ΠΡΟΣΕΓΓΙΖΟΝΤΑΣ ΤΟ ΡΑΔΙΟΦΩΝΟ ΣΑΝ ΤΙΠΟΤΕ ΝΑ ΜΗΝ ΕΧΕΙ ΑΛΛΑΞΕΙ
Radio and Everyday Life: Uses and Meanings in the Domestic Sphere
Rosalia Winocur
Television New Media 2005; 6; 319
DOI: 10.1177/1527476405276472
Abstract
This article shows the place that radio occupies in everyday life through the systematic observation of a set of practices and discourses that structure the relationship with this means of communication in families of different sociocultural backgrounds in Mexico City. Within this framework, the author analyzes different scenarios, consumption times and styles, listening practices, and ways in which the discourse is appropriated.
Radio and Everyday Life: Uses and Meanings in the Domestic Sphere
Rosalia Winocur
Television New Media 2005; 6; 319
DOI: 10.1177/1527476405276472
Abstract
This article shows the place that radio occupies in everyday life through the systematic observation of a set of practices and discourses that structure the relationship with this means of communication in families of different sociocultural backgrounds in Mexico City. Within this framework, the author analyzes different scenarios, consumption times and styles, listening practices, and ways in which the discourse is appropriated.
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ΤΑ ΤΕΣΣΕΡΑ ΒΗΜΑΤΑ ΕΞΕΛΙΞΗΣ ΤΟΥ ΡΑΔΙΟΦΩΝΟΥ ΜΕ ΤΗΝ ΨΗΦΙΟΠΟΙΗΣΗ ΚΑΙ ΤΗΝ ΣΥΓΚΛΙΣΗ
Four steps in innovative radio broadcasting: From QuickTime to podcasting
Enrico Menduni Universita Roma Tre, Italy
The Radio Journal - International Studies in Broadcast and Audio Media, Volume 5 Number 1.2007
doi: 10.1386/rajo.5.1.9/1
Abstract
* Is podcasting the future of radio?
* Is podcasting that missing link connecting radio and the Net that Internet radio stations were not able to establish?
* Is podcasting a revolutionary or a transitory cultural trend?
* Furthermore, is podcasting a way towards a more democratic audio media system or is it rather a new tool in the hands of the multinational recording industry?
This article will explore these questions, providing an historical framework to the introduction of digital sound (from 1991 to 2007) and related social practices, distinguishing four main phases: the birth of the popular use of digital music; Web radio; Music for free; the iPod and podcasting.
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Ο ΠΡΟΒΛΗΜΑΤΙΣΜΟΣ ΣΕ ΘΕΩΡΗΤΙΚΟ ΕΠΙΠΕΔΟ ΓΙΑ ΤΟ ΤΙ ΕΪΝΑΙ ΚΑΙ ΤΙ ΔΕΝ ΕΙΝΑΙ ΡΑΔΙΟΦΩΝΟ ΑΡΧΙΣΕ ΠΟΛΥ ΠΑΛΙΟΤΕΡΑ (2000)
The need for radio theory in the digital age
Jo Tacchi
International Journal of Cultural Studies 2000 3: 289
DOI: 10.1177/136787790000300217
Abstract
This article makes an argument for connecting old and new technologies in our efforts to create a coherent field that we might call ‘radio studies’.
The lack of academic work to date on radio the ‘secondary medium’ has left us with a void in media and cultural studies. Radio’s pervasive nature in everyday lives is less apparent in precisely those settings (the developed world in particular) where it has become a part of the everyday fabric of life. Currently there is a revival of interest in radio studies, which coincides (perhaps not accidentally) with the growth of new digital media technologies.
The ‘Radiocracy’ conference at Cardiff demonstrated not only the resurgence of interest in academic studies of radio, but also the many and innovative ways in which radio is used (and sometimes abused) globally. In each location the medium is used differently, demonstrating not only that a global definition of the meanings and uses of ‘radio’ cannot be assigned, but also that new evolutions of ‘radiogenic’ technologies should not be dismissed as being different from ‘radio’ and therefore not a part of the remit of ‘radio studies’.
Many net.radio initiatives seek to circumvent governmental restrictions on analogue radio broadcasting by incorporating and developing new ‘radiogenic’ technologies. Examples are given to illustrate the arguments in this article; a small-scale net.radio operation in London is contrasted with a large commercial net.radio company located in the USA, and a development initiative in India is also considered.
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ΜΙΑ ΑΠΟ ΤΙΣ ΠΡΩΤΕΣ ΠΡΟΣΕΓΓΙΣΕΙΣ ΓΙΑ ΤΑ ΟΡΙΑ ΤΟΥ ΜΕΣΟΥ
Internet radio: a case study in medium specificity
David A. Black
Media Culture Society 2001 23: 397
DOI: 10.1177/016344301023003007
... the very existence of what turns out to be the magazine's (e-radio) main focus a medium called 'Internet radio'.
The title and subtitle of eradio do not mention Internet radio explicitly - but for that very reason they reflect more clearly than much of the magazine's content the difficulty of even naming this 'new' 'medium', and of teasing apart the threads of technology, commerce, sensory experience, genre and quotidian usage of which it represents a formidable tangle.
ΤΑ ΤΕΣΣΕΡΑ ΒΗΜΑΤΑ ΕΞΕΛΙΞΗΣ ΤΟΥ ΡΑΔΙΟΦΩΝΟΥ ΜΕ ΤΗΝ ΨΗΦΙΟΠΟΙΗΣΗ ΚΑΙ ΤΗΝ ΣΥΓΚΛΙΣΗ
Four steps in innovative radio broadcasting: From QuickTime to podcasting
Enrico Menduni Universita Roma Tre, Italy
The Radio Journal - International Studies in Broadcast and Audio Media, Volume 5 Number 1.2007
doi: 10.1386/rajo.5.1.9/1
Abstract
* Is podcasting the future of radio?
* Is podcasting that missing link connecting radio and the Net that Internet radio stations were not able to establish?
* Is podcasting a revolutionary or a transitory cultural trend?
* Furthermore, is podcasting a way towards a more democratic audio media system or is it rather a new tool in the hands of the multinational recording industry?
This article will explore these questions, providing an historical framework to the introduction of digital sound (from 1991 to 2007) and related social practices, distinguishing four main phases: the birth of the popular use of digital music; Web radio; Music for free; the iPod and podcasting.
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Ο ΠΡΟΒΛΗΜΑΤΙΣΜΟΣ ΣΕ ΘΕΩΡΗΤΙΚΟ ΕΠΙΠΕΔΟ ΓΙΑ ΤΟ ΤΙ ΕΪΝΑΙ ΚΑΙ ΤΙ ΔΕΝ ΕΙΝΑΙ ΡΑΔΙΟΦΩΝΟ ΑΡΧΙΣΕ ΠΟΛΥ ΠΑΛΙΟΤΕΡΑ (2000)
The need for radio theory in the digital age
Jo Tacchi
International Journal of Cultural Studies 2000 3: 289
DOI: 10.1177/136787790000300217
Abstract
This article makes an argument for connecting old and new technologies in our efforts to create a coherent field that we might call ‘radio studies’.
The lack of academic work to date on radio the ‘secondary medium’ has left us with a void in media and cultural studies. Radio’s pervasive nature in everyday lives is less apparent in precisely those settings (the developed world in particular) where it has become a part of the everyday fabric of life. Currently there is a revival of interest in radio studies, which coincides (perhaps not accidentally) with the growth of new digital media technologies.
The ‘Radiocracy’ conference at Cardiff demonstrated not only the resurgence of interest in academic studies of radio, but also the many and innovative ways in which radio is used (and sometimes abused) globally. In each location the medium is used differently, demonstrating not only that a global definition of the meanings and uses of ‘radio’ cannot be assigned, but also that new evolutions of ‘radiogenic’ technologies should not be dismissed as being different from ‘radio’ and therefore not a part of the remit of ‘radio studies’.
Many net.radio initiatives seek to circumvent governmental restrictions on analogue radio broadcasting by incorporating and developing new ‘radiogenic’ technologies. Examples are given to illustrate the arguments in this article; a small-scale net.radio operation in London is contrasted with a large commercial net.radio company located in the USA, and a development initiative in India is also considered.
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ΜΙΑ ΑΠΟ ΤΙΣ ΠΡΩΤΕΣ ΠΡΟΣΕΓΓΙΣΕΙΣ ΓΙΑ ΤΑ ΟΡΙΑ ΤΟΥ ΜΕΣΟΥ
Internet radio: a case study in medium specificity
David A. Black
Media Culture Society 2001 23: 397
DOI: 10.1177/016344301023003007
... the very existence of what turns out to be the magazine's (e-radio) main focus a medium called 'Internet radio'.
The title and subtitle of eradio do not mention Internet radio explicitly - but for that very reason they reflect more clearly than much of the magazine's content the difficulty of even naming this 'new' 'medium', and of teasing apart the threads of technology, commerce, sensory experience, genre and quotidian usage of which it represents a formidable tangle.
The subtitle ('the business of audio on the Internet') pins the magazine's focus down, at least somewhat: 'audio' plus 'Internet', in this mathematics, equals 'e' plus 'radio'. Somewhere along the line we end up with 'Internet radio'.
But why!
But why!
Why should an audio signal delivered through the Internet be called 'radio' in the first place?
Is it self-evident that making money from the delivery of such signals has anything to do with radio?
Do listeners to Internet audio streams count as radio listeners? Or is 'Internet radio' a different medium from 'radio' -and, if so, why has it borrowed the name? Which comes first, the name or the medium? Indeed, whose idea was it to call it that?
In short: who gets to decide when a new medium has arrived - where it begins and the old media end - and what it will be called?
This commentary approaches 'Internet radio' as a case study, in pursuit of some broader insights into matters of medium specificity and determination.
In short: who gets to decide when a new medium has arrived - where it begins and the old media end - and what it will be called?
This commentary approaches 'Internet radio' as a case study, in pursuit of some broader insights into matters of medium specificity and determination.
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ΜΙΑ ΟΛΟΚΛΗΡΩΜΕΝΗ ΠΡΟΣΕΓΓΙΣΗ ΜΕΡΙΚΑ ΧΡΟΝΙΑ ΜΕΤΑ (2007) - MUST READ !!!!
Remediating radio: Audio streaming, music recommendation and the discourse of radioness
Ariana Moscote Freire McGill University, Canada
The Radio Journal - International Studies in Broadcast and Audio Media, Volume 5 Numbers 2&3.
Abstract
In recent years, the consumption of audio material online has become a significant force in the media landscape.
As this is often referred to as radio, we are led to address the way in which this user-defined, personalised experience relates to more traditional discourses of radioness.
Are the existing concepts of radio, as deployed, relevant to this form of consumption, or do they serve to create false expectations and structures within the newer formats?
This article charts the current and historical conceptions of radio, and compares this with the nature of the various online experiences available, in order to establish the extent to which these can be classified as radio, and to which it is reasonable for them to claim this title.
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ΜΙΑ ΠΡΟΣΕΓΓΙΣΗ ΜΕ ΑΦΕΤΗΡΙΑ ΤΟ PODCASTING - ΠΗΓΑΙΝΟΝΤΑΣ ΠΡΟΣ ΤΑ ΠΙΣΩ ΣΤΑ FM
Will the iPod Kill the Radio Star? Profiling Podcasting as Radio
Richard Berry
Convergence 2006 12: 143
DOI: 10.1177/1354856506066522
Abstract
The Apple iPod has not only become a 'must have' style accessory for the 'wirefree' generation but has also revolutionized the way we consume music. At the time of writing, (November 2005) the revolution has already started in the audio world, and has been going for the last 18 months. 'Podcasting' allows anyone with a PC to create a 'radio' programme and distribute it freely, through the internet to the portable MP3 players of subscribers around the world. Podcasting not only removes global barriers to reception but, at a stroke, removes key factors impeding the growth of internet radio: its portability, its intimacy and its accessibility. This is a scenario where audiences are producers, where the technology we already have assumes new roles and where audiences, cut off from traditional media, rediscover their voices.
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ΟΡΙΣΜΟΣ ΤΟΥ "ΣΤΑΘΜΟΥ" ΩΣ BRAND ΚΑΙ ΟΧΙ ΩΣ ΤΕΧΝΟΛΟΓΙΑ Η ΠΕΡΙΕΧΟΜΕΝΟ
Elvis sings for the BBC: broadcast branding and digital media design
Paul Grainge
Media Culture Society 2010 32: 45
DOI: 10.1177/0163443709350097
Introduction
In the autumn of 2006, Elvis came back from the dead and appeared ‘live’ on British television screens. This took the form of a brand promotion, aired on the BBC, designed to make audiences sit up and marvel. Using archival footage, the promotion featured a concert performance by Elvis Presley, focusing on the moment when, with characteristic stage presence, he introduces his band.
ΜΙΑ ΟΛΟΚΛΗΡΩΜΕΝΗ ΠΡΟΣΕΓΓΙΣΗ ΜΕΡΙΚΑ ΧΡΟΝΙΑ ΜΕΤΑ (2007) - MUST READ !!!!
Remediating radio: Audio streaming, music recommendation and the discourse of radioness
Ariana Moscote Freire McGill University, Canada
The Radio Journal - International Studies in Broadcast and Audio Media, Volume 5 Numbers 2&3.
Abstract
In recent years, the consumption of audio material online has become a significant force in the media landscape.
As this is often referred to as radio, we are led to address the way in which this user-defined, personalised experience relates to more traditional discourses of radioness.
Are the existing concepts of radio, as deployed, relevant to this form of consumption, or do they serve to create false expectations and structures within the newer formats?
This article charts the current and historical conceptions of radio, and compares this with the nature of the various online experiences available, in order to establish the extent to which these can be classified as radio, and to which it is reasonable for them to claim this title.
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ΜΙΑ ΠΡΟΣΕΓΓΙΣΗ ΜΕ ΑΦΕΤΗΡΙΑ ΤΟ PODCASTING - ΠΗΓΑΙΝΟΝΤΑΣ ΠΡΟΣ ΤΑ ΠΙΣΩ ΣΤΑ FM
Will the iPod Kill the Radio Star? Profiling Podcasting as Radio
Richard Berry
Convergence 2006 12: 143
DOI: 10.1177/1354856506066522
Abstract
The Apple iPod has not only become a 'must have' style accessory for the 'wirefree' generation but has also revolutionized the way we consume music. At the time of writing, (November 2005) the revolution has already started in the audio world, and has been going for the last 18 months. 'Podcasting' allows anyone with a PC to create a 'radio' programme and distribute it freely, through the internet to the portable MP3 players of subscribers around the world. Podcasting not only removes global barriers to reception but, at a stroke, removes key factors impeding the growth of internet radio: its portability, its intimacy and its accessibility. This is a scenario where audiences are producers, where the technology we already have assumes new roles and where audiences, cut off from traditional media, rediscover their voices.
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ΟΡΙΣΜΟΣ ΤΟΥ "ΣΤΑΘΜΟΥ" ΩΣ BRAND ΚΑΙ ΟΧΙ ΩΣ ΤΕΧΝΟΛΟΓΙΑ Η ΠΕΡΙΕΧΟΜΕΝΟ
Elvis sings for the BBC: broadcast branding and digital media design
Paul Grainge
Media Culture Society 2010 32: 45
DOI: 10.1177/0163443709350097
Introduction
In the autumn of 2006, Elvis came back from the dead and appeared ‘live’ on British television screens. This took the form of a brand promotion, aired on the BBC, designed to make audiences sit up and marvel. Using archival footage, the promotion featured a concert performance by Elvis Presley, focusing on the moment when, with characteristic stage presence, he introduces his band.
Elvis gestures and jokes with his band members; he even smiles wryly when interrupted by an impromptu drum solo by Keith Moon. Playing to a rapturous crowd, the atmosphere of the event is tangible. With introductions complete, and a camera shot of Elvis looking into the glaring stage lights, the sequence ends with the strapline: ‘What an amazing line up’.
This is underlined by the brand message ‘all day, every day’ and a closing shot of the station logo of BBC Radio 2, the UK’s ‘most listened to’ radio station.
While ephemeral in its life as a promotional text appearing briefly within television and cinema advertising before developing a more extended life on YouTube – Radio 2’s Elvis promotion is suggestive of two related developments in contemporary media culture that I want to explore in this article.
While ephemeral in its life as a promotional text appearing briefly within television and cinema advertising before developing a more extended life on YouTube – Radio 2’s Elvis promotion is suggestive of two related developments in contemporary media culture that I want to explore in this article.
Primarily, it offers a paradigm of ‘brandcasting’, the attempt by public broadcasters such as the BBC to project their brand identity in more dynamic and tactile ways to meet the demands of a competitive, multi-channel environment.
Second, it is emblematic of a style of promotional design that is partly encouraged by the remix proclivities of YouTube and is reliant on the digital assemblage and appropriation of found-footage. In each respect, the Elvis ad articulates key tendencies within industrial and textual media practice in the 2000s.
In corporate terms, it serves to ‘mediate’ the BBC’s brand identity (more specifically that of BBC Radio 2) in relation to the new interchangeability of digital media.
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ΘΕΜΑΤΑ ΠΑΡΑΓΩΓΗΣ ΜΕ ΔΙΑΦΟΡΕΤΙΚΟΥΣ ΒΑΘΜΟΥΣ ΔΙΑΜΕΣΙΚΟΤΗΤΑΣ - ΙΣΤΟΣΕΛΙΔΑ ΞΕΧΩΡΗ ΑΠΟ ΤΟ ΡΑΔΙΟΦΩΝΙΚΟ ΠΕΡΙΕΧΟΜΕΝΟ - ΧΑΛΑΡΑ ΣΥΝΔΕΔΕΜΕΝΗ - ΕΝΣΩΜΑΤΩΜΕΝΗ ΣΕ CROSS-MEDIA ΠΕΡΙΕΧΟΜΕΝΟ
Digital Radio Production : Towards an Aesthetic
David King Dunaway
New Media Society 2000 2: 29
DOI: 10.1177/14614440022225698
Abstract
Digital audio technology, though only a decade old in broadcasting, is being so comprehensively integrated into control rooms and studios that the time for wake-up calls to critics and theorists is past. Based on eight years' observation at BBC Radio and Danmarks Radio studios, this article speculates on how the new technology of radio is shaped by the old: how the process and texture of digital radio production influences the aesthetic decisions, and political economy, of radio producers.
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Different Spaces, Different Times : Exploring Possibilities for Cross-Platform 'Radio'
Norie Neumark
Convergence 2006 12: 213
DOI: 10.1177/1354856506066118
Abstract
This article investigates cross-platform possibilities for digital audio. It is concerned with ways in which cross-platform work can open possibilities for expanded practices and experiences of radio and digital audio - rather than with practices of simply digitizing radio programmes for internet distribution, by downloading, streaming or Podcasting. These possibilities are investigated through discussion of a particular case study, Checklist for an Armed Robber, which was produced as part of a research collaboration project between researchers (myself included) from The University of Technology, Sydney (UTS) and ABC (Australian Broadcasting Corporation) radio and new media. The research initiative, titled Visual-Audio: research into cross-media audio drama, aimed to investigate more effective and engaging dimensions in cross-media (radio and internet) drama. It also sought to explore how spatial audio might specifically configure this dramatic space on the internet in ways that could in turn affect the space of radio drama.
l---------------------------------------------
ΠΡΑΚΤΙΚΕΣ ΔΥΣΚΟΛΙΕΣ CROSS-MEDIA ΠΡΟΣΕΓΓΙΣΗΣ
Digitising the Wireless : Observations from an Experiment in 'Internet Radio'
Rebecca Coyle
Convergence 2000 6: 57
DOI: 10.1177/135485650000600305
Abstract:
Terms such as ’internet radio’, ’internet broadcasting’ and ’web radio’ or ’webcasting’ crop up relatively frequently in media articles and academic analyses of the changing face of global media. Yet, while the terms are often used interchangeably and there does not seem to be a set of formal definitions which distinguish one from another, there are major differences between the sorts of services described by these labels. Furthermore the services, now often generically termed ’netcasting’, offer significant challenges for traditional radio broadcasting principles and practices. This article discusses issues and concepts concerning net- or webcasting via a limited experiment in on-demand internet radio which was established as a postgraduate student production outcome. It explores internet radio as a particular media form used as the setting for this outcome.
ΘΕΜΑΤΑ ΠΑΡΑΓΩΓΗΣ ΜΕ ΔΙΑΦΟΡΕΤΙΚΟΥΣ ΒΑΘΜΟΥΣ ΔΙΑΜΕΣΙΚΟΤΗΤΑΣ - ΙΣΤΟΣΕΛΙΔΑ ΞΕΧΩΡΗ ΑΠΟ ΤΟ ΡΑΔΙΟΦΩΝΙΚΟ ΠΕΡΙΕΧΟΜΕΝΟ - ΧΑΛΑΡΑ ΣΥΝΔΕΔΕΜΕΝΗ - ΕΝΣΩΜΑΤΩΜΕΝΗ ΣΕ CROSS-MEDIA ΠΕΡΙΕΧΟΜΕΝΟ
Digital Radio Production : Towards an Aesthetic
David King Dunaway
New Media Society 2000 2: 29
DOI: 10.1177/14614440022225698
Abstract
Digital audio technology, though only a decade old in broadcasting, is being so comprehensively integrated into control rooms and studios that the time for wake-up calls to critics and theorists is past. Based on eight years' observation at BBC Radio and Danmarks Radio studios, this article speculates on how the new technology of radio is shaped by the old: how the process and texture of digital radio production influences the aesthetic decisions, and political economy, of radio producers.
------------------------------------------------------------------------------------------
Different Spaces, Different Times : Exploring Possibilities for Cross-Platform 'Radio'
Norie Neumark
Convergence 2006 12: 213
DOI: 10.1177/1354856506066118
Abstract
This article investigates cross-platform possibilities for digital audio. It is concerned with ways in which cross-platform work can open possibilities for expanded practices and experiences of radio and digital audio - rather than with practices of simply digitizing radio programmes for internet distribution, by downloading, streaming or Podcasting. These possibilities are investigated through discussion of a particular case study, Checklist for an Armed Robber, which was produced as part of a research collaboration project between researchers (myself included) from The University of Technology, Sydney (UTS) and ABC (Australian Broadcasting Corporation) radio and new media. The research initiative, titled Visual-Audio: research into cross-media audio drama, aimed to investigate more effective and engaging dimensions in cross-media (radio and internet) drama. It also sought to explore how spatial audio might specifically configure this dramatic space on the internet in ways that could in turn affect the space of radio drama.
l---------------------------------------------
ΠΡΑΚΤΙΚΕΣ ΔΥΣΚΟΛΙΕΣ CROSS-MEDIA ΠΡΟΣΕΓΓΙΣΗΣ
Digitising the Wireless : Observations from an Experiment in 'Internet Radio'
Rebecca Coyle
Convergence 2000 6: 57
DOI: 10.1177/135485650000600305
Abstract:
Terms such as ’internet radio’, ’internet broadcasting’ and ’web radio’ or ’webcasting’ crop up relatively frequently in media articles and academic analyses of the changing face of global media. Yet, while the terms are often used interchangeably and there does not seem to be a set of formal definitions which distinguish one from another, there are major differences between the sorts of services described by these labels. Furthermore the services, now often generically termed ’netcasting’, offer significant challenges for traditional radio broadcasting principles and practices. This article discusses issues and concepts concerning net- or webcasting via a limited experiment in on-demand internet radio which was established as a postgraduate student production outcome. It explores internet radio as a particular media form used as the setting for this outcome.
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