Fuente: https://unsplash.com/photos/X-etICbUKec
Journal: Profesional de la información (Scopus Q1, WoS Q3)
Theme: Digital audio communication
Issue: v. 31, n. 5
Publication date: September-October 2022
Manuscript submission deadline: March 10th, 2022
Guest editors:
Luis-Miguel Pedrero-Esteban
Full professor and Research head of the Nebrija-Innomedia Group at the Faculty of Communication and Arts, Nebrija University, Madrid, Spain
Teresa Piñeiro-Otero
Associate professor of the Area of Audiovisual Communication and Advertising at the Universidade da Coruña, Spain
About the theme
In the first months of 2021, the live social audio app Clubhouse became a fulgurating global phenomenon. Their success revived the orality relevance in the age of convergence (Jenkins, 2006), and promoted significant changes in other social platforms.
Despite losing its original popularity, it has made a great impact on an increasingly sonorous communicative ecosystem. The popularization of podcasts and audiobooks; the multiplication of sound streaming platforms; the interconnection between audio devices; and the consolidation of voice as a digital connection interface in smart assistants and speakers, have positioned the sound as one of the main trends in communication.
The diversification of formats and devices, and the confluence between media and screens, have created new sound species that provide more interactive and immersive experiences. This evolution from sound to sound-media requires a reconceptualization of profiles, practices, and professional work routines in this communicative ecosystem. At the meantime, the diversification of devices, platforms and formats has generated new relations between socialization and individualization of listening, between large audiences and hyper-segmentation.
Podcasts such as ‘Serial’ (This American Life, 2014-2018) in the United States or ‘El gran apagón’ (Podium Podcast, 2016-2018) in Spain reveal that exits a captive audience for sound stories, but also a social audience with an interest in interacting around those contents. Meanwhile, smartphones, tablets and wearables have promoted the emergence of personal soundscapes that are redefining our experience of space.
The interaction between socialization and individualization of listening has grown in strength during Covid-19 pandemic; mobility restrictions have been a boost for online audio: while radio has reaffirmed its role as an information and entertainment medium, other contents such as podcasts and audiobooks have experienced a great expansion even as a cultural product. The health crisis has also underlined the urgency of defining new business models for audio media.
Topics
This monograph invites the submission of research papers of analytical, theoretical, methodological or review nature, preferably of international scope, around the following axes and lines of research:
– Evolution of radio. Adaptation of listening habits, devices, channels, and distribution systems. Interactions between online and offline broadcasting. New formats and contents. Integration of artificial intelligence and other technologies in the radio production and broadcasting process.
– Podcasting. Products, genres, and formats. Creative and expressive innovations. Podcast platforms: effects on production, distribution, prescription, and personalization. The podcast as DiY media. Podcast and slow journalism.
– Sound platforms and music streaming. Editorial and commercial models. Curation using algorithms. Impact on the generation and modification of tastes and trends.
– Business models. Sound contents as part of online broadcasting and monetization strategies. Influencers in/of sound communication.
– Online radio and audio consumption trends. Audiences and participation.
– The production context. Transformations in professional routines. New professional profiles. Access and self-mediation of social groups.
– Innovative contents. Experiences in the convergence of contents, formats, and genres. Segmentation and hyper-specialization. Fiction. Documentary. Daily. Online audio as origin and expansion of transmedia universes.
– Immersive sound experiences. Alternate reality games with sound base. Audio games. Mobile urban drama.
– Audiobooks. Synthetic voices and content accessibility.Audio branding. Branded podcasts. Audio branded content. Corporate radios.
Manuscript submission
If you wish to submit an article, please read carefully the journal’s acceptance criteria and rules for authors:
https://www.profesionaldelainformacion.com/authors.html
And then send us your article through the OJS journal manager on:
https://revista.profesionaldelainformacion.com/index.php/EPI/submissions
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Evaluation
All articles published in EPI are double blind peer reviewed by 2 or more members of the international Scientific Committee of the journal, and other reviewers, always external to the Editorial Board. The journal undertakes to reply with the review results.
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Revista: Profesional de la información (Scopus Q1, WoS Q3)
Tema: Comunicación sonora digital
Número: v. 31, n. 5
Fecha de publicación: septiembre-octubre de 2022
Fecha límite de envío de manuscritos: 10 de marzo de 2022
Editores invitados:
Luis-Miguel Pedrero-Esteban
Catedrático e IP del grupo Nebrija-Innomedia en la Facultad de Comunicación y Artes, Universidad Nebrija, Madrid, España.
Teresa Piñeiro-Otero, Profesora titular del Área de Comunicación Audiovisual y Publicidad, Universidade da Coruña, España.
Sobre este monográfico
En los primeros meses de 2021 la aplicación de audio social en vivo Clubhouse se convirtió en un fenómeno a escala global. Su repentino y fulgurante éxito recuperó la relevancia de la oralidad en plena era de la convergencia (Jenkins, 2006), y propició significativos cambios en diversas plataformas sociales. Aunque semanas vería rebajado su poder de convocatoria en el continuamente renovado universo de aplicaciones online, ha dejado una gran impronta –y no pocas réplicas– en un ecosistema comunicativo cada vez más sonoro.
La popularización de los podcasts y audiolibros, la multiplicación de plataformas de streaming sonoro, la interconexión entre dispositivos de audio y la consolidación de la voz como interfaz de conexión digital en asistentes y altavoces inteligentes han situado al sonido entre las principales tendencias de la comunicación. La diversificación de formatos y dispositivos y la confluencia entre medios y pantallas han alumbrado nuevas especies sonoras que brindan experiencias más interactivas e inmersivas. Esta evolución del medio sonoro a los medios sonoros precisa de una reconceptualización de los perfiles, rutinas y prácticas profesionales en este ecosistema comunicativo.
Paralelamente, la diversificación de terminales, plataformas y formatos ha generado nuevas correlaciones entre la socialización y la individualización de la escucha, entre las grandes audiencias y la híper-segmentación. Podcasts como Serial (This American Life, 2014-2018)en Estados Unidos o El gran apagón (Podium Podcast, 2016-2018) en España no sólo revelan que existe un público cautivo de los relatos sonoros, sino también una audiencia social con interés por interactuar en torno a esos contenidos. Al tiempo, smartphones, tablets y wearableshan favorecido la emergencia de sonoesferas personales que redefinen nuestra experiencia del espacio.
La interacción entre socialización e individualización de la escucha ha cobrado fuerza con la irrupción de la pandemia por la Covid-19; las restricciones de movilidad han supuesto un revulsivo para el audio online: si bien la radio ha refrendado su papel como medio informativo y de entretenimiento, otros contenidos como podcasts y audiolibros han experimentado una gran expansión incluso como objeto de produso. La crisis sanitaria ha subrayado, además, la urgencia en la definición de nuevos modelos de negocio para los medios sonoros.
Temas
El presente monográfico invita a la remisión de trabajos de investigación de carácter analítico, teórico, metodológico o de revisión, preferentemente de alcance internacional, en torno a los siguientes ejes y líneas de investigación:
– Evolución de la radio. Adaptación de hábitos de escucha, dispositivos, canales y sistemas de distribución. Interacciones entre emisión online y tradicional. Nuevos formatos y contenidos. Integración de la inteligencia artificial y otras tecnologías en el proceso de producción y difusión radiofónica.
– Podcasting. Productos, géneros y formatos. Innovaciones creativas y expresivas. La plataformización del podcast: efectos en producción, distribución, prescripción y personalización. El podcast como DiY media. Podcasts y slow journalism.
– Plataformas desonido y streaming musical. Modelos editoriales y comerciales. Curación a través de algoritmos. Impacto en la generación y modificación de gustos y tendencias.
– Modelos de negocio. Los contenidos sonoros como parte de estrategias de difusión y monetización online. Influencers en/de la comunicación sonora.
– Tendencias de consumo de radio y audio online. Audiencias y participación.
– El contexto de la producción. Transformaciones en las rutinas profesionales. Nuevos perfiles profesionales. Acceso y automediación de colectivos sociales.
– Contenidos innovadores. Experiencias en la convergencia de contenidos, formatos y géneros. Segmentación e hiperespecialización. Ficción. Documental. Daily. El audio online como origen y expansión de universos transmedia.
– Experiencias sonoras inmersivas. Alternate reality games de base sonora. Audiojuegos. Mobile urban drama.
– Audiolibros. Voces sintéticas y accesibilidad de contenidos.
– Audio branding. Podcasts de marca. Branded content sonoro. Radios corporativas.
Presentación de manuscritos
Si desea enviar un artículo, lea atentamente los criterios de aceptación de la revista y las reglas para los autores:
https://www.profesionaldelainformacion.com/autores.html
Y luego envíenos su artículo a través del programa OJS de gestión de la revista en:
https://revista.profesionaldelainformacion.com/index.php/EPI/submissions
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Si aún no está registrado como autor, hágalo aquí:
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Evaluación
Todos los artículos publicados en EPI son revisados por pares en doble ciego por 2 o más miembros del Comité Científico Internacional de la revista, y otros revisores, siempre externos al Comité Editorial. La revista se compromete a responder con los resultados de la revisión.
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