The music industry is one of the class and specialty areas of commercialization of cultural produ... more The music industry is one of the class and specialty areas of commercialization of cultural products. From the first commercial concerts to the advanced computerized systems of handling music files on the Internet it is noted that in conjunction with the typical stages of cultural production, namely those of the creation, production, technological reproduction and circulation of musical product (Hesmondhalgh, 2002 ) the practices of cultural consumption affect both the dynamic performance symbolic meaning and material formed the musical product and to reorganize itself in the music industry. Media and especially music radio so far constituted the main communicators of music content, providing the largest share of artists to communicate with the audiences and especially by proposing new kinds of music and music performance. The decade of 2000 has been described by many as “the crucial period of continuous changes” in the music industry and of course the mass media. The global financial crisis and the development of new forms of communication and dissemination of content and communications transformed the business models involved in music industry and mass media. The loss of faith and trust on the part of artists in the music industry practices so far and their need to communicate the produced cultural material in ways more direct and fair, has created a new communication and business hybrid that runs between the practices of traditional record companies and new structures of the online environment, focusing on individual rather than the corporate identity. Artists have in their control the largest percentage of record sales, live performances, interviews etc. They choose more direct ways to communicate with the radio producers and audience and mostly they dissipate their communicational profiles in more than one communication channels (analog and digital). Behind these actions usually operate small groups of professionals in the music industry and media, which offer connections and experience in the field. In short terms these groups of practitioners function more as communication and/or business consultants, rather than as managers or image makers. The paper will attempt to present the communication and business methods that these new teams use to operate in major and smaller markets like Greece, analyzing their practices and foreseeing their future in the new communication and business environment.
Το άρθρο αυτό στοχεύει στο να επεξηγήσει τον τρόπο λειτουργίας των e-zines ως νέα μορφή ψηφιακών ... more Το άρθρο αυτό στοχεύει στο να επεξηγήσει τον τρόπο λειτουργίας των e-zines ως νέα μορφή ψηφιακών πληροφοριών. Χρησιμοποιώντας ως αφετηρία την ελληνική e-zine βάση δεδομένων του Εργαστηρίου Νέων Τεχνολογιών, επιχειρείται να καταδειχθεί και να αξιολογηθεί την παρουσία των ελληνικών e-zines σε αναφορά με τις δυνατότητες που προσφέρονται από το σύγχρονο ψηφιακό περιβάλλον προς μία μη γραμμική, πολυστρωματική δομή του περιεχομένου (hypertextuality). Επίσης στο άρθρο αυτό εξετάζονται οι βασικές αρχές σχεδιασμού καθώς επίσης και οι κανόνες επικοινωνίας που χαρακτηρίζουν τη «σύγχρονη» γραφή λαμβάνοντας υπόψη ότι στις νέες τεχνολογικές πλατφόρμες, το περιεχόμενο παρουσιάζεται ακόμα σύμφωνα με τα πρότυπα επικοινωνίας των «παραδοσιακών» μέσων.
Over the course of history, the structures of societies and the relations between different socie... more Over the course of history, the structures of societies and the relations between different societies have been shaped to a great extent by the flow of information in them (Diamond: 1997). More recently, in Greece over the last ten to fifteen years, there has been interest not just in observing these flows, but also in influencing and creating them. The mainstream adoption of the Internet and Web has changed the physics of information diffusion. Until a few years ago, in Greece the major barrier for someone who wanted a piece of information to spread through a community was the cost of the technical infrastructure required to reach a large number of people. Today, with the increasing spreading access to the Internet, this bottleneck is largely been removed.
The colour, the form and the typography constitute the basic elements in the creation of composit... more The colour, the form and the typography constitute the basic elements in the creation of composition. The multiple interpretation of use of colour, the "common" semiotic interpretation of the geometrical forms in the daily communication but also the typographical elements through selected forms, types and places determine with particular way the unlimited nuances of communication landscape.
The complexity or the austerity of communication composition is fixed by the needs and the particular characteristics of means. Very often we are raising questions about the inversion of the semiotic limits of communication. At the same time these communication mechanisms, older and newer, are activated and they are called to reverse or to confirm the communication character of composition.
The correspondence of final recipient to the criteria of choice of author-communicator is the one that determines the continuity of communication.
This presentation attempts to examine the social and communicational changes that new technologie... more This presentation attempts to examine the social and communicational changes that new technologies and especially internet technology has over “traditional” media, such as radio and communication practices. More than ninety years after the world’s first station was founded, radio is still the most pervasive, accessible, affordable, and flexible mass medium available. Over the past few years a number of experiments blending independent local radio and the Internet are creating new models of communication. A newer generation of audience evolved through this amalgamation of older and newer technology. Interfaces that allow the user to select through a wide range of music styles and artists transform the radio to a personal music player with the quality elements of the old medium and the personalized music choices of the audience.
Advances in information and communication technologies have been utilised by a large number of ar... more Advances in information and communication technologies have been utilised by a large number of artists worldwide for the purpose of creating installation artworks during the last 4 decades. More recently, many sound artists have attempted to expand their works in space by creating auditory environmental experiences. Quite often, one of the main characteristics of this art form is its “site specificity”; in other words an attempt to establish an actual connection to the place and the context where it is installed.
This paper discusses the issue of creating (interactive or not) auditory installation environments. It attempts to approach this issue at two levels:
• the creative process from the artist’s perspective
• as a process of communication, whereby the artist creates a type of mediated space which communicates an auditory environmental experience to the receiver/participant.
For this purpose, the paper will firstly attempt to analyze these mediated experiences, with the aid of relevant models of communication theory. Secondly the paper will discuss the manner in which participants usually respond to aspects of such mediated environmental experiences, how they interact with these systems, how they interact with others within these environments and how they may feel about their experience. In order to achieve that, the paper utilises as case studies certain artworks produced by one of the authors. Moreover, the presentation will be accompanied by videos of these installation environments, which illustrate the concepts discussed.
This paper aims to examine the structure and the operation of the new digital Mass Media, to loca... more This paper aims to examine the structure and the operation of the new digital Mass Media, to locate the new relation between communicator and receptor, proposing a new communication model.
The paper will attempt to record and incorporate in the new model the deconstruction of journalistic information through alternative digital media, and networks as well as the growth of new hybrid form of information (the reproduced news are "translated" in bits and are propagated in different formats - sound, picture, video, animation) .
The growth of new technologies claims between other the equality of the digital citizens. That however is achieved when still do exist countries in which the access in such type of technologies is limited up to non-existent?
Finally, do we speak about a digital oligarchy? Via the new communication channels we can retrieve and collect information that was before considered inapproachable for citizens. The functionality of teams that substantially deconstruct the information mechanism and reconstruct it through their own mechanisms and filters is given from the moment where the first import of information in the Network existed. Critical confrontation of the subject of information and reaction of big teams, or simply controlled steps of disorientation?
How alternative are the so called “alternative information sources” in comparison with the big information organizations?
Μέσα από την ανάλυση της περίπτωσης του ραδιοφώνου ως «θερμό» μέσο επικοινωνίας και ενημέρωσης η ... more Μέσα από την ανάλυση της περίπτωσης του ραδιοφώνου ως «θερμό» μέσο επικοινωνίας και ενημέρωσης η εισήγηση αυτή αποπειράται να παρουσιάσει την τεχνολογική ιστορία του ραδιοφώνου στην Ελλάδα, καταλήγοντας στο παρόν και τη σύγκλιση του ραδιοφώνου με νέες μορφές μέσων και μετάδοσης στο σύγχρονο τεχνολογικό περιβάλλον.
Στο μεταβατικό στάδιο από το αναλογικό προς το ψηφιακό ραδιόφωνο οι ακροατές των ερτζιανών έρχονται αντιμέτωποι με ερωτήματα και διλήμματα. Οι νέες προσφερόμενες δυνατότητες του ψηφιακού ραδιοφώνου (καλύτερη ποιότητα ήχου, περισσότερες επιλογές σταθμών, μεγαλύτερη ευελιξία πρόσβασης και χρήσης) δημιουργούν κύμα αβεβαιότητας στην Ευρώπη που αναζητά το καλύτερο δυνατό μοντέλο για τους χρήστες.
Τα Μέσα Μαζικής Ενημέρωσης αλλάζουν σταδιακά τον χαρακτήρα τους στην ψηφιακή εποχή σε σχέση με την αναλογική. Οι δυνατότητες που έχει πλέον ο πολίτης να επιλέξει μόνος του αυτό που θέλει να δει ή να ακούσει (μοντέλο “pull”) – όποτε το θέλει (on demand), ουσιαστικά καθιστά παρωχημένο το παλαιότερο μοντέλο όπου ένα έντυπο μέσο ή ένας ραδιοτηλεοπτικός σταθμός εκδίδει σε προκαθορισμένους χρόνους το αναλογικό του περιεχόμενο .
Γενικότερα, το μοντέλο όπου ο χρήστης ζητάει περιεχόμενο αντί για το μοντέλο όπου το μέσον ενημέρωσης ή ψυχαγωγίας “σπρώχνει” περιεχόμενο, φέρνει μία μικρή επανάσταση και στην ίδια την ποιότητα του ενημερωτικού / ψυχαγωγικού υλικού. Εκεί που παλαιότερα τα μέσα απευθύνονταν μαζικά σε έναν μέσο όρο, πλέον το περιεχόμενο μπορεί να είναι απολύτως εξειδικευμένο για να καλύψει ειδικές ανάγκες ατόμων.
Αντίθετα τα ραδιοτηλεοπτικά μέσα προσπαθούν να “συμβιβάσουν” την πληροφόρηση υπολογίζοντας έναν μέσο όρο ενδιαφέροντος από πλευράς θεατών. Όμως στην ψηφιακή εποχή, η πληροφόρηση και η ψυχαγωγία θα γίνεται με “mass-customization” όπου όλοι οι θεατές θα αναζητούν το εξειδικευμένο περιεχόμενο το οποίο τους ενδιαφέρει.
Σε αυτό το σκέλος, η συμβολή της παραγωγής ψηφιακού περιεχομένου είναι ίσως καθοριστικής σημασίας ώστε να αξιοποιηθούν οι νέες δυνατότητες στο έπακρο. Εδώ δεν αρκεί μόνο η ψηφιοποίηση αναλογικού υλικού ή η δημιουργία ψηφιακού υλικού με βάση αρχές παραγωγής όπως αυτές που ισχύουν στην αναλογική εποχή – αλλά χρειάζεται η δημιουργία υλικού το οποίο να καλύπτει πολλαπλά εξειδικευμένα ενδιαφέροντα.
Όπως γίνεται κατανοητό από τα παραπάνω, τα τελευταία χρόνια δόθηκε ιδιαίτερη έμφαση στην τεχνολογία του μέσου αλλά παραμελήθηκαν αρκετά τα άλλα δύο στοιχεία του, το περιεχόμενο και οι ακροατές. Από τη στιγμή που θεωρητικά τουλάχιστον καταλήγουμε σε μια κοινή τεχνολογική πλατφόρμα, έστω και αν αυτό αναγκάζει κάποιους να κινούνται σε δύο ταχύτητες ήρθε η ώρα να ασχοληθούμε και με το «τι» και για «ποιους» θα εκπέμπουμε ψηφιακά.
Βιβλιογραφία
Παπαθανασόπουλος, Στέλιος (1997), «Η δύναμη της τηλεόρασης, η λογική του μέσου και η αγορά», Αθήνα: Καστανιώτης.
Crisell, A. (1986). Understanding Radio. London: Routledge.
Goffman, E. (1980). “The Radio Drama Frame” in Corner, J. & Hawthorn, J. (eds) Communication studies: an introductory reader. London: E. Arnold.
Hendy, D., Radio in the global age, Cambridge: Polity Press, 2000
Paulu, B. (1981). Television and Radio in the United Kingdom. London: Macmillan.
Silvey, R.(1974). Who’s Listening? London: George Allen & Unwin.
Over the past decade, developments in technology have dramatically broadened options for audio pr... more Over the past decade, developments in technology have dramatically broadened options for audio programming. The revolution began to take place in the mid – 1990’s with a newfound ability to listen to audio being “streamed” over the Internet. Since then, web - radio has continued to expand with the advent of “podcasting”, which offers radio programming on demand.
The interaction between audiences, traditional and new media has change a lot. The role of the radio as a medium of massive information and cultural promotion misplaced by the phenomenon of social isolation that new media impose over traditional mass communication. A new generation of audience has been created. “Podcasters” have revised through new technology the way that the classic communication model applies to radio.
This paper aims to examine the way that old technology integrates new radio technologies by attempting to answer the phenomenon of social isolation and interaction of the audience with new and traditional media. Based on the results of a quantitative research which took place, among the students of the Department of Communication and Media Studies, National University of Athens, from September – December 2006, this paper attempts to give some answers for the new communicational status and probably rise questions for further analysis.
In the past few year, “online” consumers developed two very powerful habits for the informative g... more In the past few year, “online” consumers developed two very powerful habits for the informative goods of – the first one is the “downloading” via Internet and the second is the “free of charge” acquisition. These habits influence now the music, as a newer informative good. The changes that resulted in the consuming behavior and at extension in the economy of musical industry are powerful and direct. They are considered in deed so much powerful what they tend to change the whole structure of music industry.
The new structure describes the deconstruction of old chain of production in the music industry. Recording companies, as we knew them, tend to disappear. Also their role will change in order to be adapted in the new structure of music industry or will shrink considerably. Nowadays the fundamental channel for commercial promotion and distribution of music is the Internet. The New internet model of dissemination of information replaces the old enterprising model of distribution of goods.
Offline media since their early days have followed a top-down structure to diffuse information. T... more Offline media since their early days have followed a top-down structure to diffuse information. The appearance of the web put into question the traditionally applied practices, introducing a bottom-up model information flow. As the network grows, it becomes increasingly confusing and consequently rules have to be applied in order to organize the vast amount of available information.
In this paper the various aspects of the message-medium-rules triptych are examined under the light of changes brought to the component parts of a communication formula by ICT. Among the conclusions of this theoretical discussion outstands the dynamic interactive relation between the transmitter and the receptor which dominates the new media environment.
This paper aims to illustrate the modus operandi of e-zines as a new form of digital information ... more This paper aims to illustrate the modus operandi of e-zines as a new form of digital information by pointing out the applications of basic models of communication (relationship between sender and receiver) through the analysis of readability and the evaluation of the relationship [that is] inherent in graphic design – visual information representation and interaction methods.
Using the Greek e-zine database of the Laboratory of New Technologies in Communication and Mass Media of the Department of Communication and Media Studies of the National and Kapodistrian University of Athens as a starting point, this paper will attempt to demonstrate and evaluate the presence of Greek e-zines with regards to taking advantage of the possibilities offered by the modern digital environment towards a non-linear, multi-layered structure of content (hypertextuality).
Particular emphasis will be given to the changes in visual readability (in an 800x600 resolution) by detecting and subsequently assimilating the new logic of design and promotion of interactivity proposed by new media as a crucial (sine qua non) element of highlighting information.
An important feature of this paper is that it will attempt to detect the basic design principles as well as the rules of communication pertaining to the “modern” writing by starting with the admission that, in these new platforms, content is still presented according to the communication model of “traditional” media.
Over the past decade, developments in technology have dramatically broadened options for audio pr... more Over the past decade, developments in technology have dramatically broadened options for audio programming. The revolution began to take place in the mid-1990s with a newfound ability to listen to audio being “streamed” over the Internet. Since then, digital radio has continue to expand with the advent of “podcasting”, which offers radio programming on demand, and HD Digital Radio, which provides superior sound quality and additional, digital frequencies along the FM and AM dials. Interaction between audience and traditional and new media has changed a lot. The role of the radio as a medium of massive information and cultural promotion misplaced by the phenomenon of social isolation that new media impose over traditional mass communication. A new generation of audience has been created. “Podcasters” have revised through new technology the way that the classic communication model applies to radio.
This paper attempts to answer the phenomenon of social isolation and interaction of the audience with new and traditional media. For that reason a quantitative research took place among students of the Media Studies Department of the National University of Athens on how new media (especially podcasting) affects communication procedures. The results of this research will give us the answers of the new communicational status and probably will rise questions for further analysis.
The development of audio broadcasting via the web is probably the biggest revolution in broadcast... more The development of audio broadcasting via the web is probably the biggest revolution in broadcasting since the advent of FM. An incredible variety of stations stream their audio on the Internet, from small stations to national radio, from broadcasters already known for their FM services to Internet-only stations.
Additionally, numerous web radio stations have their own web sites with archives of their programs for on demand listening.
Today, there are approximately 2500 Internet radio stations in Real Networks, around 3000 stations (Internet radio and television) in Windows Media and almost 3000 in SHOUTcast, according to data offered in their web sites.
These numbers are growing at a rapid pace. There are several factors that contribute to this growth of web radio stations:
1. Web radio eliminates the coverage restriction found with FM radio stations. A radio station on the network can be accessed from any computer with Internet access.
2. Another factor is the ease of setting up a radio station server. Cheap hardware with Internet access along with free/ low-cost high-quality software enables any user to create his/ her own web radio station.
Greece on the other hand is a technological contradiction. Despite the fact that according to several surveys Greece is rated with a low to medium rate on the implementation and incorporation of the latest technological developments, it seems
that at the same time Greek people show a great interest about Internet and web radios.
This paper will present the results of a quantitive and qualitive research conducted among the listeners and the administrators of the most popular web radios in Greece.
It will also try to focus on the main reasons that lead Greek listeners to web radios and will try to explain the motives and the aesthetical criteria the Greek listeners and administrators of web radios use so as to rate the most popular of them.
The music industry is one of the class and specialty areas of commercialization of cultural produ... more The music industry is one of the class and specialty areas of commercialization of cultural products. From the first commercial concerts to the advanced computerized systems of handling music files on the Internet it is noted that in conjunction with the typical stages of cultural production, namely those of the creation, production, technological reproduction and circulation of musical product (Hesmondhalgh, 2002 ) the practices of cultural consumption affect both the dynamic performance symbolic meaning and material formed the musical product and to reorganize itself in the music industry. Media and especially music radio so far constituted the main communicators of music content, providing the largest share of artists to communicate with the audiences and especially by proposing new kinds of music and music performance. The decade of 2000 has been described by many as “the crucial period of continuous changes” in the music industry and of course the mass media. The global financial crisis and the development of new forms of communication and dissemination of content and communications transformed the business models involved in music industry and mass media. The loss of faith and trust on the part of artists in the music industry practices so far and their need to communicate the produced cultural material in ways more direct and fair, has created a new communication and business hybrid that runs between the practices of traditional record companies and new structures of the online environment, focusing on individual rather than the corporate identity. Artists have in their control the largest percentage of record sales, live performances, interviews etc. They choose more direct ways to communicate with the radio producers and audience and mostly they dissipate their communicational profiles in more than one communication channels (analog and digital). Behind these actions usually operate small groups of professionals in the music industry and media, which offer connections and experience in the field. In short terms these groups of practitioners function more as communication and/or business consultants, rather than as managers or image makers. The paper will attempt to present the communication and business methods that these new teams use to operate in major and smaller markets like Greece, analyzing their practices and foreseeing their future in the new communication and business environment.
Το άρθρο αυτό στοχεύει στο να επεξηγήσει τον τρόπο λειτουργίας των e-zines ως νέα μορφή ψηφιακών ... more Το άρθρο αυτό στοχεύει στο να επεξηγήσει τον τρόπο λειτουργίας των e-zines ως νέα μορφή ψηφιακών πληροφοριών. Χρησιμοποιώντας ως αφετηρία την ελληνική e-zine βάση δεδομένων του Εργαστηρίου Νέων Τεχνολογιών, επιχειρείται να καταδειχθεί και να αξιολογηθεί την παρουσία των ελληνικών e-zines σε αναφορά με τις δυνατότητες που προσφέρονται από το σύγχρονο ψηφιακό περιβάλλον προς μία μη γραμμική, πολυστρωματική δομή του περιεχομένου (hypertextuality). Επίσης στο άρθρο αυτό εξετάζονται οι βασικές αρχές σχεδιασμού καθώς επίσης και οι κανόνες επικοινωνίας που χαρακτηρίζουν τη «σύγχρονη» γραφή λαμβάνοντας υπόψη ότι στις νέες τεχνολογικές πλατφόρμες, το περιεχόμενο παρουσιάζεται ακόμα σύμφωνα με τα πρότυπα επικοινωνίας των «παραδοσιακών» μέσων.
Over the course of history, the structures of societies and the relations between different socie... more Over the course of history, the structures of societies and the relations between different societies have been shaped to a great extent by the flow of information in them (Diamond: 1997). More recently, in Greece over the last ten to fifteen years, there has been interest not just in observing these flows, but also in influencing and creating them. The mainstream adoption of the Internet and Web has changed the physics of information diffusion. Until a few years ago, in Greece the major barrier for someone who wanted a piece of information to spread through a community was the cost of the technical infrastructure required to reach a large number of people. Today, with the increasing spreading access to the Internet, this bottleneck is largely been removed.
The colour, the form and the typography constitute the basic elements in the creation of composit... more The colour, the form and the typography constitute the basic elements in the creation of composition. The multiple interpretation of use of colour, the "common" semiotic interpretation of the geometrical forms in the daily communication but also the typographical elements through selected forms, types and places determine with particular way the unlimited nuances of communication landscape.
The complexity or the austerity of communication composition is fixed by the needs and the particular characteristics of means. Very often we are raising questions about the inversion of the semiotic limits of communication. At the same time these communication mechanisms, older and newer, are activated and they are called to reverse or to confirm the communication character of composition.
The correspondence of final recipient to the criteria of choice of author-communicator is the one that determines the continuity of communication.
This presentation attempts to examine the social and communicational changes that new technologie... more This presentation attempts to examine the social and communicational changes that new technologies and especially internet technology has over “traditional” media, such as radio and communication practices. More than ninety years after the world’s first station was founded, radio is still the most pervasive, accessible, affordable, and flexible mass medium available. Over the past few years a number of experiments blending independent local radio and the Internet are creating new models of communication. A newer generation of audience evolved through this amalgamation of older and newer technology. Interfaces that allow the user to select through a wide range of music styles and artists transform the radio to a personal music player with the quality elements of the old medium and the personalized music choices of the audience.
Advances in information and communication technologies have been utilised by a large number of ar... more Advances in information and communication technologies have been utilised by a large number of artists worldwide for the purpose of creating installation artworks during the last 4 decades. More recently, many sound artists have attempted to expand their works in space by creating auditory environmental experiences. Quite often, one of the main characteristics of this art form is its “site specificity”; in other words an attempt to establish an actual connection to the place and the context where it is installed.
This paper discusses the issue of creating (interactive or not) auditory installation environments. It attempts to approach this issue at two levels:
• the creative process from the artist’s perspective
• as a process of communication, whereby the artist creates a type of mediated space which communicates an auditory environmental experience to the receiver/participant.
For this purpose, the paper will firstly attempt to analyze these mediated experiences, with the aid of relevant models of communication theory. Secondly the paper will discuss the manner in which participants usually respond to aspects of such mediated environmental experiences, how they interact with these systems, how they interact with others within these environments and how they may feel about their experience. In order to achieve that, the paper utilises as case studies certain artworks produced by one of the authors. Moreover, the presentation will be accompanied by videos of these installation environments, which illustrate the concepts discussed.
This paper aims to examine the structure and the operation of the new digital Mass Media, to loca... more This paper aims to examine the structure and the operation of the new digital Mass Media, to locate the new relation between communicator and receptor, proposing a new communication model.
The paper will attempt to record and incorporate in the new model the deconstruction of journalistic information through alternative digital media, and networks as well as the growth of new hybrid form of information (the reproduced news are "translated" in bits and are propagated in different formats - sound, picture, video, animation) .
The growth of new technologies claims between other the equality of the digital citizens. That however is achieved when still do exist countries in which the access in such type of technologies is limited up to non-existent?
Finally, do we speak about a digital oligarchy? Via the new communication channels we can retrieve and collect information that was before considered inapproachable for citizens. The functionality of teams that substantially deconstruct the information mechanism and reconstruct it through their own mechanisms and filters is given from the moment where the first import of information in the Network existed. Critical confrontation of the subject of information and reaction of big teams, or simply controlled steps of disorientation?
How alternative are the so called “alternative information sources” in comparison with the big information organizations?
Μέσα από την ανάλυση της περίπτωσης του ραδιοφώνου ως «θερμό» μέσο επικοινωνίας και ενημέρωσης η ... more Μέσα από την ανάλυση της περίπτωσης του ραδιοφώνου ως «θερμό» μέσο επικοινωνίας και ενημέρωσης η εισήγηση αυτή αποπειράται να παρουσιάσει την τεχνολογική ιστορία του ραδιοφώνου στην Ελλάδα, καταλήγοντας στο παρόν και τη σύγκλιση του ραδιοφώνου με νέες μορφές μέσων και μετάδοσης στο σύγχρονο τεχνολογικό περιβάλλον.
Στο μεταβατικό στάδιο από το αναλογικό προς το ψηφιακό ραδιόφωνο οι ακροατές των ερτζιανών έρχονται αντιμέτωποι με ερωτήματα και διλήμματα. Οι νέες προσφερόμενες δυνατότητες του ψηφιακού ραδιοφώνου (καλύτερη ποιότητα ήχου, περισσότερες επιλογές σταθμών, μεγαλύτερη ευελιξία πρόσβασης και χρήσης) δημιουργούν κύμα αβεβαιότητας στην Ευρώπη που αναζητά το καλύτερο δυνατό μοντέλο για τους χρήστες.
Τα Μέσα Μαζικής Ενημέρωσης αλλάζουν σταδιακά τον χαρακτήρα τους στην ψηφιακή εποχή σε σχέση με την αναλογική. Οι δυνατότητες που έχει πλέον ο πολίτης να επιλέξει μόνος του αυτό που θέλει να δει ή να ακούσει (μοντέλο “pull”) – όποτε το θέλει (on demand), ουσιαστικά καθιστά παρωχημένο το παλαιότερο μοντέλο όπου ένα έντυπο μέσο ή ένας ραδιοτηλεοπτικός σταθμός εκδίδει σε προκαθορισμένους χρόνους το αναλογικό του περιεχόμενο .
Γενικότερα, το μοντέλο όπου ο χρήστης ζητάει περιεχόμενο αντί για το μοντέλο όπου το μέσον ενημέρωσης ή ψυχαγωγίας “σπρώχνει” περιεχόμενο, φέρνει μία μικρή επανάσταση και στην ίδια την ποιότητα του ενημερωτικού / ψυχαγωγικού υλικού. Εκεί που παλαιότερα τα μέσα απευθύνονταν μαζικά σε έναν μέσο όρο, πλέον το περιεχόμενο μπορεί να είναι απολύτως εξειδικευμένο για να καλύψει ειδικές ανάγκες ατόμων.
Αντίθετα τα ραδιοτηλεοπτικά μέσα προσπαθούν να “συμβιβάσουν” την πληροφόρηση υπολογίζοντας έναν μέσο όρο ενδιαφέροντος από πλευράς θεατών. Όμως στην ψηφιακή εποχή, η πληροφόρηση και η ψυχαγωγία θα γίνεται με “mass-customization” όπου όλοι οι θεατές θα αναζητούν το εξειδικευμένο περιεχόμενο το οποίο τους ενδιαφέρει.
Σε αυτό το σκέλος, η συμβολή της παραγωγής ψηφιακού περιεχομένου είναι ίσως καθοριστικής σημασίας ώστε να αξιοποιηθούν οι νέες δυνατότητες στο έπακρο. Εδώ δεν αρκεί μόνο η ψηφιοποίηση αναλογικού υλικού ή η δημιουργία ψηφιακού υλικού με βάση αρχές παραγωγής όπως αυτές που ισχύουν στην αναλογική εποχή – αλλά χρειάζεται η δημιουργία υλικού το οποίο να καλύπτει πολλαπλά εξειδικευμένα ενδιαφέροντα.
Όπως γίνεται κατανοητό από τα παραπάνω, τα τελευταία χρόνια δόθηκε ιδιαίτερη έμφαση στην τεχνολογία του μέσου αλλά παραμελήθηκαν αρκετά τα άλλα δύο στοιχεία του, το περιεχόμενο και οι ακροατές. Από τη στιγμή που θεωρητικά τουλάχιστον καταλήγουμε σε μια κοινή τεχνολογική πλατφόρμα, έστω και αν αυτό αναγκάζει κάποιους να κινούνται σε δύο ταχύτητες ήρθε η ώρα να ασχοληθούμε και με το «τι» και για «ποιους» θα εκπέμπουμε ψηφιακά.
Βιβλιογραφία
Παπαθανασόπουλος, Στέλιος (1997), «Η δύναμη της τηλεόρασης, η λογική του μέσου και η αγορά», Αθήνα: Καστανιώτης.
Crisell, A. (1986). Understanding Radio. London: Routledge.
Goffman, E. (1980). “The Radio Drama Frame” in Corner, J. & Hawthorn, J. (eds) Communication studies: an introductory reader. London: E. Arnold.
Hendy, D., Radio in the global age, Cambridge: Polity Press, 2000
Paulu, B. (1981). Television and Radio in the United Kingdom. London: Macmillan.
Silvey, R.(1974). Who’s Listening? London: George Allen & Unwin.
Over the past decade, developments in technology have dramatically broadened options for audio pr... more Over the past decade, developments in technology have dramatically broadened options for audio programming. The revolution began to take place in the mid – 1990’s with a newfound ability to listen to audio being “streamed” over the Internet. Since then, web - radio has continued to expand with the advent of “podcasting”, which offers radio programming on demand.
The interaction between audiences, traditional and new media has change a lot. The role of the radio as a medium of massive information and cultural promotion misplaced by the phenomenon of social isolation that new media impose over traditional mass communication. A new generation of audience has been created. “Podcasters” have revised through new technology the way that the classic communication model applies to radio.
This paper aims to examine the way that old technology integrates new radio technologies by attempting to answer the phenomenon of social isolation and interaction of the audience with new and traditional media. Based on the results of a quantitative research which took place, among the students of the Department of Communication and Media Studies, National University of Athens, from September – December 2006, this paper attempts to give some answers for the new communicational status and probably rise questions for further analysis.
In the past few year, “online” consumers developed two very powerful habits for the informative g... more In the past few year, “online” consumers developed two very powerful habits for the informative goods of – the first one is the “downloading” via Internet and the second is the “free of charge” acquisition. These habits influence now the music, as a newer informative good. The changes that resulted in the consuming behavior and at extension in the economy of musical industry are powerful and direct. They are considered in deed so much powerful what they tend to change the whole structure of music industry.
The new structure describes the deconstruction of old chain of production in the music industry. Recording companies, as we knew them, tend to disappear. Also their role will change in order to be adapted in the new structure of music industry or will shrink considerably. Nowadays the fundamental channel for commercial promotion and distribution of music is the Internet. The New internet model of dissemination of information replaces the old enterprising model of distribution of goods.
Offline media since their early days have followed a top-down structure to diffuse information. T... more Offline media since their early days have followed a top-down structure to diffuse information. The appearance of the web put into question the traditionally applied practices, introducing a bottom-up model information flow. As the network grows, it becomes increasingly confusing and consequently rules have to be applied in order to organize the vast amount of available information.
In this paper the various aspects of the message-medium-rules triptych are examined under the light of changes brought to the component parts of a communication formula by ICT. Among the conclusions of this theoretical discussion outstands the dynamic interactive relation between the transmitter and the receptor which dominates the new media environment.
This paper aims to illustrate the modus operandi of e-zines as a new form of digital information ... more This paper aims to illustrate the modus operandi of e-zines as a new form of digital information by pointing out the applications of basic models of communication (relationship between sender and receiver) through the analysis of readability and the evaluation of the relationship [that is] inherent in graphic design – visual information representation and interaction methods.
Using the Greek e-zine database of the Laboratory of New Technologies in Communication and Mass Media of the Department of Communication and Media Studies of the National and Kapodistrian University of Athens as a starting point, this paper will attempt to demonstrate and evaluate the presence of Greek e-zines with regards to taking advantage of the possibilities offered by the modern digital environment towards a non-linear, multi-layered structure of content (hypertextuality).
Particular emphasis will be given to the changes in visual readability (in an 800x600 resolution) by detecting and subsequently assimilating the new logic of design and promotion of interactivity proposed by new media as a crucial (sine qua non) element of highlighting information.
An important feature of this paper is that it will attempt to detect the basic design principles as well as the rules of communication pertaining to the “modern” writing by starting with the admission that, in these new platforms, content is still presented according to the communication model of “traditional” media.
Over the past decade, developments in technology have dramatically broadened options for audio pr... more Over the past decade, developments in technology have dramatically broadened options for audio programming. The revolution began to take place in the mid-1990s with a newfound ability to listen to audio being “streamed” over the Internet. Since then, digital radio has continue to expand with the advent of “podcasting”, which offers radio programming on demand, and HD Digital Radio, which provides superior sound quality and additional, digital frequencies along the FM and AM dials. Interaction between audience and traditional and new media has changed a lot. The role of the radio as a medium of massive information and cultural promotion misplaced by the phenomenon of social isolation that new media impose over traditional mass communication. A new generation of audience has been created. “Podcasters” have revised through new technology the way that the classic communication model applies to radio.
This paper attempts to answer the phenomenon of social isolation and interaction of the audience with new and traditional media. For that reason a quantitative research took place among students of the Media Studies Department of the National University of Athens on how new media (especially podcasting) affects communication procedures. The results of this research will give us the answers of the new communicational status and probably will rise questions for further analysis.
The development of audio broadcasting via the web is probably the biggest revolution in broadcast... more The development of audio broadcasting via the web is probably the biggest revolution in broadcasting since the advent of FM. An incredible variety of stations stream their audio on the Internet, from small stations to national radio, from broadcasters already known for their FM services to Internet-only stations.
Additionally, numerous web radio stations have their own web sites with archives of their programs for on demand listening.
Today, there are approximately 2500 Internet radio stations in Real Networks, around 3000 stations (Internet radio and television) in Windows Media and almost 3000 in SHOUTcast, according to data offered in their web sites.
These numbers are growing at a rapid pace. There are several factors that contribute to this growth of web radio stations:
1. Web radio eliminates the coverage restriction found with FM radio stations. A radio station on the network can be accessed from any computer with Internet access.
2. Another factor is the ease of setting up a radio station server. Cheap hardware with Internet access along with free/ low-cost high-quality software enables any user to create his/ her own web radio station.
Greece on the other hand is a technological contradiction. Despite the fact that according to several surveys Greece is rated with a low to medium rate on the implementation and incorporation of the latest technological developments, it seems
that at the same time Greek people show a great interest about Internet and web radios.
This paper will present the results of a quantitive and qualitive research conducted among the listeners and the administrators of the most popular web radios in Greece.
It will also try to focus on the main reasons that lead Greek listeners to web radios and will try to explain the motives and the aesthetical criteria the Greek listeners and administrators of web radios use so as to rate the most popular of them.
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Papers by Eirini Giannara
From the first commercial concerts to the advanced computerized systems of handling music files on the Internet it is noted that in conjunction with the typical stages of cultural production, namely those of the creation, production, technological reproduction and circulation of musical product (Hesmondhalgh, 2002 ) the practices of cultural consumption affect both the dynamic performance symbolic meaning and material formed the musical product and to reorganize itself in the music industry. Media and especially music radio so far constituted the main communicators of music content, providing the largest share of artists to communicate with the audiences and especially by proposing new kinds of music and music performance.
The decade of 2000 has been described by many as “the crucial period of continuous changes” in the music industry and of course the mass media. The global financial crisis and the development of new forms of communication and dissemination of content and communications transformed the business models involved in music industry and mass media.
The loss of faith and trust on the part of artists in the music industry practices so far and their need to communicate the produced cultural material in ways more direct and fair, has created a new communication and business hybrid that runs between the practices of traditional record companies and new structures of the online environment, focusing on individual rather than the corporate identity. Artists have in their control the largest percentage of record sales, live performances, interviews etc. They choose more direct ways to communicate with the radio producers and audience and mostly they dissipate their communicational profiles in more than one communication channels (analog and digital). Behind these actions usually operate small groups of professionals in the music industry and media, which offer connections and experience in the field. In short terms these groups of practitioners function more as communication and/or business consultants, rather than as managers or image makers.
The paper will attempt to present the communication and business methods that these new teams use to operate in major and smaller markets like Greece, analyzing their practices and foreseeing their future in the new communication and business environment.
The complexity or the austerity of communication composition is fixed by the needs and the particular characteristics of means. Very often we are raising questions about the inversion of the semiotic limits of communication. At the same time these communication mechanisms, older and newer, are activated and they are called to reverse or to confirm the communication character of composition.
The correspondence of final recipient to the criteria of choice of author-communicator is the one that determines the continuity of communication.
This paper discusses the issue of creating (interactive or not) auditory installation environments. It attempts to approach this issue at two levels:
• the creative process from the artist’s perspective
• as a process of communication, whereby the artist creates a type of mediated space which communicates an auditory environmental experience to the receiver/participant.
For this purpose, the paper will firstly attempt to analyze these mediated experiences, with the aid of relevant models of communication theory. Secondly the paper will discuss the manner in which participants usually respond to aspects of such mediated environmental experiences, how they interact with these systems, how they interact with others within these environments and how they may feel about their experience. In order to achieve that, the paper utilises as case studies certain artworks produced by one of the authors. Moreover, the presentation will be accompanied by videos of these installation environments, which illustrate the concepts discussed.
The paper will attempt to record and incorporate in the new model the deconstruction of journalistic information through alternative digital media, and networks as well as the growth of new hybrid form of information (the reproduced news are "translated" in bits and are propagated in different formats - sound, picture, video, animation) .
The growth of new technologies claims between other the equality of the digital citizens. That however is achieved when still do exist countries in which the access in such type of technologies is limited up to non-existent?
Finally, do we speak about a digital oligarchy? Via the new communication channels we can retrieve and collect information that was before considered inapproachable for citizens. The functionality of teams that substantially deconstruct the information mechanism and reconstruct it through their own mechanisms and filters is given from the moment where the first import of information in the Network existed. Critical confrontation of the subject of information and reaction of big teams, or simply controlled steps of disorientation?
How alternative are the so called “alternative information sources” in comparison with the big information organizations?
Στο μεταβατικό στάδιο από το αναλογικό προς το ψηφιακό ραδιόφωνο οι ακροατές των ερτζιανών έρχονται αντιμέτωποι με ερωτήματα και διλήμματα. Οι νέες προσφερόμενες δυνατότητες του ψηφιακού ραδιοφώνου (καλύτερη ποιότητα ήχου, περισσότερες επιλογές σταθμών, μεγαλύτερη ευελιξία πρόσβασης και χρήσης) δημιουργούν κύμα αβεβαιότητας στην Ευρώπη που αναζητά το καλύτερο δυνατό μοντέλο για τους χρήστες.
Τα Μέσα Μαζικής Ενημέρωσης αλλάζουν σταδιακά τον χαρακτήρα τους στην ψηφιακή εποχή σε σχέση με την αναλογική. Οι δυνατότητες που έχει πλέον ο πολίτης να επιλέξει μόνος του αυτό που θέλει να δει ή να ακούσει (μοντέλο “pull”) – όποτε το θέλει (on demand), ουσιαστικά καθιστά παρωχημένο το παλαιότερο μοντέλο όπου ένα έντυπο μέσο ή ένας ραδιοτηλεοπτικός σταθμός εκδίδει σε προκαθορισμένους χρόνους το αναλογικό του περιεχόμενο .
Γενικότερα, το μοντέλο όπου ο χρήστης ζητάει περιεχόμενο αντί για το μοντέλο όπου το μέσον ενημέρωσης ή ψυχαγωγίας “σπρώχνει” περιεχόμενο, φέρνει μία μικρή επανάσταση και στην ίδια την ποιότητα του ενημερωτικού / ψυχαγωγικού υλικού. Εκεί που παλαιότερα τα μέσα απευθύνονταν μαζικά σε έναν μέσο όρο, πλέον το περιεχόμενο μπορεί να είναι απολύτως εξειδικευμένο για να καλύψει ειδικές ανάγκες ατόμων.
Αντίθετα τα ραδιοτηλεοπτικά μέσα προσπαθούν να “συμβιβάσουν” την πληροφόρηση υπολογίζοντας έναν μέσο όρο ενδιαφέροντος από πλευράς θεατών. Όμως στην ψηφιακή εποχή, η πληροφόρηση και η ψυχαγωγία θα γίνεται με “mass-customization” όπου όλοι οι θεατές θα αναζητούν το εξειδικευμένο περιεχόμενο το οποίο τους ενδιαφέρει.
Σε αυτό το σκέλος, η συμβολή της παραγωγής ψηφιακού περιεχομένου είναι ίσως καθοριστικής σημασίας ώστε να αξιοποιηθούν οι νέες δυνατότητες στο έπακρο. Εδώ δεν αρκεί μόνο η ψηφιοποίηση αναλογικού υλικού ή η δημιουργία ψηφιακού υλικού με βάση αρχές παραγωγής όπως αυτές που ισχύουν στην αναλογική εποχή – αλλά χρειάζεται η δημιουργία υλικού το οποίο να καλύπτει πολλαπλά εξειδικευμένα ενδιαφέροντα.
Όπως γίνεται κατανοητό από τα παραπάνω, τα τελευταία χρόνια δόθηκε ιδιαίτερη έμφαση στην τεχνολογία του μέσου αλλά παραμελήθηκαν αρκετά τα άλλα δύο στοιχεία του, το περιεχόμενο και οι ακροατές. Από τη στιγμή που θεωρητικά τουλάχιστον καταλήγουμε σε μια κοινή τεχνολογική πλατφόρμα, έστω και αν αυτό αναγκάζει κάποιους να κινούνται σε δύο ταχύτητες ήρθε η ώρα να ασχοληθούμε και με το «τι» και για «ποιους» θα εκπέμπουμε ψηφιακά.
Βιβλιογραφία
Παπαθανασόπουλος, Στέλιος (1997), «Η δύναμη της τηλεόρασης, η λογική του μέσου και η αγορά», Αθήνα: Καστανιώτης.
Crisell, A. (1986). Understanding Radio. London: Routledge.
Goffman, E. (1980). “The Radio Drama Frame” in Corner, J. & Hawthorn, J. (eds) Communication studies: an introductory reader. London: E. Arnold.
Hendy, D., Radio in the global age, Cambridge: Polity Press, 2000
Paulu, B. (1981). Television and Radio in the United Kingdom. London: Macmillan.
Silvey, R.(1974). Who’s Listening? London: George Allen & Unwin.
The interaction between audiences, traditional and new media has change a lot. The role of the radio as a medium of massive information and cultural promotion misplaced by the phenomenon of social isolation that new media impose over traditional mass communication. A new generation of audience has been created. “Podcasters” have revised through new technology the way that the classic communication model applies to radio.
This paper aims to examine the way that old technology integrates new radio technologies by attempting to answer the phenomenon of social isolation and interaction of the audience with new and traditional media. Based on the results of a quantitative research which took place, among the students of the Department of Communication and Media Studies, National University of Athens, from September – December 2006, this paper attempts to give some answers for the new communicational status and probably rise questions for further analysis.
The new structure describes the deconstruction of old chain of production in the music industry. Recording companies, as we knew them, tend to disappear. Also their role will change in order to be adapted in the new structure of music industry or will shrink considerably. Nowadays the fundamental channel for commercial promotion and distribution of music is the Internet. The New internet model of dissemination of information replaces the old enterprising model of distribution of goods.
In this paper the various aspects of the message-medium-rules triptych are examined under the light of changes brought to the component parts of a communication formula by ICT. Among the conclusions of this theoretical discussion outstands the dynamic interactive relation between the transmitter and the receptor which dominates the new media environment.
Using the Greek e-zine database of the Laboratory of New Technologies in Communication and Mass Media of the Department of Communication and Media Studies of the National and Kapodistrian University of Athens as a starting point, this paper will attempt to demonstrate and evaluate the presence of Greek e-zines with regards to taking advantage of the possibilities offered by the modern digital environment towards a non-linear, multi-layered structure of content (hypertextuality).
Particular emphasis will be given to the changes in visual readability (in an 800x600 resolution) by detecting and subsequently assimilating the new logic of design and promotion of interactivity proposed by new media as a crucial (sine qua non) element of highlighting information.
An important feature of this paper is that it will attempt to detect the basic design principles as well as the rules of communication pertaining to the “modern” writing by starting with the admission that, in these new platforms, content is still presented according to the communication model of “traditional” media.
This paper attempts to answer the phenomenon of social isolation and interaction of the audience with new and traditional media. For that reason a quantitative research took place among students of the Media Studies Department of the National University of Athens on how new media (especially podcasting) affects communication procedures. The results of this research will give us the answers of the new communicational status and probably will rise questions for further analysis.
Additionally, numerous web radio stations have their own web sites with archives of their programs for on demand listening.
Today, there are approximately 2500 Internet radio stations in Real Networks, around 3000 stations (Internet radio and television) in Windows Media and almost 3000 in SHOUTcast, according to data offered in their web sites.
These numbers are growing at a rapid pace. There are several factors that contribute to this growth of web radio stations:
1. Web radio eliminates the coverage restriction found with FM radio stations. A radio station on the network can be accessed from any computer with Internet access.
2. Another factor is the ease of setting up a radio station server. Cheap hardware with Internet access along with free/ low-cost high-quality software enables any user to create his/ her own web radio station.
Greece on the other hand is a technological contradiction. Despite the fact that according to several surveys Greece is rated with a low to medium rate on the implementation and incorporation of the latest technological developments, it seems
that at the same time Greek people show a great interest about Internet and web radios.
This paper will present the results of a quantitive and qualitive research conducted among the listeners and the administrators of the most popular web radios in Greece.
It will also try to focus on the main reasons that lead Greek listeners to web radios and will try to explain the motives and the aesthetical criteria the Greek listeners and administrators of web radios use so as to rate the most popular of them.
From the first commercial concerts to the advanced computerized systems of handling music files on the Internet it is noted that in conjunction with the typical stages of cultural production, namely those of the creation, production, technological reproduction and circulation of musical product (Hesmondhalgh, 2002 ) the practices of cultural consumption affect both the dynamic performance symbolic meaning and material formed the musical product and to reorganize itself in the music industry. Media and especially music radio so far constituted the main communicators of music content, providing the largest share of artists to communicate with the audiences and especially by proposing new kinds of music and music performance.
The decade of 2000 has been described by many as “the crucial period of continuous changes” in the music industry and of course the mass media. The global financial crisis and the development of new forms of communication and dissemination of content and communications transformed the business models involved in music industry and mass media.
The loss of faith and trust on the part of artists in the music industry practices so far and their need to communicate the produced cultural material in ways more direct and fair, has created a new communication and business hybrid that runs between the practices of traditional record companies and new structures of the online environment, focusing on individual rather than the corporate identity. Artists have in their control the largest percentage of record sales, live performances, interviews etc. They choose more direct ways to communicate with the radio producers and audience and mostly they dissipate their communicational profiles in more than one communication channels (analog and digital). Behind these actions usually operate small groups of professionals in the music industry and media, which offer connections and experience in the field. In short terms these groups of practitioners function more as communication and/or business consultants, rather than as managers or image makers.
The paper will attempt to present the communication and business methods that these new teams use to operate in major and smaller markets like Greece, analyzing their practices and foreseeing their future in the new communication and business environment.
The complexity or the austerity of communication composition is fixed by the needs and the particular characteristics of means. Very often we are raising questions about the inversion of the semiotic limits of communication. At the same time these communication mechanisms, older and newer, are activated and they are called to reverse or to confirm the communication character of composition.
The correspondence of final recipient to the criteria of choice of author-communicator is the one that determines the continuity of communication.
This paper discusses the issue of creating (interactive or not) auditory installation environments. It attempts to approach this issue at two levels:
• the creative process from the artist’s perspective
• as a process of communication, whereby the artist creates a type of mediated space which communicates an auditory environmental experience to the receiver/participant.
For this purpose, the paper will firstly attempt to analyze these mediated experiences, with the aid of relevant models of communication theory. Secondly the paper will discuss the manner in which participants usually respond to aspects of such mediated environmental experiences, how they interact with these systems, how they interact with others within these environments and how they may feel about their experience. In order to achieve that, the paper utilises as case studies certain artworks produced by one of the authors. Moreover, the presentation will be accompanied by videos of these installation environments, which illustrate the concepts discussed.
The paper will attempt to record and incorporate in the new model the deconstruction of journalistic information through alternative digital media, and networks as well as the growth of new hybrid form of information (the reproduced news are "translated" in bits and are propagated in different formats - sound, picture, video, animation) .
The growth of new technologies claims between other the equality of the digital citizens. That however is achieved when still do exist countries in which the access in such type of technologies is limited up to non-existent?
Finally, do we speak about a digital oligarchy? Via the new communication channels we can retrieve and collect information that was before considered inapproachable for citizens. The functionality of teams that substantially deconstruct the information mechanism and reconstruct it through their own mechanisms and filters is given from the moment where the first import of information in the Network existed. Critical confrontation of the subject of information and reaction of big teams, or simply controlled steps of disorientation?
How alternative are the so called “alternative information sources” in comparison with the big information organizations?
Στο μεταβατικό στάδιο από το αναλογικό προς το ψηφιακό ραδιόφωνο οι ακροατές των ερτζιανών έρχονται αντιμέτωποι με ερωτήματα και διλήμματα. Οι νέες προσφερόμενες δυνατότητες του ψηφιακού ραδιοφώνου (καλύτερη ποιότητα ήχου, περισσότερες επιλογές σταθμών, μεγαλύτερη ευελιξία πρόσβασης και χρήσης) δημιουργούν κύμα αβεβαιότητας στην Ευρώπη που αναζητά το καλύτερο δυνατό μοντέλο για τους χρήστες.
Τα Μέσα Μαζικής Ενημέρωσης αλλάζουν σταδιακά τον χαρακτήρα τους στην ψηφιακή εποχή σε σχέση με την αναλογική. Οι δυνατότητες που έχει πλέον ο πολίτης να επιλέξει μόνος του αυτό που θέλει να δει ή να ακούσει (μοντέλο “pull”) – όποτε το θέλει (on demand), ουσιαστικά καθιστά παρωχημένο το παλαιότερο μοντέλο όπου ένα έντυπο μέσο ή ένας ραδιοτηλεοπτικός σταθμός εκδίδει σε προκαθορισμένους χρόνους το αναλογικό του περιεχόμενο .
Γενικότερα, το μοντέλο όπου ο χρήστης ζητάει περιεχόμενο αντί για το μοντέλο όπου το μέσον ενημέρωσης ή ψυχαγωγίας “σπρώχνει” περιεχόμενο, φέρνει μία μικρή επανάσταση και στην ίδια την ποιότητα του ενημερωτικού / ψυχαγωγικού υλικού. Εκεί που παλαιότερα τα μέσα απευθύνονταν μαζικά σε έναν μέσο όρο, πλέον το περιεχόμενο μπορεί να είναι απολύτως εξειδικευμένο για να καλύψει ειδικές ανάγκες ατόμων.
Αντίθετα τα ραδιοτηλεοπτικά μέσα προσπαθούν να “συμβιβάσουν” την πληροφόρηση υπολογίζοντας έναν μέσο όρο ενδιαφέροντος από πλευράς θεατών. Όμως στην ψηφιακή εποχή, η πληροφόρηση και η ψυχαγωγία θα γίνεται με “mass-customization” όπου όλοι οι θεατές θα αναζητούν το εξειδικευμένο περιεχόμενο το οποίο τους ενδιαφέρει.
Σε αυτό το σκέλος, η συμβολή της παραγωγής ψηφιακού περιεχομένου είναι ίσως καθοριστικής σημασίας ώστε να αξιοποιηθούν οι νέες δυνατότητες στο έπακρο. Εδώ δεν αρκεί μόνο η ψηφιοποίηση αναλογικού υλικού ή η δημιουργία ψηφιακού υλικού με βάση αρχές παραγωγής όπως αυτές που ισχύουν στην αναλογική εποχή – αλλά χρειάζεται η δημιουργία υλικού το οποίο να καλύπτει πολλαπλά εξειδικευμένα ενδιαφέροντα.
Όπως γίνεται κατανοητό από τα παραπάνω, τα τελευταία χρόνια δόθηκε ιδιαίτερη έμφαση στην τεχνολογία του μέσου αλλά παραμελήθηκαν αρκετά τα άλλα δύο στοιχεία του, το περιεχόμενο και οι ακροατές. Από τη στιγμή που θεωρητικά τουλάχιστον καταλήγουμε σε μια κοινή τεχνολογική πλατφόρμα, έστω και αν αυτό αναγκάζει κάποιους να κινούνται σε δύο ταχύτητες ήρθε η ώρα να ασχοληθούμε και με το «τι» και για «ποιους» θα εκπέμπουμε ψηφιακά.
Βιβλιογραφία
Παπαθανασόπουλος, Στέλιος (1997), «Η δύναμη της τηλεόρασης, η λογική του μέσου και η αγορά», Αθήνα: Καστανιώτης.
Crisell, A. (1986). Understanding Radio. London: Routledge.
Goffman, E. (1980). “The Radio Drama Frame” in Corner, J. & Hawthorn, J. (eds) Communication studies: an introductory reader. London: E. Arnold.
Hendy, D., Radio in the global age, Cambridge: Polity Press, 2000
Paulu, B. (1981). Television and Radio in the United Kingdom. London: Macmillan.
Silvey, R.(1974). Who’s Listening? London: George Allen & Unwin.
The interaction between audiences, traditional and new media has change a lot. The role of the radio as a medium of massive information and cultural promotion misplaced by the phenomenon of social isolation that new media impose over traditional mass communication. A new generation of audience has been created. “Podcasters” have revised through new technology the way that the classic communication model applies to radio.
This paper aims to examine the way that old technology integrates new radio technologies by attempting to answer the phenomenon of social isolation and interaction of the audience with new and traditional media. Based on the results of a quantitative research which took place, among the students of the Department of Communication and Media Studies, National University of Athens, from September – December 2006, this paper attempts to give some answers for the new communicational status and probably rise questions for further analysis.
The new structure describes the deconstruction of old chain of production in the music industry. Recording companies, as we knew them, tend to disappear. Also their role will change in order to be adapted in the new structure of music industry or will shrink considerably. Nowadays the fundamental channel for commercial promotion and distribution of music is the Internet. The New internet model of dissemination of information replaces the old enterprising model of distribution of goods.
In this paper the various aspects of the message-medium-rules triptych are examined under the light of changes brought to the component parts of a communication formula by ICT. Among the conclusions of this theoretical discussion outstands the dynamic interactive relation between the transmitter and the receptor which dominates the new media environment.
Using the Greek e-zine database of the Laboratory of New Technologies in Communication and Mass Media of the Department of Communication and Media Studies of the National and Kapodistrian University of Athens as a starting point, this paper will attempt to demonstrate and evaluate the presence of Greek e-zines with regards to taking advantage of the possibilities offered by the modern digital environment towards a non-linear, multi-layered structure of content (hypertextuality).
Particular emphasis will be given to the changes in visual readability (in an 800x600 resolution) by detecting and subsequently assimilating the new logic of design and promotion of interactivity proposed by new media as a crucial (sine qua non) element of highlighting information.
An important feature of this paper is that it will attempt to detect the basic design principles as well as the rules of communication pertaining to the “modern” writing by starting with the admission that, in these new platforms, content is still presented according to the communication model of “traditional” media.
This paper attempts to answer the phenomenon of social isolation and interaction of the audience with new and traditional media. For that reason a quantitative research took place among students of the Media Studies Department of the National University of Athens on how new media (especially podcasting) affects communication procedures. The results of this research will give us the answers of the new communicational status and probably will rise questions for further analysis.
Additionally, numerous web radio stations have their own web sites with archives of their programs for on demand listening.
Today, there are approximately 2500 Internet radio stations in Real Networks, around 3000 stations (Internet radio and television) in Windows Media and almost 3000 in SHOUTcast, according to data offered in their web sites.
These numbers are growing at a rapid pace. There are several factors that contribute to this growth of web radio stations:
1. Web radio eliminates the coverage restriction found with FM radio stations. A radio station on the network can be accessed from any computer with Internet access.
2. Another factor is the ease of setting up a radio station server. Cheap hardware with Internet access along with free/ low-cost high-quality software enables any user to create his/ her own web radio station.
Greece on the other hand is a technological contradiction. Despite the fact that according to several surveys Greece is rated with a low to medium rate on the implementation and incorporation of the latest technological developments, it seems
that at the same time Greek people show a great interest about Internet and web radios.
This paper will present the results of a quantitive and qualitive research conducted among the listeners and the administrators of the most popular web radios in Greece.
It will also try to focus on the main reasons that lead Greek listeners to web radios and will try to explain the motives and the aesthetical criteria the Greek listeners and administrators of web radios use so as to rate the most popular of them.