it's black"? Though all cars are no longer black (...) fonte: A Portrait of Early Internet Adopters: Why People First Went Online --and Why They Stayed by Amy Tracy Wells, Research Fellow, Pew Internet & American Life Project February 20, 2008
O paradigma da convergência
«The digital revolution paradigm, oriented to the transformative features of digital technology, is thus being replaced by the convergence paradigm. This appears more responsive with regard to the multi-dimensional nature of media change, to the role of subjects along with that of technologies, and to the hybridizing and re-mediation mechanisms between old and new media. In Jenkins' terms, "convergence represents a paradigm shift - a move from medium-specific content towards content that flows across multiple media channels, towards the increased interdependence of communications systems, towards multiple ways of accessing media content, and towards ever more complex relations between top-down corporate media and bottom-up participatory culture" (Jenkins, 2006, 243)» (Mascheroni, 2008: 14)
A necessidade de estudar o momento de transição
«We are currently witnessing a phase of change, characterised by broad margin for negotiation and unpredictability. (...)The ubiqUitous nature of digital and networked media (from the multimedia Internet to personal media and lCTs) define an ever more articulated and complex scene wherein subjects move and make their choices (Ito, 2007: (...)TRaditional forms of distributing television, movies or music (e.g. broadcasting or physical supports) exist alongside new circulation practices (e.g. p2p online networks). One-to-one communication modalities (e.g. fixed or mobile phone) sit alongside many-to-many forms (e.g. Instant Messaging, blogs, social networking sites). Contents produced by institutional and commercial subjects exist alongside user-generated content of ever more multi-medial nature (not only text, but also pictures and videos). Niche contents, to be shared with a closed social circle, are to be found alongside mainstream contents. And so on. The increasing complexity of this contemporary mediascape makes it utterly urgent to re-think media change more broadly beyond the usual utopias and dystopias» (Mascheroni et al, 2008: 13-14)
MASCHERONI, Giovanna, PASQUALI, Francesca, SCIFO, Barbara, SFARDINI, Anna, STEFANELLI, Matteo, VITTADINI, Nicoletta (2008), Young Italians' Cross-media Cultures, Observatorio (OBS) Journal, 4, 13-32
Songkick; concertos ao vivo ("symantic web")
British Internet startup Songkick launched Wednesday with a vow to inspire digital-age music lovers to reclaim the joy of hearing bands play hot in real-world venues. The London-based website debuts with a free online utility that matches people's tastes in music with the schedules of bands performing in the US or UK. (...) Songkick cofounder Ian Hogarth told AFP during an interview in San Francisco."The music industry isn't dying; it is just moving to live. People really value that real-world experience. We are focused on using the web to make people get off the web and in front of a band." Songkick's goal is to make it as simple to find live music as it is to find out which movies are playing at local theaters. (...)Songkick struck alliances with all major concert ticket vendors in the United States and United Kingdom, compiling a database of scheduled performances and getting fees for each customer sent their ways. Songkick uses "symantic web" software to scan the Internet for references to bands in blogs, social-networking pages and other online commentary. (...) For example, if a blogger likens the band Linkin Park to Limp Bizkit the software notes that for future recommendations to Songkick users that enjoy either of the groups.»
Songkick website guides music lovers to real-world concerts (AFP) SAN FRANCISCO (AFP)
Telemóveis da Nokia vêm com música
dar mais interactividade aos utilizadores
O consumo de rádio online nos EUA
PSP com mais canais de música
O que falha nos serviços de streaming
«(...) there are some inherent disadvantages to these services. For starters, unless you want to take your whole computer with you, you can't take the services with you, because the playlists can't be offloaded to digital music players like iPods. “So in order for these websites to be considered web radio you can only skip a certain amount of songs, so if you don't like five songs in a row you can't just skip five songs,” said Monson. “Also, the playback order is going be randomized so you can order the songs in the order you want to play them back. You have to have at least 15 songs, so you can't just pick a playlist of five songs and play it over and over again.”
fonte: «Make your own online radio station By: Adam Balkin, NY1 18/03/08