Del offline a la r@dio: las experiencias de la industria radiofónica española y colombiana

Abstract

RESUMEN: En el proceso de adaptación de la industria radiofónica a la naturaleza del entorno digital, los operadores implementan estrategias que vehiculan la convivencia del offline, todavía core del negocio, y el online en aras a definir su proyecto de r@dio. El objetivo de este artículo es determinar qué tipo de actividades desarrolla, su grado de eficacia y hasta qué punto influyen las particularidades de su propio mercado. La investigación se centra en dos escenarios, España y Colombia, y plantea un abordaje metodológicamente mixto, a partir del diseño de instrumentos que dan insumos cuantitativos, sin dejar de lado elementos cualitativos, de lo que acontece en los perfiles de las redes sociales y las web-r@dio de las emisoras. Como conclusiones, se observa que la difusión crossradial parte del sonido offline que en el marco de la táctica 360º se vuelve testimonial frente a la presencia de texto, fotografías y vídeos. ABSTRACT:In the process of adaptation of the radio industry to the nature of the digital environment, operators are implementing strategies that convey the coexistence of the offline, still as a core business, and the online, in pursuit of the definition of their own r@dio project. The objective of this article is to determine the type of activities that are developed, their efficiency and influence in the peculiarities of their own market. Research is carried out in two different scenarios, Spain and Colombia, and it poses a methodologically mixed approach from the design of instruments that provide quantitative inputs. It is also important to bear in mind the qualitative elements of the events of social media and the ones from web radio. As a conclusion, it is observed Broadcasting comes from the offline sound, which in the context of the 360° tactic, becomes a testimony in the presence of text, photographs and videos.

Radio, music and podcast in the consumption agenda of Colombian adolescents and youth in the digital sonosphere

“…The challenge lies in the consumption of podcast and audio streaming, which today stands at 10 minutes per user, as opposed to the consultation preferences on mobile screens that adolescents and young people spend 6.8 hours on. Colombian adolescents and youth suggest that radio on the air is perceived as a company, the web as a space for satisfying curiosities, radio in social media as a platform for friendship, exchange and interaction from the cell phone as a stronghold of convergence in which a strategy of use and circulation on the content 360º is gathered (Gutiérrez-García & Barrios-Rubio, 2019).…”

“…There is therefore a connection between thematic interests and youth tastes with social platforms and networks where the radio is not strongly visible, and urges the media agents to deploy strategies to position the brand (Gutiérrez-García & Barrios-Rubio, 2019).…”

The Colombian Media Industry on the Digital Social Consumption Agenda in Times of COVID-19

“…Reply, acceptance or propagation of the communicative proposal of by the receiver on the social network Media consumption by the audience and participation in the content [49]. Coexistence of off and on-line [33].…”

“…The communicative framework requires a culturalization and digital appropriation on the part of the mass media for the potential use of user accessibility to the communication proposal from different devices [31]. The market is saturated with technological artifacts that are used by fans eager for relationships and recognition [32], the need for attention that is evidenced in social networks and virtual groups, and how said public interacts with the media and journalists in the digital environment [33].…”

Prácticas juveniles de consumo sonoro, entre grandes plataformas y el ecosistema radiofónico: caso Colombia-España

“…Con todo, el entorno de recepción y consumo digital desde dispositivos móviles (Díaz-Nosty, 2017) ha propiciado, por una parte, la diseminación de aplicaciones radiofónicas (Moreno et al, 2017) y, por otra, la dispersión de la atención de los usuarios (Llorca-Abad, 2015) con el uso simultáneo de varias pantallas (Figura 2). Para enfrentar estas dificultades, algunos autores apuntan que las marcas radiofónicas deben promover la alfabetización sonora (Pérez-Maíllo et al, 2018), habilitar foros propios en aras a la creación de comunidades digitales (García-Avilés et al, 2016;García-Jiménez et al, 2018;Gutiérrez-García & Barrios-Rubio, 2019;Ribes et al, 2017;Videla-Rodríguez & Piñeiro-Otero, 2013) y promover experiencias personales (Bonini & Monclús, 2015;Gerlich et al, 2015;). Es decir, el foco de atención debe situarse en la audiencia y los contenidos y no únicamente en aspectos relativos a la tecnología.…”