Catálogo de publicaciones - revistas

<jats:p>The normative theory of citing considers citations as rewarding tools to acknowledge the influence of scientific works, while the social constructivist theory of citing considers citations, for example, as persuasion tools used by authors to support their claims, and convince the scientific community that those claims are valid. Other citation theories and models have been proposed in recent years to overcome the limitations of the normative and social constructivist theories. Nevertheless, they have not been able to fully explain all citation motives of scientists (but have a certain focus). This study proposes a new theory (which we call “social systems citation theory”, SSCT) that integrates previous theories and models on publications and their citation links and is mainly based on Niklas Luhmann’s “social systems theory”. Luhmann’s social systems theory focuses on “communications” as the basic constituting elements of a social science system and not on humans and their motives. Humans are not part of social systems but are connected with them and irritate them. Thus, the social systems theory does not have the problem of integrating various and different motives of humans to cite in the science system. In the SSCT, authors’ motives to cite belong to psychic systems while publications and their citation links belong to the social science system. The systems operate autonomously but interact with each other: the social system operates recursively with publications and citation links. Although psychic systems stimulate or irritate the science system, they do not determine communications in the science system. In this study, we explain the SSCT and demonstrate how the theory can be used to underlie empirical bibliometric studies.</jats:p>

<jats:p>Convictions of political corruption depend on public communication, since for citizens, to perceive deviant behaviours, these must receive attention. In Spain, this type of behaviour is part of the agendas of citizens, media, and politicians and, to fight against it, accountability is essential. In addition to the judiciary and legislature (in their oversight role), the media and social media help voters, MPs and others to make informed decisions and press for action. However, the interrelationships between different agents, types, and forms of control for accountability are a rather unexplored research topic, especially when considering non-accountable institutions (those that have power, but are not directly accountable to the electorate, such as the monarchy). The debate on the inviolability of the emeritus presents a perfect scenario to describe what formulas and what kind of sanctions (legal, labour, reputational or personal) for accountability have occurred in Spain in the case of a non-accountable institution. This study explores the agendas of media, Parliament, and Twitter (and their inter-influences) during the Geneva papers scandal. We analyzed 189,037 tweets, 1,220 journalistic pieces and 78 parliamentary initiatives related to the former monarch. The main results show that the media, social networks, and Parliament have acted as agents of accountability with Juan Carlos I, as if it were an accountable institution. Online newspapers and Twitter have led the oversight, while the parliamentary initiative has been ineffective and has essentially served as an instrument of partisan communication.</jats:p>

<jats:p>After an initial period characterized by experimentation, amateurism, small audiences, technological difficulties, and scarce funding, podcasting is now fully consolidated. The aim of this paper is to analyze the characteristics of the Spanish podcast sphere: its structural, personal, thematic, formal, economic, and dissemination aspects. To this end, a content analysis of 21 variables was applied to the 206 programs that attained the highest popularity in the general rankings of Spotify, Apple Podcasts, and iVoox during the first quarter of 2021. Along the structural dimension, the results reveal the preponderance of digital-native podcasts in comparison with previously broadcast podcasts, and of podcasts promoted by radio stations or those associated with networks over independent ones. Regarding the personnel involved, programs produced by professionals from the media or other cultural industries are more popular than those produced by amateurs, while those presented by men are more popular than those presented by women. Regarding their themes, content related to mystery and/or crime, history, entertainment, and emotional well-being predominates. In the formal sphere, the majority of programs are exclusively audio programs, produced weekly and in Spanish, with a limited presence of the other co-official languages in Spain. In terms of funding, the most common situation is production by media groups or podcast networks, followed by monetization on YouTube and offering additional services. Based on all this, the main conclusion of this study is that podcasting in Spain has abandoned the democratizing potential attributed to it by some theorists and researchers in its beginnings to become embedded in a largely commercial logic.</jats:p>

<jats:p>In recent years, digital audio has undergone an explosion. The transformation of radio and its expansion to new channels and consumer devices, added to the rise of podcasts and streaming music platforms, have led to the transformation of the audio ecosystem. This transition from the audio medium to audio media has involved an integral change in content, as well as in its production and reception processes. In this regard, the aim of this paper is to approach the present digital audio scene from the standpoint of its content, formats, and broadcasting models as well as of the new professional profiles, business models, and consumer–relationship practices, providing a snapshot that is completed with a prospective reflection on the challenges facing radio in this new ecosystem.</jats:p>

<jats:p>The aim of this article is to show to what extent alternative audio media can be built online, not only by amateurs but also as a combination of the energy and involvement of professional journalists and the community of listeners who are ready to support them. Moreover, the topic of the extent to which this form of production is similar to the model of alternative media produced by amateurs described by Hackett and Caroll (2006), as well as Atton and Hamilton (2010), is also discussed. Special attention is paid to the ways this can challenge the institutional media logic and provide an interesting alternative to pro-government public media and commercial mainstream media in a country in Central and Eastern Europe that is dropping down the rankings of the Democracy Index. The podcast Raport o stanie świata and two Internet radio stations, Radio Nowy Świat and Radio 357 from Poland, which are analysed in this article, were born in an act of protest against the negative changes in public service broadcasting, which became a propaganda tool. They are financed by listeners via the crowdfunding platform Patronite and do not broadcast advertising. A framework for analysing their functioning is devised using, in particular, theories of the public sphere and of alternative media. The study is based on content analysis of the call-in broadcasts disseminated for the first anniversary of the stations, Radio Nowy Świat (April 16 and July 9, 2022) and Radio 357 (January 5, 2022). Pre-structured interviews with the patrons of Raport o stanie świata are also used. Websites and social media accounts of these initiatives, as well as press coverage and data gathered by the National Broadcasting Council in relation to Polish Radio, are analysed as well. The research found that all three initiatives Raport o stanie świata, Radio Nowy Świat and Radio 357, despite being started by professionals, share some of the characteristics of alternative media and can significantly change the model of audio production, financing and consumption routines in Poland.</jats:p>

<jats:p>In recent decades, speech-based radio stations in Spain, whose programmes have been aimed at the general public, have transformed their on-demand content broadcasting strategy by incorporating audio processes in the form of podcasts, followed by transmission through websites, aggregators and applications. The overall objective of this article is to provide a detailed account of the evolution and scope of the podcast as an on-demand distribution channel for speech-based Spanish radio broadcasters, and to reveal how this format is changing the approaches taken by the most prominent national radio stations [Cadena SER, COPE, Onda Cero, and Radio Nacional de España (RNE)], with special emphasis on prime-time morning shows. The methodology employed combines quantitative and qualitative techniques along with an analysis of the content uploaded to the website of these morning programmes, which are part of the weekly programming cycle, together with semi-structured interviews using closed-ended questions that have been given to the main heads of programming and digital areas of the broadcasters under study. The results show that radio stations have incorporated podcast distribution into their usual routine in order to give new life to the content emitted, with the aim of serving both traditional users as well as new generations of digitised native listeners. In addition, they process daily content in an increasingly systematic way, on the basis of a model of mixed management coordination between programmes and digital areas. Similarly, broadcasters have made considerable progress in the measurement and analysis of the time-shifted audience, as well as in broadcast multiplication techniques using push notifications, social media, and monetisation.</jats:p>

<jats:p>After two-years of talking to around 170 early career science/social science researchers from China, France, Malaysia, Poland, Russia, Spain, UK and US about their work life and scholarly communications during the pandemic, the Harbingers-2 project is in possession of a mountain of verbatim data. The purpose of this paper is to highlight the kinds of comments ECRs are raising, with a focus on those that provide a particular interesting and illuminating take on ECRs’ experiences under difficult times. Comments, for instance, that might challenge the established order of things or that presage big changes down the line. The selection of comments presented here were made by the national interviewers shortly after the completion of the last of three rounds of interviews (two interviews in the case of Russia). The understandings, appreciations and suggestions thus raised by the ECRs are insightful and constructive, which is what we might have expected from this cohort who are very much at the forefront of the research enterprise and veritable research workhorses. Sixteen broad scholarly topics are represented by quotes/comments, with the main focus of the comments on a subset of these: research performance and assessment, scholarly communication transformations, networking and collaboration, social media and access to information/libraries, which suggests, perhaps, where the action, concerns and interest mainly lie.</jats:p>

<jats:p>This paper examines the sustainability of the recorded music industry from the perspective of music performers. Music streaming platforms, or digital music service providers (DMSPs), have changed the recorded music industry paradigm since the middle of the 2010s. Business models for performers have evolved from royalty agreements based on sales to more complex remuneration systems based on revenues from a combination of (ad-based) free and paid subscriptions. Previous research has mainly focused on the examination of the business models of streaming services from the point of view of the innovation players (digital platforms) and/or the traditional dominant intermediaries (record labels and publishers). However, not all innovation-driven transformations are sustainable. In this paper, we argue that the sustainability of the main business models in the music industry demands the consideration of the performers’ perspective. We combine a qualitative approach with primary and secondary data sources to investigate the sustainability of existing trends of business models and business practices for different categories of performers, including both monetary values and a description of how revenues are shared. We conclude that DMSPs foster an asymmetric value chain in which the creative players barely capture value while technology-based innovations increase the capability of DMSPs to generate and capture value. Finally, we outline some alternative business models looking for the long-term sustainability of the digital music marketplace.</jats:p>

<jats:p>This article examines the implementation of programmatic buying in the digital audio sector. The sustained growth present in the different markets helps the consolidation of this medium that brings enormous benefits to commercial communication. The main aim of this research is to understand the current situation of the programmatic audio advertising buying sector. In order to address the object of study, an exploratory approach has been carried out by applying a qualitative and quantitative methodology developed with professionals from the sector and supported by the collaboration of entities such as IAB and Programmatic Spain. The results show that there is a greater commitment by brands to invest in digital audio due to its flexibility and the ability to send segmented messages with greater effectiveness and consumer engagement. As a non-invasive medium, the inclusion of digital audio in media plans has a direct impact on listener’s attention. Data shows that there has been a significant increase in the consumption of streaming music, online radio, and podcasts. Nevertheless, investment is still focused on traditional radio and the results of the study show a reluctance to plan integrated campaigns. Moreover, the difficulty in measuring return on investment is a major deterrent to the investment attracted. Professionals interviewed say that the market provides transparency and quality guarantees, as opposed to other problems such as fraud in data measurement that have slowed down investment in the past.</jats:p>

<jats:p>The Covid-19 pandemic has accelerated a social digitalization process, which is considered to be one of the main tools for economic recovery. While this process is necessary, its speed could overwhelm our society in different ways. Digital exclusion, the infodemic, disinformation, digital addictions, hyperconnectivity, cyberbullying, identity theft, privacy abuse, data theft and loss, phishing, and pharming make up a long list of digital threats that grows every day and can put fundamental pillars of our society, such as access to rights, coexistence, social cohesion, and, ultimately, democracy itself, at risk. Our goal is to identify and describe personal and social vulnerabilities and risks that arise from digital acceleration –including a lack of digital competence– and how they might limit people’s rights. To structure this classification of digital threats, we use the European Digital Competence Framework (DIGCOMP2.2) and the Charter of Digital Rights approved by the Spanish Government. Addressing digital risks is complex given the breadth of facets of life that it affects and the different angles from which it can be approached, so this synthesis exercise only aims to provide a critical reflection that contributes to a proactive personal and professional approach to this problem. Resumen La pandemia de Covid-19 ha acelerado un proceso de transformación digital que, además, se señala como uno de los principales motores de recuperación. Aunque este proceso es imparable y necesario, la velocidad a la que se están desarrollando los acontecimientos puede atropellar a nuestra sociedad en distintos sentidos. Exclusión digital, infodemia, desinformación, adicciones digitales, hiperconexión, ciberacoso, suplantación de identidad, abusos de la privacidad, robo y perdida de datos, phishing o pharming… conforman una larga lista de amenazas digitales que crece cada día y que puede poner en riesgo pilares fundamentales de nuestra sociedad como el acceso a derechos, la convivencia, la cohesión social y, en definitiva, la propia democracia. Mediante esta nota se pretende identificar y describir vulnerabilidades y riesgos personales y sociales derivados de la aceleración digital –entre ellos la falta de competencia digital– y cómo pueden afectar al ejercicio de derechos de las personas. Para generar esta propuesta de forma estructurada nos apoyamos en el Marco europeo de la competencia digital (DIGCOMP2.2) y en la Carta de derechos digitales presentada por el Gobierno de España. El abordaje de los riesgos digitales es complejo dada la amplitud de facetas de la vida a las que afecta y las distintas perspectivas desde las que se puede afrontar, por lo que este ejercicio de síntesis no pretende más que aportar una reflexión crítica que contribuya a un enfoque personal y profesional proactivo del comportamiento y la inclusión digital.</jats:p>