Search

The coronavirus pandemic sent tremors throughout the news landscape. While the onset of the pandemic appeared to significantly increase news hunger, soon after, studies reported an uptick in what they termed “coronablocking”: the conscious avoidance of coronavirus related news. Younger age groups in particular appeared more likely to engage in coronablocking. This article seeks to contribute to extant research by providing a textured account of how and why young news users avoid the news. To explore these questions, we conducted 25 in-depth interviews with Belgian news users under the age of 35. We propose that news avoidance practices are fluid, as news avoidance was often preceded by moments of increased news consumption, and inherently connected to the specific spatiotemporal context of users and enacted within their broader media repertoire. In our analysis, we discuss the user-identified characteristics which lead users to a ‘tipping point’, at which point they avoided the news to varying degrees by reconfiguring their media repertoire. Three types of reconfigurations are identified: tuning out news content, regulating the flow of information, and controlling the tone of voice, all of which underline users’ agency in shaping their repertoires to avoid the news.

Social networks have surpassed their intermediary role and become gatekeepers of online content and traffic. This transformation has favored the spread of information disorders. The situation is especially alarming in Spain, where 57% of Spaniards have at some moment believed false news. Since 2016, First Draft has promoted several collaborative verification projects that brought together newsrooms to fact-check false, misleading and confusing claims circulating online during presidential elections in several countries. The main objective of this article is to study the collaboration forged between newsrooms in Spain in order to debunk disinformation contents in 2019 under the name of Comprobado (Verified) and the impact of this initiative. Applying a methodological approach based on non-participant observation, interviews, content analysis of reports, scientific articles, books and media archives, we examine the internal uses of this platform, how journalists verified public discourse, the strategies and internal agreements implemented, and the degree of participation of the 16 media involved. Results show that only half of the initiatives begun were transformed into published reports, and the media impact achieved was limited. Finally, we note that the principal reasons for the frustration of the project were its improvised implementation, due to the date of the election being brought forward, and the scant culture of collaboration in the sector. In Spain at least, cross-media alliances are still an exception.

This article analyzes the media market of Ukraine during the period from 2018 to 2020. The study includes social and political phenomena that had an effect on media consumption in Ukraine. Firstly, at the end of 2018, the presidential election campaign contributed to the mass digitalization of the country. Then at the begging of 2020, news consumption was highly increased due to the situation with coronavirus pandemic. The article provides statistics on the Ukrainization of media content.

Resumen La distinción entre transmedia y cross-media con frecuencia resulta confusa en los estudios sobre la comunicación. Esta investigación tiene como obje-tivo revisar el uso de ambos conceptos en la literatura científica publicada en Web of Science y SciELO Citation Index. La investi-gación parte de una muestra de 895 artículos a los que se les apli-ca un análisis bibliométrico y un análisis de redes para descubrir las relaciones entre textos. Los resultados del estudio son útiles para conocer la configuración del campo de conocimiento desde una perspectiva que integra las diversas disciplinas implicadas y abren el espectro para entender la comunicación transmedia y cross-media como objetos de estudio afines que deben ser estu-diados de forma interdisciplinar. Abstract The difference between transmedia and crossmedia is frequently found to be confusing in the studies regarding communication. The purpose of this research work is to review the use of both concepts in the scientific literature published in Web of Science and SciELo Citation Index. The research starting point is a sample of 895 articles to which a bibliometric analysis and a network analysis are applied to discover the existing relationships among the texts. The results of the study are useful for knowing the configuration of the knowledge field from a perspective that integrates the diverse disciplines involved, and they open the spectrum to understand the transmedia and crossmedia communication as related objects of study that must be studied in an interdisciplinary manner.

Tesis-CEU Escuela Internacional de Doctorado (CEINDO), Programa en Comunicación Social, Universidad San Pablo-CEU, lectura en Madrid, 13 de mayo de 2021 El entorno televisivo ha sufrido una auténtica revolución digital en los últimos años, amparada por una amplia oferta de soportes y plataformas, y la facilidad de conexión e intercambio de contenidos audiovisuales. Este cambio ha fomentado la transformación del consumo televisivo hacia una hiperfragmentación de la audiencia, digna de estudio. En este contexto, la principal empresa encargada de la medición de audiencia de la televisión lineal en España, Kantar Media, ha decidido dar un paso más allá hacia una medición crossmedia; lo que significa aplicar los métodos de mensuración tradicionales con tratamientos digitales. Pero el gran proceso de digitalización empuja a realizar una medición de audiencia mucho más completa de la que se está planteando en el sector audiovisual; de esta manera, en la presente investigación se muestra, como alternativa, una medición híbrida total para los contenidos audiovisuales que se emiten en las diferentes plataformas. Y se señala, al mismo tiempo, la necesidad de la creación de un organismo que vele por la veracidad de los datos que se puedan obtener, y por la privacidad y derechos de los usuarios. The television environment has suffered an authentic digital revolution in recent years, covered by a wide range of media and platforms, and the ease of connection and exchange of audiovisual content between them. This change has encouraged television consumption has also evolved towards hyper-fragmentation of the audience, worthy of study. In this context, the main company in charge of audience measurement of linear television in Spain has decided to go a step further towards a cross-media measurement; using traditional methods, changing them to digital ones. But the great process of digitization pushes us to make a measurement of the audience much more complete than what is being considered in the audiovisual sector; In this way, in the present investigation, a total hybrid measurement of the audiovisual contents that are issued in the different platforms is proposed. Noting, at the same time, the need for the creation of an organization that ensures the veracity of the data that can be obtained, and for the privacy and rights of the users.

Stemming from the concept of active audiences and from Henry Jenkins’ (2006) idea of participatory culture as the driving force behind the transformation of public service broadcasting into agencies of public service media (Bardoel, Ferrell Lowe 2007), this empirical study explores the attitude and behaviour of the audiences of two crossmedia projects, produced by the public service media of Finland (YLE) and Estonia (ERR). This empirical study aims to explore the behaviour, wants and needs of the audiences of cross-media productions and to shed some light on the conditions that support the dynamic switching of the engagement with cross-media. The study’s results suggest that audiences are neither passive nor active, but switch from one mode to another. The findings demonstrate that audience dynamism is circumstantial and cannot be assumed. Thus, thinking about active audiences and participation as the lymph of public service media becomes problematic, especially when broadcasters seek generalised production practices. This work demonstrates how television networks in general cannot be participatory, and instead, how cross-media can work as a vehicle of micro participation through small acts of audience engagement (Kleut et al. 2017).

Opera uses all the visual and performing arts to create extraordinary worlds of passion and sensibility. It is rightly recognised as a great achievement of European culture. And yet a form that once inspired social and artistic revolutions is often seen as the staid preserve of the elite. With rising inequality and social exclusion, many see opera—if they think of it at all—as symbolic of what is wrong in Europe today. This paper presents the technological and scientific approach of the European H2020 TRACTION project that aims to use opera as a path for social and cultural inclusion, making it once again a force for radical transformation. TRACTION wants to define new forms of artistic creation through which the most marginalised groups (e.g. migrants, the rural poor, young offenders and others) can work with artists to tell the stories that matter now. By combining best practices in participatory art with media technology’s innovations of language, form and process, the project is defining new approaches to co-creation and innovation, exploring novel audiovisual formats based in European cultural heritage, such as opera.

This study investigates whether colour emotions are affected by different cultures, display media, and subject’s educational backgrounds. Psychophysical experiments were carried out at three locations, two in Britain and the other in Taiwan. In the experiments single colours and colour pairs were presented on Cathode Ray Tube (CRT) monitors and were assessed on four colour-emotion scales. Colour samples used in the previous experiment were accurately reproduced in the present experiments onto CRT monitors. This allows the same colours to be assessed at different locations. The four colour-emotion scales used in the experiments include ‘warm-cool’, ‘heavy-light’, ‘active-passive’, and ‘like-dislike’. A total of 49 subjects took part in the experiments. The experimental data obtained from the three locations were compared. The results show little difference in colour emotions for colour pairs between different cultures (British vs. Taiwanese), different display media (CRT vs. surface colours), and different backgrounds of subjects (design vs. non-design). However, for single colours the scale ‘like-dislike’ show low correlation between data sets. In the previous study an ‘additivity theory’ was developed for predicting colour-pair emotions. The theory predicts the intensity of a colour emotion for a colour pair by the mean value of the colour emotion for individual colours in that pair. The present experimental results show the ‘additivity theory’, which was developed originally for surface colours, also applies to CRT colours.

With the popularization of the Internet, permeation of sensor networks, emergence of big data, increase in size of the information community, and interlinking and fusion of data and information throughout human society, physical space, and cyberspace, the information environment related to the current development of artificial intelligence (AI) has profoundly changed. AI faces important adjustments, and scientific foundations are confronted with new breakthroughs, as AI enters a new stage: AI 2.0. This paper briefly reviews the 60-year developmental history of AI, analyzes the external environment promoting the formation of AI 2.0 along with changes in goals, and describes both the beginning of the technology and the core idea behind AI 2.0 development. Furthermore, based on combined social demands and the information environment that exists in relation to Chinese development, suggestions on the development of AI 2.0 are given.

There is no denying that television, as a medium and an institution, has drastically changed in the age of digitization and convergence. For audiences, this has not only opened up multiple opportunities to watch television content at other times and on other devices, but also to interact with its cross-media extensions. However, while much has been written about the new opportunities for audience engagement, we do not know much about the actual adoption of new technologies nor the motivations underlying such uses. Therefore, this paper draws on empirical audience research to address the key question: how do viewers engage with contemporary TV fiction? Through empirical audience research, using various qualitative research methods, three different aspects of the reception of cross-media TV fiction will be discussed: (1) how do viewers watch the TV episodes of contemporary TV fiction?, (2) how do viewers engage with the cross-media extensions of TV fiction?, and (3) how do viewers experience the social dimensions of contemporary TV fiction? We focus on a particular group, that of 'engaged' viewers, who are actively involved by personalizing their viewing practices, by communicating about it, by consuming cross-media elements of TV fiction, or producing TV fiction-related content. Our findings suggest that even this group does not make full use of all the available technological opportunities to personalize TV viewing, and that the classical TV text, linear viewing, and the social aspect of viewing remain of key importance. (author's abstract)

La animación comercial japonesa es citada frecuentemente por los teóricos de la convergencia de la cultura popular como ejemplo de la integración sistemática de estructuras del audiovisual transmedia en su núcleo productivo. Sin embargo, la atención a este rasgo excluye otra faceta relevante: la de la recepción por parte de sus hiperactivos fans. Mediante un recorrido a través de la emergente historiografía sobre las maneras de consumir y transformar textos relativos al animedesde los años setenta hasta hoy presentamos a la subcultura otaku japonesa como paradigmática de un tipo consumidor que trasciende el rol de los prosumers contemporáneos para pasar a situarse en la vanguardia de su industria. Para ello se ofrece una cronología de los hitos tecnológicos en el consumo de la animación comercial japonesa articulada en torno al devenir creativo de los componentes del emblemático estudio de animación Gainax, pieza clave en la construcción de la identidad otaku dentro y fuera de Japón. Japanese commercial animation is frequently mentioned by the experts on the convergence culture as an example of the systematic integration of transmedia audiovisual production structures at its core. However, the attention to this trait excludes incidentally another relevant aspect: the hyperactive reception of their fans. Through a historiographical revision of the ways to consume and transform anime from the 1970s until today, we introduce the Japanese otaku subculture as paradigmatic of the proactive role of contemporary prosumers which have established themselves at the vangaurd of the animation industry. To do so, we delve into a chronology of the technological milestones of Japanese commercial animation articulated around the case of the famous studio Gainax, a key part on the construction of the otaku identity inside and outside Japan.

This article explores strategies used by television programme makers in the multi-platform era, principally concerning personal memories of historical events. The availability and use of televisual materials has increased in the current ‘post-scarcity culture’, especially through the digitization of archival collections and production of history-based content for television. The author therefore considers the contemporary role of television in the active experience of (re-)engaging with past events in the present. The analysis focuses on a specific case of historical television documentary, the Dutch cross-media project In Europe, grounded in a textual analysis of the project and the creators' strategies of multi-platform storytelling. These strategies hold opportunities and implications for a specific kind of shared engagement with the past, which can arguably be called a ‘participatory memory’.

Este artículo presenta el diseño de una investigación a escala europea acerca del consumo de medios de comunicación como un recurso democrático. Mediante una combinación de entrevistas en profundidad, cuestionarios y métodos Q, se completa una evaluación crítica de las ventajas e inconvenientes que estas innovaciones metodológicas pueden suponer para la investigación en comunicación. El diálogo establecido entre equipos de treces países se traduce en una reflexión pertinente acerca de los retos que implica la investigación comparada a escala internacional. Además, la incorporación de los métodos Q como parte central del diseño metodológico supone una oportunidad de aprendizaje y exploración para conectar las aproximaciones cuantitativas y cualitativas en las Ciencias Sociales. La explicación detallada de las decisiones adoptadas durante un proceso de más de dos años de duración se ofrece como una invitación al debate y a la aplicación de estas técnicas para la recogida y análisis de datos. This article presents the methodological design of an ongoing research project conducted across Europe about the media consumption as a democratic resource. By means of a combination of in-depth interviews, questionnaires and Q methods, a critical evaluation of the benefits and limitations that these methodological innovations could bring to Communication Research is completed. The dialogue established between teams of thirteen different countries fosters a necessary discussion about the challenges imposed by comparative research at international scale. Moreover, the incorporation of Q methods as a central part of the methodological strategy turns into an opportunity to learn and explore the connections between quantitative and qualitative approaches to Social Sciences. The detailed explanation of the decisions taken by the research team during more than two years are offered as an invitation to public discussion and to the application of these techniques during both the data collection and data analysis phases. Ciencias de la Comunicación

Este artículo presenta el diseño de una investigación a escala europea acerca del consumo de medios de comunicación como un recurso democrático. Mediante una combinación de entrevistas en profundidad, cuestionarios y métodos Q, se completa una evaluación crítica de las ventajas e inconvenientes que estas innovaciones metodológicas pueden suponer para la investigación en comunicación. El diálogo establecido entre equipos de treces países se traduce en una reflexión pertinente acerca de los retos que implica la investigación comparada a escala internacional. Además, la incorporación de los métodos Q como parte central del diseño metodológico supone una oportunidad de aprendizaje y exploración para conectar las aproximaciones cuantitativas y cualitativas en las Ciencias Sociales. La explicación detallada de las decisiones adoptadas durante un proceso de más de dos años de duración se ofrece como una invitación al debate y a la aplicación de estas técnicas para la recogida y análisis de datos. This article presents the methodological design of an ongoing research project conducted across Europe about the media consumption as a democratic resource. By means of a combination of in-depth interviews, questionnaires and Q methods, a critical evaluation of the benefits and limitations that these methodological innovations could bring to Communication Research is completed. The dialogue established between teams of thirteen different countries fosters a necessary discussion about the challenges imposed by comparative research at international scale. Moreover, the incorporation of Q methods as a central part of the methodological strategy turns into an opportunity to learn and explore the connections between quantitative and qualitative approaches to Social Sciences. The detailed explanation of the decisions taken by the research team during more than two years are offered as an invitation to public discussion and to the application of these techniques during both the data collection and data analysis phases.

This article presents the methodological design of an ongoing research project conducted across Europe about the media consumption as a democratic resource. By means of a combination of in-depth interviews, questionnaires and Q methods, a critical evaluation of the benefits and limitations that these methodological innovations could bring to Communication Research is completed. The dialogue established between teams of thirteen different countries fosters a necessary discussion about the challenges imposed by comparative research at international scale. Moreover, the incorporation of Q methods as a central part of the methodological strategy turns into an opportunity to learn and explore the connections between quantitative and qualitative approaches to Social Sciences. The detailed explanation of the decisions taken by the research team during more than two years are offered as an invitation to public discussion and to the application of these techniques during both the data collection and data analysis phases. Este artículo presenta el diseño de una investigación a escala europea acerca del consumo de medios de comunicación como un recurso democrático. Mediante una combinación de entrevistas en profundidad, cuestionarios y métodos Q, se completa una evaluación crítica de las ventajas e inconvenientes que estas innovaciones metodológicas pueden suponer para la investigación en comunicación. El diálogo establecido entre equipos de treces países se traduce en una reflexión pertinente acerca de los retos que implica la investigación comparada a escala internacional. Además, la incorporación de los métodos Q como parte central del diseño metodológico supone una oportunidad de aprendizaje y exploración para conectar las aproximaciones cuantitativas y cualitativas en las Ciencias Sociales. La explicación detallada de las decisiones adoptadas durante un proceso de más de dos años de duración se ofrece como una invitación al debate y a la aplicación de estas técnicas para la recogida y análisis de datos

In contemporary societies communications technologies are constantly evolving under the pressure of digital innovation. Devices and software that allow learning, mediated communications, and the consumption of cultural products always, everywhere, and on every device are multiplying. OssCom (Centro di Ricerca sui Media e la Comunicazione) analyzed the cross-media practices of young Italians, the mediated communication activities of young digital users, the cross-media activities of Italian kids, and social networking use among Italians. The article presents these qualitative studies with a specific attention to the integration of different qualitative research methods—face-to-face interviews, “expanded ethnographies,” participatory methods—and the challenge of harmonizing qualitative research and the large social database retrievable from social networking software. The article describes how these methods can add layers to our understanding of young digital users’ practices that cross the boundaries of on...

Professionals in the television industry are working towards a certain future - rather than end - for the medium based on multi-platform storytelling, as well as multiple screens, distribution channels and streaming platforms. They do so rooted in institutional frameworks where traditional conceptualizations of television still persist. In this context, we reflect on the role of the national television archive as an agent of historical knowledge in the convergence era. Contextualisation and infrastructure function as important preconditions for users of archives to find their way through the enormous amounts of audio-visual material. Specifically, we consider the case of the Netherlands Institute for Sound and Vision, taking a critical stance towards the archive's practices of contextualisation and preservation of audio-visual footage in the convergence era. To do so, this article considers the impact of online circulation, contextualisation and preservation of audio-visual materials in relation to, first, how media policy complicates the re-use of material, and second, the archive's use by television professionals and media researchers. This article reflects on the possibilities for and benefits of systematic archiving, developments in web archiving, and accessibility of production and contextual documentation of public broadcasters in the Netherlands. We do so based on an analysis of internal documentation, best practices of archive-based history programmes and their related cross-media practices, as well as media policy documentation. We consider how audio-visual archives should deal with the shift towards multi-platform productions, and argue for both a more systematic archiving of production and contextual documentation in the Netherlands, and for media researchers who draw upon archival resources to show a greater awareness of an archive's history. In the digital age, even more people are part of the archive's processes of selection and aggregation, affecting how the past is preserved through audio-visual images. (author's abstract)

Automatic image annotation is still an important open problem in multimedia and computer vision. The success of media sharing websites has led to the availability of large collections of images tagged with human-provided labels. Many approaches previously proposed in the literature do not accurately capture the intricate dependencies between image content and annotations. We propose a learning procedure based on Kernel Canonical Correlation Analysis which finds a mapping between visual and textual words by projecting them into a latent meaning space. The learned mapping is then used to annotate new images using advanced nearest-neighbor voting methods. We evaluate our approach on three popular datasets, and show clear improvements over several approaches relying on more standard representations.

La presente investigación gira alrededor de la temática de la interactividad en la oferta de contenidos infantiles cross-media en televisión digital terrestre (TDT) e Internet, apuntando a explorar la interlocución que tiene lugar a partir de las ofertas interactivas presentes en medios digitales producidos para niños y niñas, tomando como caso de estudio el canal temático infantil y multiplataforma Super3. Los objetivos de la investigación se dirigen a: 1) identificar la oferta de interactividad presente en contenidos cross-media de producción propia de Super3 para TDT e Internet; 2) establecer cuál es la propuesta de interactividad implícita en la producción de tales contenidos; 3) caracterizar la interlocución ejercida por los niños y niñas a partir de dicha oferta; 4) contribuir a la discusión en torno a la interlocución que pueden estar ejerciendo niños y niñas de 8 a 14 años ante ofertas de interactividad. Los referentes teóricos y conceptuales utilizados estuvieron relacionados con: la convergencia cultural en el sentido de las transformaciones simbólico-culturales de los modos de consumo (participación activa de los consumidores) y de los de producción de medios (amplificación de tal participación); la producción y distribución cross-media de contenidos que circulan por diferentes plataformas; teorías de la recepción activa que enfatizan el rol participativo de las audiencias, usuarios, consumidores o interlocutores; y la teoría de las hipermediaciones que destaca los elementos de participación y colaboración textual que devienen del consumo/producción de medios digitales interactivos. Se dispuso un diseño metodológico centrado en el enfoque cualitativo para el desarrollo de un tipo de investigación exploratoria basada en el método de estudio de caso único (Super3) con unidades de análisis integradas (Info K y Tags). La recolección de información se hizo en torno a los contenidos en las plataformas TDT e Internet, la producción y distribución de los mismos, y los niños y niñas como audiencias potenciales; utilizando como técnicas de investigación el análisis cualitativo de contenidos, entrevistas y grupos focales. El aporte realizado con la investigación está en la dirección del conocimiento de las características de las opciones existentes en los contenidos, la concepción y prácticas profesionales que involucran los productores en su desarrollo y la relación que establecen niños y niñas con ella. De allí que se pudo avanzar en la identificación de estilos, formas o tipos de interlocución dentro de la interactividad. En ese sentido, se aportan categorías de análisis emergentes, referidas a la interactividad controlada o abierta, en la oferta, y la interlocución controlada o abierta, en el consumo; las cuales contribuyen a la comprensión del fenómeno de una forma cualitativa y ajustada a las prácticas y relaciones que actualmente tienen lugar entre la población infantil., This research was conducted within the framework of interactivity in the offer of cross-media child contents in terrestrial digital television (TDT) and Internet, aiming to explore the interlocution that takes place between the interactive offers present in digital medias produced for kids, presenting Super3—a thematic channel for children and multiplatform—as case study. The objectives of the research are: 1) identify the interactivity offer present in Super3 proprietary cross-media content in TDT and Internet; 2) establish the interactivity offer implicit in the production of such contents; 3) characterize the children interlocution with the identified offer; 4) contribute to the current discussion dealing with the interlocution that children, in the 8 to 14 years demographics, might have to interactivity offers. The theoretical and conceptual referents used are related with: the cultural convergence in the symbolic-cultural transformations sense of the consumption ways (active participation of the consumer) and media production (amplification of that participation); the production and distribution of cross-media contents available in different platforms; theories of active reception that emphasize the participative role of audiences, users, consumers or interlocutors; and the hypermedia theory that favors the elements of participation and collaboration through text that arise from the consumption/production of digital interactive content. The methodology use is focused in the qualitative approach, in order to develop a type of exploratory research based in the single-case study (Super3) with embedded analysis units (Info K and Tags). The information was collected from contents available in the TDT and Internet platforms, production and distribution of such contents, and children as potential audience; using the following research techniques: qualitative analysis of contents, interview and focal groups. The major contributions of this research are the awareness of the different existing content characteristics; the conception and professional practices that involve the content producers and the relations established with children. This research advanced in the identification of styles, kinds or interlocution types within the interactivity. In that sense, emerging analysis categories are presented, regarding controlled or open interactivity, in the offer, and about controlled or open interlocution, in the consumption stage. These categories contribute to the comprehension of the phenomenon in a qualitative approach and adjusted to the practices and relations that nowadays take place in children demographics.

During the 1990s news publishers established an online presence and in the 2000s they developed cross-media news work. This has resulted in changing news accessing habits, with varied magnitude among generations. This article aims to construct theoretically sound news media generations, through statistical analysis of data from a nationally representative scientific omnibus survey conducted in 2010. Firstly the article presents a descriptive and explanatory analysis of how eight generational cohorts utilize news in print and/or online and/or mobile. Secondly these findings are used for merging the generational cohorts into a conceptualization involving three media generations. The print generation (1920s- 1940s) shows high probability (70%) and scored its highest value for reading only printed newspaper (Pearson’s r = .135). The online generation (1950s-1970s) shows high probability (66%) and scored highest of online only news accessing (Pearson’s r = .135). The heterogeneous news usage patterns exhibited by the individualized generation (1980s-1990s) were accommodated for by two cohorts. The online cohort shows high probability for online-only news usage (60%) and a positive correlation (Pearson’s r = .065). The cross-media cohort marks high probability for cross-media use (77%) and the highest value for cross-media use (Pearson’s r = .141).

Propomos aqui uma análise de campo ambientada em espaço transmidiático, e utilizamos como ferramenta metodológica o Princípio da Simetria com base na Teoria Ator-rede. Seguindo a ideia de rastrear conexões, a partir de uma escrita etnográfica, o método propõe pensar o social menos como categoria de base analítica - posta antecipadamente e desvinculada do campo das experiências - e mais como algo focado no processo contínuo. As práticas sociais e midiáticas são articuladas aqui para além dos limites humanos (ou exclusivamente técnicos), enfim, o ator-rede se estabelece não como uma entidade fixa, mas, através de fluxos com base nos quais o método irá descrever a propagação de associações. Proponemos aquí un análisis de campo transmedia ambientado en el espacio y el uso del principio de simetría basada en la teoría del actor-red como una herramienta metodológica. Siguiendo la idea de rastreo de conexiones de una escritura etnográfica, el método propone considerar lo social como una categoría de menor base analítica - llamado por adelantado y sin relación con el campo de la experiencia - y como algo más centrado en un proceso continuo. Las prácticas sociales y los medios de comunicación se articulan aquí más allá de los límites humanos (o puramente técnicas), por último, el actor-red se establece no como una entidad fija, sino a través de los flujos en los que el método se describe la propagación de las asociaciones. Propose here an analysis of cross-media field set in space, as a methodological tool and use the principle of symmetry based on Actor- Network Theory. Pursuing the idea of tracing connections from an ethnographic writing, the methodology proposes to consider less the social as a category of analytical basis - called in advance and unrelated to the field of experience - and as something more focused on continuous process. Social and media costumes are here articulated beyond human limits (or purely technical), anyway, the actor-network is established not as a fixed persona, but trough flows on which the method will describe the spread of associations.

Due to the ever increasing number of different digital media types that we use in our daily work, it is no longer sufficient to manage them in an isolated way but desirable to define associations across the media boundaries. While cross-media information systems allow different forms of media objects to be linked, there is often a lack of support for the flexible authoring and sharing of these links. We present a solution for exchanging cross-media link information in an ad-hoc way among communities of users based on a notion of a cooperative cross-media link server. We describe how the system has been implemented based on an existing cross-media link server (iServer) and peer-to-peer technologies.

This paper outlines results from the long-term deployment of a system for mobile group socialization which utilizes a variety of mundane technologies to support cross-media notifications and messaging. We focus here on the results as they pertain to usage of mundane technologies, particularly the use of such technologies within the context of a cross-media system. We introduce “Rhub”, our prototype, which was designed to support coordination, communication and sharing amongst informal social groups. We also describe and discuss the usage of the “console,” a text-based syntax to enable consistent use across text messaging, instant messaging, email and the web. The prototype has been in active use for over 18 months by over 170 participants, who have used it on an everyday basis for their own socializing requirements.

El Periodismo Institucional está redefiniendo sus canales de comunicación externos de la mano de Twitter, un servicio microblogging en auge. El artículo analiza el uso de esta herramienta en este campo, en un contexto marcado por la convergencia, que incentiva las estrategias cross-media y el diálogo con los usuarios. Se basa en la experiencia del gabinete de prensa del Servei Català de Trànsit (SCT), la principal fuente sobre movilidad en Catalunya. La metodología escogida para desarrollar el trabajo es la del estudio de caso. Concretamente, combina la entrevista con el análisis del contenido de los tuits difundidos por el organismo durante la segunda quincena del mes de junio de 2012. La principal conclusión apunta a que Twitter se utiliza básicamente como complemento a los contenidos distribuidos a través de la página Public agencies are reshaping its communication channels through Twitter, a microblogging service which is reaching its peak. This article analyses how the press offices of institutional organizations are using this tool in the general context of the convergence, which encourages the cross-media strategies and the dialogue with the public. It is based on the case study of the Servei Català de Trànsit (SCT), the main official source about road information in Catalonia. It mixes an interview with the content analysis of the tweets distributed by the organism during the last two weeks of June 2012. The main conclusion of this work is that Twitter is basically an informative complement of the corporate website. There is no option to public dialogue neither with the public nor with the journalists.

As práticas digitais que decorrem da ubiquidade dos media e da sua utilização possibilitaram a combinação de múltiplas plataformas no consumo de notícias. Neste artigo, procurámos identificar repertórios mediáticos (padrões de uso dos media noticiosos) em Portugal, de modo a compreender como são construídas as preferências mediáticas das audiências e de que forma o consumo noticioso integra os seus hábitos quotidianos. Neste sentido, desenvolvemos uma análise a padrões de consumo de media noticiosos a partir de uma abordagem mista de métodos qualitativos e quantitativos baseada na Metodologia Q (Davis & Michelle, 2011), a partir de uma amostra constituída por 36 participantes. A análise dos padrões de consumo de notícias permitiu identificar e analisar sete repertórios mediáticos em função do uso, relevância e utilidade atribuída pelos sujeitos aos media noticiosos. Os resultados revelam perfis híbridos de consumo mediático e uma tendência para consumos de notícias numa lógica móvel e multiplataforma, embora os media tradicionais continuem a desempenhar um papel determinante nos repertórios mediáticos em Portugal., The digital practices that arise from the ubiquity of the media and their use enabled the combination of different platforms within news consumption, in a cross-media logic. In this article we sought to identify media repertoires (patterns of use of news media) in Portugal, in order to understand how do people make sense of their media preferences and how does news consumption integrate the daily habits of the audience. In this sense, we have developed an analysis of news media consumption patterns grounded on a mixed approach of qualitative and quantitative methods based on Q-Methodology (Davis & Michelle, 2011), using a sample of 36 participants. The analysis of news consumption patterns allowed the identification and analysis of seven media repertories according to the use, relevance and usefulness attributed by the subjects to the news media. The results show hybrid media consumption profiles and a tendency for the consumption of news in a mobile and multiplatform logic, although traditional media continue to play a determining role in the media repertoires in Portugal., info:eu-repo/semantics/publishedVersion

Les narratives transmediàtiques emergeixen com un dels temes de recerca més interessants de l’ecologia dels mitjans actual. L’objectiu d’aquest article és presentar els resultats generals d’una recerca realitzada entre el 2010 i el 2011 sobre les narratives transmediàtiques produïdes a Catalunya. En la recerca, de caràcter exploratori, s’hi van analitzar produccions de fi cció, reality shows, paròdies, late night shows, produccions publicitàries vinculades a aquestes obres i campanyes polítiques. En l’àmbit metodològic, la recerca va incloure l’anàlisi del material textual i la realització d’entrevistes semiestructurades amb els principals responsables de les produccions transmediàtiques., Quaderns del CAC, Vol. 15, Núm. 38 (2012): Reptes de l’audiovisual europeu

In the study reported in this article, the diverse news media repertoires in Portugal are investigated using a Q-methodological approach. We analyse the participants’ perceptions of the experienced values of the cross-media news landscape (Schrøder, 2012) and identify seven news media repertoires: quality media lovers (R1); broadcast media consumers (R2); television news addicts, press consumers and social media avoiders (R3); news snackers (R4); online based-media and social media addicts (R5); online newspaper lovers and radio news avoiders (R6); and television, press and social/online-based media consumers (R7). A preference for traditional media, especially television, and increasing use of social media, constitute the salient features of the Portuguese national news repertoires., info:eu-repo/semantics/publishedVersion