Pôr em causa o conceito radiofónico (Cebrian Herreros)

«¿Qué abarca el concepto de radio, dónde empieza y dónde termina? ¿Cuáles son, por ejemplo, las fronteras con las ofertas musicales en los diversos medios y soportes? Recuerdo etapas anteriores en las que sólo se reconocía como radio la emitida por ondas hertzianas. De hecho, apenas se ha hablado, al contrario que en la televisión, de radio por
cable a pesar de su existencia desde hace varias décadas en algunos países europeos y en particular en España explotada con la marca Hilo Musical. Es una ampliación del concepto radiodifusión sonora ya que en este caso es distribución sonora. Tampoco se ha insistido, tal vez ante los problemas planteados, en la radio por satélite. Y ahora llega la dimensión de la radio por Internet.(...)
La radio abre una vía nueva de expansión y, en consecuencia, reclama también la ampliación del concepto de radio para integrar en él los cambios producidos. Es un nuevo concepto de radio: se ve, se escucha, se interviene por escrito y oralmente, se participa, se chatea. La ciberradio está delimitada por un conjunto de elementos que es preciso resaltar aunque sea de manera escueta. Lo importante ahora no es insistir en los instrumentos técnicos requeridos para esta ciberradio sino en los elementos que modifican su concepción tradicional y en la dimensión comunicativa y expresiva. (...) ¿Un chat sonoro es un programa radiofónico con participación telefónica o en estudio de la audiencia?»


fonte: Cebrian Herreros, Radio en Internet
http://www.nebrija.com/eventos/dca/ciberperiodismo/Ponen_Cebrian_12-03-03.pdf

(5.2, optimism) Comparar a internet na rádio com o Fm ou o transístor

«La nueva comunicación radiofónica por Internet incorpora los elementos originales de ésta: interactividad, hipervínculos y navegación. Son conceptos enriquecedores y que suponen un cambio tan importante como el que en su
momento fue la introducción de la estereofonía, la FM, los transistores. La grabación en cinta de aquella época hoy está vinculada a la grabación digital en disquetes o en discos duros de cualquier mensaje musical, oral sonidos de
ambiente. Son los elementos definidores de la nueva modalidad radiofónica»

fonte: Cebrian Herreros, Radio en Internet
http://www.nebrija.com/eventos/dca/ciberperiodismo/Ponen_Cebrian_12-03-03.pdf

Como os arquivos on line mudam a rádio

«Ofertas almacenadas o empaquetadas de la programación con accesos aleatorios por el usuario. Se rompe de este modo la fugacidad del medio y de la audición en tiempo presente y sincrónico al de la emisión. Cada oyente puede elegir dentro de amplios índices de programas y de programaciones; se pasa de la programación difundida a la autoprogramación (...) Se abre la vía, como ha ocurrido con algunas experiencias en los periódicos, a la radio personalizada, es decir, a la incorporación del correspondiente software para que del conjunto de las ofertas de las emisoras el seguidor elija sólo aquello que le interese: fútbol, economía, cultura.
El empaquetado de programas aporta mayor capacidad selectiva a la audiencia y transforma la radio: de un medio fugaz se pasa a un medio de oferta permanente con capacidad para la repetición y, en consecuencia, aproximación a los medios de consumo controlado y dirigido por cada oyente.
De este modo, la radio segmenta tanto la audiencia que se llega hasta la radio de uso personalizado como ocurre con el libro; todo radica en el número de oyentes que coincidan en interés por el mismo programa o fragmento para que sea rentable la oferta y la inversión publicitaria en tales productos.
Cada oyente tiene capacidad para elegir el momento y el lugar de audición y para captar el contenido que desee, con independencia de la organización programática que haya propuesto la emisora. El oyente elige el fragmento, se
autoprograma la información. Se pasa de la información y de los contenidos difundidos a los contenidos almacenados en espera de que los oyentes elijan.»
fonte: Cebrian Herreros, Radio en Internet

Durante quanto tempo a rádio será analógica?

«It remains true that over the air broadcasting will be the principle distribution path for most public radio programs today and for the foreseeable future. But even in over the air radio broadcasting, the last enclave of the old analogue world, change is rapidly occurring. As of today, more than 600 public radio stations are moving to digital operations. By the end of 2007, we anticipate 350 stations to be on the air with digital signals, and of those more than 100 will be multicasting, serving their communities and listeners with not one, but two or more streams of public radio programming.

fonte: STATEMENT OF DANA DAVIS REHM SENIOR VICE PRESIDENT – STRATEGY & PARTNERSHIPS NATIONAL PUBLIC RADIO SENATE COMMERCE COMMITTEE October 24, 2007
http://commerce.senate.gov/public/_files/NPRSenateCommerceStatement.pdf

O futuro da rádio depende da programação (conteúdo) e tecnologia

«The future of radio depends on programming and content first and foremost. (...)While content is the first principle, the future of radio depends on technology. In public radio, we know that our audience is demanding changes in how and when we provide programming to them. The old broadcast model of “if you build it, they will come”, no longer holds true. As we often say, our listeners want programming on their terms, whenever and wherever it is most useful to them and to be delivered on a multitude of reception devices. To them, it is all the public radio experience. (...) The future of radio is dependent on equal parts of programming and technology so that audiences are engaged with content that enriches, educates and informs at the times and places most convenient and useful to them.»

fonte: STATEMENT OF DANA DAVIS REHM SENIOR VICE PRESIDENT – STRATEGY & PARTNERSHIPS NATIONAL PUBLIC RADIO SENATE COMMERCE COMMITTEE October 24, 2007
http://commerce.senate.gov/public/_files/NPRSenateCommerceStatement.pdf

Ouvintes (consumidores?) do Pandora compram mais música

«Another unique feature of Internet radio is click-to-buy purchasing opportunities, and immediate access to artist information, including the artist’s promotional website and tour schedule. Pandora is a powerful platform for recording companies and artists during this tumultuous period for recorded music. An August 2007 Nielsen/NetRatings research study concluded that Pandora listeners are three to five times more likely to have purchased music in the last 90 days than the average American. Similarly, Pandora is one of the top referral sites for music purchasing from both Amazon.com and the iTunes Music Store. Other studies have documented that Internet radio listeners are generally more engaged with music, they talk about it more and attend more performances, and they inevitably promote artists and music through word-of-mouth marketing»

fonte: «Testimony of Tim Westergren» U. S. Senate Committee on Commerce, Science and Transportation Hearing on 'The Future of Radio', 24/10/07
http://commerce.senate.gov/public/_files/TimWestergrenFINALFINAL1022505pm.pdf

A rádio do futuro beneficiará também das possibilidades abertas pela Internet

«Internet radio is uniquely different from broadcast, satellite and even low-power FM radio, because on the web there are virtually no spectrum limitations and therefore no capacity or scarcity issues. As a result, Internet radio offers almost unlimited “stations” which results in unlimited content diversity»

fonte: «Testimony of Tim Westergren» U. S. Senate Committee on Commerce, Science and Transportation Hearing on 'The Future of Radio', 24/10/07
http://commerce.senate.gov/public/_files/TimWestergrenFINALFINAL1022505pm.pdf

Muito mais escolhas (e diversidade) no Pandora

«Equally unique is the breadth of our playlist. Pandora musicologists will review any CD that is delivered to us, and in most cases enter it into our database and make it available for our millions of listeners to hear. Pandora’s collection includes hundreds of thousands of songs across the genres of Pop, Rock, Jazz, Electronica, Hip Hop, Country, Blues, R&B, Latin and in just a few weeks, Classical. These recordings range from the most popular artists to the completely obscure, and each month our nearly fifty musicologists analyze and add roughly 14,000 new songs to the catalogue – a very deliberate process that requires between 15 and 30 minutes per song.
There are no prerequisites for inclusion in the Music Genome Project. Indeed, it is quite common for us to add amateur homemade CDs to the service. As a card-carrying independent musician I am proud to report that fully 70% of the sound recordings in our collection, representing over 35,000 artists, are recordings of artists who are not affiliated with a major record label. Most important, because we rely only on musical relevance to connect songs and create radio playlists, all artists are treated equally in the playlist selection process and as a result independent music is likely heard more on Pandora then perhaps any other popular radio service. More than 50 percent of Pandora radio performances are from independent musicians, compared to less than 10 percent on broadcast radio. (...) individuals can hear the types of music they enjoy and simultaneously discover new songs and artists that would otherwise be literally invisible
to them. Unconstrained by spectrum limitations, webcasting has created a genuine explosion of accessible musical diversity. Lute music, classic country, jazz, klezmer, dixie, gospel, Latin and Hawaiian music – you name it and you can find it – every kind and color of music has found a home and connected with its audience, no matter how small, on the Internet.»



fonte: «Testimony of Tim Westergren» U. S. Senate Committee on Commerce, Science and Transportation Hearing on ’The Future of Radio’, 24/10/07
http://commerce.senate.gov/public/_files/TimWestergrenFINALFINAL1022505pm.pdf

A democraticidade de funcionamento do Pandora

Tim Westergren:
«Something unique about Pandora is that all music, once analyzed by our musicologists and entered into our database, wins and loses audience in the purest of democratic processes. If listeners vote “thumbs up” a song and artist are electronically added to more station playlists, the exposure is greater, and more people can offer opinions about that music. If listeners consistently vote “thumbs down” then the song is performed and heard less. Not even my musical tastes or the CEO’s favorites can modify the purity of how our musical taxonomy determines all Pandora radio performances»

fonte: «Testimony of Tim Westergren» U. S. Senate Committee on Commerce, Science and Transportation Hearing on 'The Future of Radio', 24/10/07
http://commerce.senate.gov/public/_files/TimWestergrenFINALFINAL1022505pm.pdf

Fundador do Pandora diz que é um 'internet radio service'

Diz Tim Westergren, fundador do Pandora: «Pandora is an Internet radio service that listeners enjoy on their personal computers, through home entertainment products and on mobile phones».
Curioso como o serviço que mais simboliza o corte com a rádio clássica se assume como um serviço de rádio...

fonte: «Testimony of Tim Westergren» U. S. Senate Committee on Commerce, Science and Transportation Hearing on ’The Future of Radio’, 24/10/07

Perguntei depois a Mark Ramsey se concorda com a ideia; ele respondeu que sim, que aceita que o Pandora seja um internet radio service.

Neste texto, sobre a relação da industria publicitária com a expressão web3.0 encontrei uma explicação: «“Web 2.0 is a goal that we haven’t even come close to reaching yet,” says Richard Townsend, digital media strategist for Circus Street Communications in London. “For marketers to start to think about Web 3.0 would be misleading.”». Ou seja, a industria não quer evoluir para novos conceitos, que não sabe o que são, preferindo manter-se ligada a um anterior, que tem rendibilidade

 

Um novo conceito para a rádio do futuro: «interchangeable»

«Anna maintained that young people "are listening to more radio than ever." And it took me a while to realize that by "radio" she meant all forms of radio - satellite, terrestrial, podcasting, and especially Internet. They are, in other words, interchangeable [intermutável, substituível, que alterna] to that audience. Thus they should be interchangeable to you, your station, and your strategic plan»

fonte: «A Glimpse into Radio's Future, courtesy of the Zandl Group», Hear2.0, Mark Ramsey, 30/10/07

A rádio do futuro discutida pelo senado EUA

O futuro da rádio é o tema de uma audição promovida pelo senado dos Estados Unidos.

Chamo a atenção para o depoimento do fundador do Pandora:

«In one sense multimedia convergence has already blurred the line between traditional ‘terrestrial radio’, Internet radio, mobile radio, cable radio, satellite radio and even community radio. For example:

1. Your mobile phone today can transmit a "webcast", and with a $2 adaptor you can listen to that Internet radio through your car stereo.
2. You can start a "community" radio station on the Internet and while content is focused locally, an audience is available (and may actually listen) globally.
3. Your car stereo today comes pre-loaded with AM/FM and perhaps XM, but in only a few years cars will have WiMAX broadband access and you will be able to enjoy Internet radio directly and throw away the adaptor I just spoke of.

To a listener who is hearing a single station at a given time, it is just radio and their choices are amazing – which content do I want to hear, when do I want to hear it, and on what device?

A rádio do futuro: distribuição

Mark Ramsey: «Read that again: "As distribution becomes more ubiquitous, the future is about continuously providing compelling new content that interactively engages users." In other words, when you can get anything, you want something. Broadcasters have a unique opportunity: To invest - and I mean invest heavily and wisely - in digital strategies now, which we still have the biggest and best media loudspeakers in existence. To invest in content that can thrive across multiple distribution channels. Unique, compelling content. «And to make radio content portable and interactive regardless of whether or not listeners are tuning in your frequency to get it»

Visual Radio; agora é no fim do ano

«White Plains, NY - Oct 26, 2007 - RCS is working with Nokia to roll out the Visual Radio experience to radio listeners and cell phone users worldwide. Visual Radio enables mobile device users to receive FM radio broadcasts with fully synchronized interactive graphic content. Visual Radio users will be able to see real-time information on artists, upcoming concert dates and other music-related topics on the phone display while listening to FM broadcasts. The service allows interactivity with the broadcast, such as participation in listener competitions and promotions. The new enhanced version of the service also allows radio stations to transmit visual advertisements at the same time listeners hear the spots on radio. In addition, RCS has released a new version of its Radio Show software to work with Visual Radio, so that the same rich content being seen on the mobile device will also appear simultaneously on multiple digital platforms including HD Radio and the Internet. The new enhanced Visual Radio service is expected to be available in select cities in at least 10 countries by the end of the year.»

fonte: «RCS, Nokia Partner on Visual Radio », Radio Currents Online, 22/10/07

Horas sem publicidade; uma nova tendência?

Significa perda de receitas imediatas, mas mais probabilidade de escuta nos mercados com PPM (EUA):

«And it’s not just for an hour. More stations are airing longer blocks of ad-free programming. One Boston station has given back three hours a day. What does it mean for dollars and ratings? Obviously, they’re going to be giving up some revenue. But some programmers think it could have a positive effect on ratings in the long run. Especially in a PPM world»: fonte: «Commercial radio goes commercial-free», 29/10/07, Inside radio

 

Uma coisa positiva em 2008: não será muito negativa... (EUA)

«With the clock ticking toward a new year, Bear Stearns analyst Victor Miller projects radio will have another “challenging” year as revenues hold flat with “many forces on either side of the scale.” Miller says “Incredibly, one of the biggest positives for local radio in 2008 is that there will likely be fewer negatives.” On the plus side are more political dollars and increasing web revenues.»

fonte: «2008 Forecast: “The scale could tip either way.”», Inside Radio, 29/10/07

O futuro da rádio; o que se discute na GB

«Radio at the Edge 07 - understand the transition to digital, online, on air and on demand. New producers, new platforms, new income streams, new costs, little regulation. How does the UK compare worldwide? (...) Radio for the Facebook Generation
In a world where social networking is all the rage, where does radio fit in? How can broadcasters and producers help manufacturers develop new products, and help listeners discover new programmes, new music and new stations? (...) In the days before digital, radio broadcasters had FM and AM and that was just about it. Today these platforms have been joined by DAB, online, WiFi, satellite, mobile and digital TV as routes to the audiences. New platforms are emerging all the time. But does the cost of being on multiple platforms justify the returns? Why are some of the UK’s biggest operators reducing investment in some new platforms? How can increasingly cash-strapped broadcasters justify an interest in all of them?» 

Hohlfeldt, Antonio, Martino, Luiz C., e França, Vera Veiga, Teorias da Comunicação, Petrópolis, Vozes, 2001

A web2.0 segundo Levy

«Nada abala o optimismo de Pierre Lévy com a Internet. Um dos principais teóricos da revolução digital, filósofo da informação e professor de comunicação na Universidade de Ottawa (Canadá), Lévy acha que a grande questão colocada hoje à rede é apenas aumentar as informações disponíveis, o que é o objecto de sua linha de estudo actual. Lévy foi quem propôs o conceito de "inteligência colectiva" no começo dos anos 90, quando a Internet comercial ainda engatinhava. Hoje, "sem falsa modéstia", diz que o seu conceito virou um padrão.

 

Ao contrário do que muitos poderiam esperar, Lévy não acha que a web 2.0 ou web participativa, um dos principais focos de discussão actual sobre a rede, seja uma novidade. "A web 2.0 significa apenas que há muito mais gente a apropriar-se da tecnologia da Internet, o que a torna um fenômeno social de massas. Significa que já não é necessário recorrer a intermediários ou técnicos. Do ponto vista de conceito de base, não há uma grande diferença em relação à Internet original", disse Lévy, em entrevista à Folha.

Levy lembra que os portais de busca (como Google e Yahoo) têm no máximo 20% das informações da rede. "Essa nova linguagem permitirá indexações na Internet, um acesso maior ao conteúdo que existe hoje na Internet. Estou a acabar a gramática agora", diz. "Não é uma linguagem para ser utilizada pelo grande público e vai demorar algum tempo para tornar-se linguagem comum", afirma.

fonte: http://www.esquerda.net/index2.php?option=com_content&do_pdf=1&id=3783

Os novos meios são meios de massas?

El Sentido de Comunidad en los Nuevos Medios, por Jaime Alonso Número 42 Razon y Palabra:«Una manera de comprender los nuevos medios –quizá introductoria– es aquella que los contempla desde una perspectiva comparativa con los medios de masas. En este sentido, una aportación que consideramos de mucha relevancia es la que indica que 'Los nuevos medios de comunicación determinan una audiencia segmentada y diferenciada que, aunque masiva en cuanto a su número, ya no es de masas en cuanto a la simultaneidad y uniformidad del mensaje que recibe. Los nuevos medios de comunicación ya no son medios de comunicación de masas en el sentido tradicional de envío de un número ilimitado de mensajes a una audiencia de masas homogénea. Debido a la multiplicidad de mensajes y fuentes, la propia audiencia se ha vuelto más selectiva. La audiencia seleccionada tiende a elegir sus menajes, por lo que profundiza su segmentación y mejora la relación individual entre emisor y receptor' (Sabbah: 219, apud Castells, 2000: 412; CASTELLS, M.: La era de la información. Vol. 1. La sociedad red. Alianza Editorial, Madrid, 2000 (2ª edición)