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This article presents an account of the contemporary transformations in the matter of legislation, production and consumption of audiovisual products –series, soap operas and films– through a review of the alterations, updates and changes experienced by the media in Colombia. This analysis starts from a basic concept that understands audiovisual media as an independent system –in terms of legislation, production, distribution and consumption processes–, and seeks to show the changes that currently derive in the construction of audiovisuals as a common or convergent space that crosses the creative, legislative and conceptual grounds. It evidences that some aspects of convergence were already present throughout the history of audiovisualsin Colombia, but they become more recognizable with the centralization of contemporary audiovisual policy., Este artigo dá conta das transformações contemporâneas no campo da legislação, produção e consumo de produtos audiovisuais –séries, novelas e filmes–por meio de uma revisão das alterações, atualizações e mudanças vividas pelos meios de comunicação na Colômbia. Esta análise faz parte de um conceito básico que entende os meios audiovisuais como sistemas independentes –em termos de processos de legislação, produção, distribuição e processos de consumo–, e busca mostrar as mudanças que atualmente decorrem na construção do audiovisual como espaço comum ou convergente no percurso no criativo, legislativo e conceitual. É evidente que alguns aspectos da convergência já estavam presentes na história do audiovisual na Colômbia, mas que se tornaram mais reconhecíveis com a centralização da política audiovisual contemporânea., Este artículo da cuenta de las trasformaciones contemporáneas en materia de legislación, producción y consumo de productos audiovisuales –series, telenovelas y películas– a través de una revisión de las alteraciones, actualizaciones y cambios experimentados por los medios de comunicación en Colombia. Este análisis parte de un concepto base que entiende a los medios audiovisuales como sistemas independientes –en cuanto a los procesos de legislación, producción, distribución y consumo–, y busca mostrar los cambios que derivan actualmente en la construcción del audiovisual como un espacio común o convergente que atraviesa lo creativo, legislativo y conceptual. Se evidencia que algunos aspectos de la convergencia ya estaban presentes en lahistoria del audiovisual en Colombia, pero que se vuelven más reconocibles con la centralización de la política audiovisual contemporánea.

Este ensayo busca evidenciar la relevancia que ha tenido la cultura pop en la amplia obra y fabulosa vida de Sergio Roncallo-Dow. Esta travesía nos lleva a vincular conceptos como el de habitar, el dasein y el mit-dasein de Heidegger, con el sensorium de Walter Benjamin, a través de la máxima de Marshall McLuhan, el medio es el mensaje. Se presentan tres campos de la vida y obra de Sergio que se entrelazan para dar cuenta de su aproximación al apotegma mcluhaniano. Este camino aborda la televisión en Colombia en la década de los ochenta, la escena de la música rock de la cual Sergio fue parte y su relación con los videojuegos y YouTube. Esta exploración nos permite ver algunas de sus sondas principales, su crítica a los modelos binarios y a la separación de la cultura popular y de élite, la centralidad de la imbricación entre técnica y cultura, y su propuesta de la comprensión de nuestra hibridación latinoamericana como nuestro punto de partida para entender-nos en la comunicación.Para citar este ensayo / to reference this essay / para citar este ensaioUribe-Jongbloed, E., Aguilar-Rodríguez, D. y Espinosa-Medina, H. D. (2020). La cultura pop en el pensamiento de Sergio Roncallo-Dow: el sur es el mensaje. Palabra Clave, 23(supl.), e23s2. https://doi.org/10.5294/pacla.2020.23.s.2

This paper explores the narrative and visual resources used in Colombian comics, from 1992 to the present day, in order to describe dystopian representations of Bogotá city. Dystopia is generally understood as a negative view for humanity either of a possible future or an alternative present. These fictions are classified here as dystopias about a technological failure, dystopias about a symbolic/physical coercion, apocalyptic dystopias about zombies/infected individuals and apocalyptic dystopias about supernatural/non-human events. For this research study, printed publications available since 1992 (130 items) were collected. Out of these fictions, those that were set in or made reference to the city of Bogotá were selected. Of the 45 comics that met this criterion, 28 were identified and analyzed that contained a dystopian setting. One of the major findings was that violence and conflict, both symbolic and physical, are constant in the different dystopic settings identified in the study sample, which reflects and projects the historical violence experienced in Colombia., Este artículo explora los recursos narrativos y visuales planteados en el cómic colombiano, desde 1992 hasta nuestros días, para describir representaciones distópicas de la ciudad de Bogotá. La distopía se entiende, en términos generales, como una visión negativa, para la humanidad, de un futuro posible o de un presente alterno, y se clasifica acá en distopías de fallo tecnológico, distopías de coerción simbólica/coerción física, distopías de apocalipsis zombie/infectado y distopías de apocalipsis sobrenatural/no humano. Para la investigación se recopilaron las publicaciones impresas disponibles desde 1992 (130 productos), de los cuales se seleccionaron aquellos que sucedieran o hicieran referencia a la ciudad de Bogotá. De los 45 cómics que cumplían dicho criterio, se identificaron y analizaron las 28 piezas que presentaron un escenario distópico. Entre los hallazgos fundamentales se encontró que la violencia y el conflicto, tanto simbólicos como físicos, son constantes en los diferentes escenarios distópicos identificados en la muestra, lo que refleja y proyecta la violencia histórica que vive un país como Colombia.

T his paper explores the narrative and visual resources used in Colombian comics, from 1992 to the present day, in order to describe dystopian representations of Bogotá city. Dystopia is generally understood as a negative view for humanity either of a possible future or an alternative present. These fictions are classified here as dystopias about a technological failure, dystopias about a symbolic/physical coercion, apocalyptic dystopias about zombies/infected individuals and apocalyptic dystopias about supernatural/non-human events. For this research study, printed publications available since 1992 (130 items) were collected. Out of these fictions, those that were set in or made reference to the city of Bogotá were selected. Of the 45 comics that met this criterion, 28 were identified and analyzed that contained a dystopian setting. One of the major findings was that violence and conflict, both symbolic and physical, are constant in the different dystopic settings identified in the study sample, which reflects and projects the historical violence experienced in Colombia., Este artículo explora los recursos narrativos y visuales planteados en el cómic colombiano, desde 1992 hasta nuestros días, para describir representaciones distópicas de la ciudad de Bogotá. La distopía se entiende, en términos generales, como una visión negativa, para la humanidad, de un futuro posible o de un presente alterno, y se clasifica acá en distopías de fallo tecnológico, distopías de coerción simbólica/coerción física, distopías de apocalipsis zombie/infectado y distopías de apocalipsis sobrenatural/no humano. Para la investigación se recopilaron las publicaciones impresas disponibles desde 1992 (130 productos), de los cuales se seleccionaron aquellos que sucedieran o hicieran referencia a la ciudad de Bogotá. De los 45 cómics que cumplían dicho criterio, se identificaron y analizaron las 28 piezas que presentaron un escenario distópico. Entre los hallazgos fundamentales se encontró que la violencia y el conflicto, tanto simbólicos como físicos, son constantes en los diferentes escenarios distópicos identificados en la muestra, lo que refleja y proyecta la violencia histórica que vive un país como Colombia.

T his paper explores the narrative and visual resources used in Colombian comics, from 1992 to the present day, in order to describe dystopian representations of Bogotá city. Dystopia is generally understood as a negative view for humanity either of a possible future or an alternative present. These fictions are classified here as dystopias about a technological failure, dystopias about a symbolic/physical coercion, apocalyptic dystopias about zombies/infected individuals and apocalyptic dystopias about supernatural/non-human events. For this research study, printed publications available since 1992 (130 items) were collected. Out of these fictions, those that were set in or made reference to the city of Bogotá were selected. Of the 45 comics that met this criterion, 28 were identified and analyzed that contained a dystopian setting. One of the major findings was that violence and conflict, both symbolic and physical, are constant in the different dystopic settings identified in the study sample, which reflects and projects the historical violence experienced in Colombia., Este artículo explora los recursos narrativos y visuales planteados en el cómic colombiano, desde 1992 hasta nuestros días, para describir representaciones distópicas de la ciudad de Bogotá. La distopía se entiende, en términos generales, como una visión negativa, para la humanidad, de un futuro posible o de un presente alterno, y se clasifica acá en distopías de fallo tecnológico, distopías de coerción simbólica/coerción física, distopías de apocalipsis zombie/infectado y distopías de apocalipsis sobrenatural/no humano. Para la investigación se recopilaron las publicaciones impresas disponibles desde 1992 (130 productos), de los cuales se seleccionaron aquellos que sucedieran o hicieran referencia a la ciudad de Bogotá. De los 45 cómics que cumplían dicho criterio, se identificaron y analizaron las 28 piezas que presentaron un escenario distópico. Entre los hallazgos fundamentales se encontró que la violencia y el conflicto, tanto simbólicos como físicos, son constantes en los diferentes escenarios distópicos identificados en la muestra, lo que refleja y proyecta la violencia histórica que vive un país como Colombia.

Este artículo explora los recursos narrativos y visuales planteados en el cómic colombiano, desde 1992 hasta nuestros días, para describir representaciones distópicas de la ciudad de Bogotá. La distopía se entiende, en términos generales, como una visión negativa, para la humanidad, de un futuro posible o de un presente alterno, y se clasifica acá en distopías de fallo tecnológico, distopías de coerción simbólica/coerción física, distopías de apocalipsis zombie/infectado y distopías de apocalipsis sobrenatural/no humano. Para la investigación se recopilaron las publicaciones impresas disponibles desde 1992 (130 productos), de los cuales se seleccionaron aquellos que sucedieran o hicieran referencia a la ciudad de Bogotá. De los 45 cómics que cumplían dicho criterio, se identificaron y analizaron las 28 piezas que presentaron un escenario distópico. Entre los hallazgos fundamentales se encontró que la violencia y el conflicto, tanto simbólicos como físicos, son constantes en los diferentes escenarios distópicos identificados en la muestra, lo que refleja y proyecta la violencia histórica que vive un país como Colombia., This paper explores the narrative and visual resources used in Colombian comics, from 1992 to the present day, in order to describe dystopian representations of Bogotá city. Dystopia is generally understood as a negative view for humanity either of a possible future or an alternative present. These fictions are classified here as dystopias about a technological failure, dystopias about a symbolic/physical coercion, apocalyptic dystopias about zombies/infected individuals and apocalyptic dystopias about supernatural/non-human events. For this research study, printed publications available since 1992 (130 items) were collected. Out of these fictions, those that were set in or made reference to the city of Bogotá were selected. Of the 45 comics that met this criterion, 28 were identified and analyzed that contained a dystopian setting. One of the major findings was that violence and conflict, both symbolic and physical, are constant in the different dystopic settings identified in the study sample, which reflects and projects the historical violence experienced in Colombia.

Colombian film has experienced considerable growth over the last 15 years. This has been stimulated in part by the Law of Cinema (Law 814, 2003), which promoted the development of Colombian films, at the point of both creation and distribution. However, the increase in production, and the success of some blockbusters, does not mean that national cinema has become a solid, profitable, and culturally resonant industry. More recently, a new cultural policy, based on short-term economic interest, seeks to attract foreign investment in the audiovisual sector through economic and tax advantages framed in the Location Colombia Law (Law 1556, 2012). This Law is considered a success by the Ministry of Culture, although its revenues have not been proven as sustainable beyond the temporary benefit gained from stimuli to employment and hotel occupancy. The overall development of Colombian national cinema, and the experience of these two laws, shows a change in discourse from cultural policy to creative-industries policy, with a marked emphasis on economic interest over social and cultural benefit., El cine ha experimentado un crecimiento considerable en Colombia en los últimos 15 años, particularmente a partir de la Ley del Cine (Ley nº 814, 2003) que permitió y promovió el desarrollo de películas colombianas, a la vez que fomentó distintas etapas de creación y distribución audiovisual. No obstante, el incremento en producciones y algunos éxitos de taquilla no significan que el cine nacional haya devenido en una industria sólida, rentable y culturalmente consolidada. Por otra parte, más recientemente, una nueva política cultural, amparada en el interés económico de corto plazo, busca atraer inversión extranjera en el audiovisual a través de ventajas económicas y tributarias enmarcadas en la Ley Location Colombia (Ley nº1556, 2012). Está Ley ha sido considerada un éxito el Ministerio de Cultura, aunque sus réditos no se han probado como sostenibles más allá del beneficio temporal en términos de empleo y ocupación hotelera. El desarrollo del cine nacional y la ejecución de estas dos leyes evidencian el cambio de discurso entre la industria cultural y la industria creativa, con un énfasis marcado en el interés económico por encima del beneficio social y cultural.

Colombian film has experienced considerable growth over the last 15 years. This has been stimulated in part by the Law of Cinema (Law 814, 2003), which promoted the development of Colombian films, at the point of both creation and distribution. However, the increase in production, and the success of some blockbusters, does not mean that national cinema has become a solid, profitable, and culturally resonant industry. More recently, a new cultural policy, based on short-term economic interest, seeks to attract foreign investment in the audiovisual sector through economic and tax advantages framed in the Location Colombia Law (Law 1556, 2012). This Law is considered a success by the Ministry of Culture, although its revenues have not been proven as sustainable beyond the temporary benefit gained from stimuli to employment and hotel occupancy. The overall development of Colombian national cinema, and the experience of these two laws, shows a change in discourse from cultural policy to creative-industries policy, with a marked emphasis on economic interest over social and cultural benefit., El cine ha experimentado un crecimiento considerable en Colombia en los últimos 15 años, particularmente a partir de la Ley del Cine (Ley nº 814, 2003) que permitió y promovió el desarrollo de películas colombianas, a la vez que fomentó distintas etapas de creación y distribución audiovisual. No obstante, el incremento en producciones y algunos éxitos de taquilla no significan que el cine nacional haya devenido en una industria sólida, rentable y culturalmente consolidada. Por otra parte, más recientemente, una nueva política cultural, amparada en el interés económico de corto plazo, busca atraer inversión extranjera en el audiovisual a través de ventajas económicas y tributarias enmarcadas en la Ley Location Colombia (Ley nº1556, 2012). Está Ley ha sido considerada un éxito el Ministerio de Cultura, aunque sus réditos no se han probado como sostenibles más allá del beneficio temporal en términos de empleo y ocupación hotelera. El desarrollo del cine nacional y la ejecución de estas dos leyes evidencian el cambio de discurso entre la industria cultural y la industria creativa, con un énfasis marcado en el interés económico por encima del beneficio social y cultural.

This mainly qualitative research project aimed at discovering which of the identity elements of the Channel (Brand) have an impact upon exposition and, thus, upon the development of engagement by the audience. The project had three separate research strands: the corporate identity of the cannel (Brand), a content/textual analysis of its products, and an overview of the general elements in the reception process that are relevant for developing engagement by the audience. Then, the information gathered through these processes was cross-checked, and it led to specific conclusions for the Channel (Brand) studied which can be extended to a certain degree to understand the engagement phenomenon in the Colombian television audience. Each of the three strands of research was undertaken through a suitable technique (in-depth interviews, content/narrative analysis, and focus groups). The results showed that for the contacted audience the more salient elements in the process of engagement are related to the identity displayed by the Channel (Brand) through its product, the expectations of the audience (especially concerned with learning), the topics addressed, the presence of advertisement and the programming criteria., La presente investigación principalmente cualitativa buscó conocer qué elementos de la identidad del Canal RCN afectan la exposición y por consiguiente la generación de compromiso por parte de las audiencias. Para el desarrollo del proyecto se establecieron tres ejes de investigación separados: La identidad corporativa del canal, el análisis de sus productos y los elementos generales del proceso de recepción que resultan relevantes para la generación del engagement en las audiencias. Posteriormente se desarrolló un cruce de información que permitió generar conclusiones específicas para el canal y generales para comprender el fenómeno del engagement en las audiencias colombianas. Cada uno de los ejes de investigación se abordó a través de una técnica específica (entrevista en profundidad, análisis de contenido/discurso narrativo y grupos focales). Los resultados muestran que en las audiencias consultadas los elementos más destacados en el proceso de generación de compromiso con los productos televisivos están relacionados con la identidad del canal que transmite el producto, las expectativas de los televidentes (especialmente centradas en el aprendizaje), la temática abordada, la presencia de publicidad y los criterios de programación.

El objeto de estudio de la investigación se centra en el empresario y sus empresas, pues interpreta y concluye acerca de los motivos que llevaron a su desaparición. Su objetivo es analizar los diferentes factores que originaron la desaparición de empresas del sector industrial durante el período 1980 – 2000, creadas por emprendedores tolimenses. Se llevó a cabo desarrollando entrevistas a los empresarios, sus familiares o sus colaboradores y posteriormente analizando sus resultados. En cuanto a estos últimos, se encontraron variables relacionadas con el empresario, el entorno (principalmente variables económicas), el mercado, el apoyo político y gubernamental, y la experiencia del empresario.

El objeto de estudio de la investigación se centra en el empresario y sus empresas, pues interpreta y concluye acerca de los motivos que llevaron a su desaparición. Su objetivo es analizar los diferentes factores que originaron la desaparición de empresas del sector industrial durante el período 1980 – 2000, creadas por emprendedores tolimenses. Se llevó a cabo desarrollando entrevistas a los empresarios, sus familiares o sus colaboradores y posteriormente analizando sus resultados. En cuanto a estos últimos, se encontraron variables relacionadas con el empresario, el entorno (principalmente variables económicas), el mercado, el apoyo político y gubernamental, y la experiencia del empresario.

This mainly qualitative research project aimed at discovering which of the identity elements of the Channel (Brand) have an impact upon exposition and, thus, upon the development of engagement by the audience. The project had three separate research strands: the corporate identity of the cannel (Brand), a content/textual analysis of its products, and an overview of the general elements in the reception process that are relevant for developing engagement by the audience. Then, the information gathered through these processes was cross-checked, and it led to specific conclusions for the Channel (Brand) studied which can be extended to a certain degree to understand the engagement phenomenon in the Colombian television audience. Each of the three strands of research was undertaken through a suitable technique (in-depth interviews, content/narrative analysis, and focus groups). The results showed that for the contacted audience the more salient elements in the process of engagement are related to the identity displayed by the Channel (Brand) through its product, the expectations of the audience (especially concerned with learning), the topics addressed, the presence of advertisement and the programming criteria., La presente investigación principalmente cualitativa buscó conocer qué elementos de la identidad del Canal RCN afectan la exposición y por consiguiente la generación de compromiso por parte de las audiencias. Para el desarrollo del proyecto se establecieron tres ejes de investigación separados: La identidad corporativa del canal, el análisis de sus productos y los elementos generales del proceso de recepción que resultan relevantes para la generación del engagement en las audiencias. Posteriormente se desarrolló un cruce de información que permitió generar conclusiones específicas para el canal y generales para comprender el fenómeno del engagement en las audiencias colombianas. Cada uno de los ejes de investigación se abordó a través de una técnica específica (entrevista en profundidad, análisis de contenido/discurso narrativo y grupos focales). Los resultados muestran que en las audiencias consultadas los elementos más destacados en el proceso de generación de compromiso con los productos televisivos están relacionados con la identidad del canal que transmite el producto, las expectativas de los televidentes (especialmente centradas en el aprendizaje), la temática abordada, la presencia de publicidad y los criterios de programación.

Becoming immersed in a world where our perception of reality is highly mediated allows for the creation of an audiovisual lexicon that expands over many platforms and times. In this context we might observe the case of video games which, as a medium, does not limit themselves to the creation of puzzles to be solved, to pretend participation in the Rock and Roll world, or lead us to unexpected damages to our “flesh”. Games allow us different levels of enjoyment and also lead us to discover the physical limits of our bodies within the expansion of our senses. Furthermore, hidden in many of these games we discover many hints, influences, remnants, appropriations and quotes, expanding the web of signs and significations far beyond the limits of the games themselves. However, the extent and consequences of video games as entertainment and communicational devices surpasses their potential for representation and signification, and even impact aspects of our lives such as our physiognomy and psychology–we experience carpal tunnel syndrome, addiction and withdrawal symptoms, and we delve in debates that isolate us or make us only socially able within the confines of virtual worlds. All in all, video games have become part and parcel of our existence, extensions of our perspectives of the world that surround us. Games shape our rational cognition, they build upon our new relational memories, but they also show the limitations of our physical rootedness. This article hopes to elicit an exploration into the reality of the media and mediatized reality of our physical limitations.doi: 10.5294/pacla.2015.18.4.9

Becoming immersed in a world where our perception of reality is highly mediated allows for the creation of an audiovisual lexicon that expands over many platforms and times. In this context we might observe the case of video games which, as a medium, does not limit themselves to the creation of puzzles to be solved, to pretend participation in the Rock and Roll world, or lead us to unexpected damages to our “flesh”. Games allow us different levels of enjoyment and also lead us to discover the physical limits of our bodies within the expansion of our senses. Furthermore, hidden in many of these games we discover many hints, influences, remnants, appropriations and quotes, expanding the web of signs and significations far beyond the limits of the games themselves. However, the extent and consequences of video games as entertainment and communicational devices surpasses their potential for representation and signification, and even impact aspects of our lives such as our physiognomy and psychology–we experience carpal tunnel syndrome, addiction and withdrawal symptoms, and we delve in debates that isolate us or make us only socially able within the confines of virtual worlds. All in all, video games have become part and parcel of our existence, extensions of our perspectives of the world that surround us. Games shape our rational cognition, they build upon our new relational memories, but they also show the limitations of our physical rootedness. This article hopes to elicit an exploration into the reality of the media and mediatized reality of our physical limitations.doi: 10.5294/pacla.2015.18.4.9

The topic of native and ethnic radio, as part of the lack ofresearch on radio in Colombia, has been poorly developed(Cuesta Moreno, 2012a, 2012b). This article shows three studycases: Radio Nasa of Nasa Community, Jujunula Makuira of WayuuCommunity, and Al A With A Wan program of native communityfrom San Andrés island; it also explores the identity perspectivesthat find negotiation spaces in radio production, especially therelationship of their collective identity and the way it affects ordetermines its linguistic use. This research is based on a threestageprocess where producers (practice communities) (Wenger,1998) make a reflection on their function and issue concepts onthe way their identity is reflected from the construction of theirprogramming. Results show that several levels of affiliation toseveral identification facets make it possible to relate, in severalmanners, the communication work of radio and that theseidentifications present in the practice communities have a realimpact on the linguistic radio production of each community., El tema de la radio indígena y étnica, como parte de la falta de investigación sobre la radio en Colombia, ha sido poco desarrollado (Cuesta Moreno, 2012a, 2012b). Este artículo presenta tres casos de estudio: Radio Nasa de la comunidad Nasa, Jujunula Makuira de la comunidad Wayuu y el programa Al a with a wan de la comunidad Raizal del archipiélago de San Andrés, y explora cuáles son las perspectivas de identidad que encuentran espacios de negociación en la producción radiofónica, en particular en la relación de su identidad colectiva y cómo esta afecta o determina su uso lingüístico. La investigación surge de un proceso de tres pasos en donde los encargados de producción, las comunidades de práctica (Wenger, 1998), reflexionan sobre su labor y conceptualizan cómo se ve reflejada su identidad a partir de la construcción temática de su parrilla de programación. Los resultados evidencian que distintos niveles de filiación a varias de las facetas de identificación llevan a relacionar de diversas maneras la labor comunicativa del medio radial, y que estas identificaciones presentes en las comunidades de práctica tienen un efecto real sobre la producción radial lingüística de cada una de ellas.

The topic of native and ethnic radio, as part of the lack ofresearch on radio in Colombia, has been poorly developed(Cuesta Moreno, 2012a, 2012b). This article shows three studycases: Radio Nasa of Nasa Community, Jujunula Makuira of WayuuCommunity, and Al A With A Wan program of native communityfrom San Andrés island; it also explores the identity perspectivesthat find negotiation spaces in radio production, especially therelationship of their collective identity and the way it affects ordetermines its linguistic use. This research is based on a threestageprocess where producers (practice communities) (Wenger,1998) make a reflection on their function and issue concepts onthe way their identity is reflected from the construction of theirprogramming. Results show that several levels of affiliation toseveral identification facets make it possible to relate, in severalmanners, the communication work of radio and that theseidentifications present in the practice communities have a realimpact on the linguistic radio production of each community., El tema de la radio indígena y étnica, como parte de la falta de investigación sobre la radio en Colombia, ha sido poco desarrollado (Cuesta Moreno, 2012a, 2012b). Este artículo presenta tres casos de estudio: Radio Nasa de la comunidad Nasa, Jujunula Makuira de la comunidad Wayuu y el programa Al a with a wan de la comunidad Raizal del archipiélago de San Andrés, y explora cuáles son las perspectivas de identidad que encuentran espacios de negociación en la producción radiofónica, en particular en la relación de su identidad colectiva y cómo esta afecta o determina su uso lingüístico. La investigación surge de un proceso de tres pasos en donde los encargados de producción, las comunidades de práctica (Wenger, 1998), reflexionan sobre su labor y conceptualizan cómo se ve reflejada su identidad a partir de la construcción temática de su parrilla de programación. Los resultados evidencian que distintos niveles de filiación a varias de las facetas de identificación llevan a relacionar de diversas maneras la labor comunicativa del medio radial, y que estas identificaciones presentes en las comunidades de práctica tienen un efecto real sobre la producción radial lingüística de cada una de ellas.

Este artículo busca debatir las preguntas concernientes al campo de estudio de la comunicación, su objeto y el público objetivo de sus avances. Fuera de preguntarse sobre el qué y el porqué de la comunicación, cuestiona el rol de la medición bibliográfica como criterio suficiente para determinar la calidad de la investigación y propone abrir un debate público con los desarrollos investigativos del campo. El debate toma aspectos epistémicos del campo de estudio y confronta la visión positivista que limita actualmente las políticas gubernamentales sobre ciencia y tecnología. Finalmente se propone una visión más amplia de los problemas atinentes a la comunicación y se abren algunos interrogantes a propósito de la cienciometría como criterio de medición de calidad., This article seeks to debate questions regarding the field of studies of Communication, its subject matter, and the target audience for its advances. Beyond questioning the what and why of communication, it questions the role of bibliometrics as sufficient criteria to determine research quality, and proposes opening a public debate with the research advances of the field. The debate draws from epistemic aspects of the field of studies and criticizes the positivistic perspective currently embraced by national policies on science and technology. Finally, the article proposes a wider perspective on the issues relevant to communication and raises questions about scienciometry as quality criterion.

This article sets a dialogue between the concept of medium – as presented by Marshall McLuhan– and the concept of myth –as articulated by Roland Barthes– to evidence their similar anchoring, and thus bring closer the work of these two thinkers, whose different starting points notwithstanding, converge conceptually to better grasp the notion of macromyth, and become aware of the bearing this construction has upon the renowned McLuhan statement: the medium is the message., Este artículo establece un diálogo entre el concepto de medio –presentado por Marshall McLuhan– y el concepto de mito–enarbolado por Roland Barthes– para evidenciarsus similitudes de trasfondo, y de este modo acercar el trabajo de estos dos pensadores quienes, no obstante susdistintos puntos de partida, logran confluir conceptualmentepara comprender de mejor manera la idea del macro-mito, y reconocer el efecto que esta construcción tiene sobre la reconocida sentencia de McLuhan: el medio es el mensaje.

Este artículo busca debatir las preguntas concernientes al campo de estudio de la comunicación, su objeto y el público objetivo de sus avances. Fuera de preguntarse sobre el qué y el porqué de la comunicación, cuestiona el rol de la medición bibliográfica como criterio suficiente para determinar la calidad de la investigación y propone abrir un debate público con los desarrollos investigativos del campo. El debate toma aspectos epistémicos del campo de estudio y confronta la visión positivista que limita actualmente las políticas gubernamentales sobre ciencia y tecnología. Finalmente se propone una visión más amplia de los problemas atinentes a la comunicación y se abren algunos interrogantes a propósito de la cienciometría como criterio de medición de calidad., This article seeks to debate questions regarding the field of studies of Communication, its subject matter, and the target audience for its advances. Beyond questioning the what and why of communication, it questions the role of bibliometrics as sufficient criteria to determine research quality, and proposes opening a public debate with the research advances of the field. The debate draws from epistemic aspects of the field of studies and criticizes the positivistic perspective currently embraced by national policies on science and technology. Finally, the article proposes a wider perspective on the issues relevant to communication and raises questions about scienciometry as quality criterion.

This article sets a dialogue between the concept of medium – as presented by Marshall McLuhan– and the concept of myth –as articulated by Roland Barthes– to evidence their similar anchoring, and thus bring closer the work of these two thinkers, whose different starting points notwithstanding, converge conceptually to better grasp the notion of macromyth, and become aware of the bearing this construction has upon the renowned McLuhan statement: the medium is the message., Este artículo establece un diálogo entre el concepto de medio –presentado por Marshall McLuhan– y el concepto de mito–enarbolado por Roland Barthes– para evidenciarsus similitudes de trasfondo, y de este modo acercar el trabajo de estos dos pensadores quienes, no obstante susdistintos puntos de partida, logran confluir conceptualmentepara comprender de mejor manera la idea del macro-mito, y reconocer el efecto que esta construcción tiene sobre la reconocida sentencia de McLuhan: el medio es el mensaje.

Este artículo busca debatir las preguntas concernientes al campo de estudio de la comunicación, su objeto y el público objetivo de sus avances. Fuera de preguntarse sobre el qué y el porqué de la comunicación, cuestiona el rol de la medición bibliográfica como criterio suficiente para determinar la calidad de la investigación y propone abrir un debate público con los desarrollos investigativos del campo. El debate toma aspectos epistémicos del campo de estudio y confronta la visión positivista que limita actualmente las políticas gubernamentales sobre ciencia y tecnología. Finalmente se propone una visión más amplia de los problemas atinentes a la comunicación y se abren algunos interrogantes a propósito de la cienciometría como criterio de medición de calidad., This article seeks to debate questions regarding the field of studies of Communication, its subject matter, and the target audience for its advances. Beyond questioning the what and why of communication, it questions the role of bibliometrics as sufficient criteria to determine research quality, and proposes opening a public debate with the research advances of the field. The debate draws from epistemic aspects of the field of studies and criticizes the positivistic perspective currently embraced by national policies on science and technology. Finally, the article proposes a wider perspective on the issues relevant to communication and raises questions about scienciometry as quality criterion.

This article seeks to debate questions regarding the field of studies of Communication, its subject matter, and the target audience for its advances. Beyond questioning the what and why of communication, it questions the role of bibliometrics as sufficien, Este artículo busca debatir preguntas sobre el campo de estudios de la Comunicación, su tema y el público objetivo de sus avances. Más allá de cuestionar el qué y el por qué de la comunicación, cuestiona el papel de la bibliometría como criterio suficient

La radio puede promover el uso de idiomas minoritarios, siempre que esta función se establezca como un objetivo en las políticas del medio. Conocer la política constitutiva de los medios radiales de grupos étnicos minoritarios nos muestra si utilizan la radio para el mantenimiento de los idiomas minoritarios de su etnia.

La radio puede promover el uso de idiomas minoritarios, siempre que esta función se establezca como un objetivo en las políticas del medio. Conocer la política constitutiva de los medios radiales de grupos étnicos minoritarios nos muestra si utilizan la radio para el mantenimiento de los idiomas minoritarios de su etnia.

Las condiciones que llevaron al desarrollo de los medios de comunicación en idiomas minoritarios autóctonos en Europa son analizadas a fondo para establecer su aplicación a la situación colombiana, sirviendo como base para la investigación del desarrollo y la aplicación de los medios de comunicación en idiomas minoritarios autóctonos en Colombia.

Las condiciones que llevaron al desarrollo de los medios de comunicación en idiomas minoritarios autóctonos en Europa son analizadas a fondo para establecer su aplicación a la situación colombiana, sirviendo como base para la investigación del desarrollo y la aplicación de los medios de comunicación en idiomas minoritarios autóctonos en Colombia.

The COVID-19 pandemic has highlighted – across intricate borders, different geographies, and legal jurisdictions – that there is only so much that can be done in the way of governance to tackle the challenge posed by a virus. The pandemic is a global problem, one which has affected almost every country in significant and seldom-felt ways. Governments have been forced to react, to respond with emergency measures, temporary rules and legislation, and impose restrictions on freedoms. It has brought to the fore a range of responses, locally, regionally, nationally, and internationally. What is particularly evident across the unfolding of the pandemic is the divergent approaches in introducing governance measures to control behaviour, to share data and information, and to report on the pandemic while holding decision-makers to account. Much of the reporting of government reactions to the pandemic has focussed on emergency restrictions, lockdowns, the suspension of ‘normal’ gatherings, public health data, and tracing apps. Each of these is bundled up with concerns over the interferences with freedoms, a lack of scrutiny and holding to account of governance bodies and lawmakers, and privacy concerns. The new ways of working, governing, and communicating emergency rules is a COVID-19 legacy for governments, but is it one that will shift our expectations? The balance between fundamental freedoms has been – to an extent – pitted against the public health agenda and the nature of the emergency response by governments across the world, but particularly in Germany, the UK, and South America. This article explores the nature of the government responses through emergency measures (and restrictions) and tracing programmes in three countries: Germany, the United Kingdom, and Colombia. The assessment – and comparison – of three countries, across two diverse regions – offers a unique discussion from the perspective of pandemic responses to the COVID-19 emergency. The pandemic itself p

In Massively Multiplayer Online games (MMOs) and virtual worlds, the idea of authors seems to have ‘died’ or been ‘wiped out,’ at least from the perspective of users. The concept of authorship does not receive adequate attention or recognition in MMOs and online games in particular appear to deprive authors of their rights, both legally and morally. Users of MMOs are required to consent to the deprivation of rights in both authorship and intellectual property before they can access multi-user environments. This deprives users of their rights as authors. This paper will show that currently acceptable practice is problematic and leads to a decrease of innovation. Furthermore, it will consider a fresh approach to such issues, in light of the idea of authors as producers and as a vivid force for innovation. In addition to this, consideration will be given to the idea of collective authorship. Rather than a strictly legal analysis, this paper will explore a legal and media approach to authorship in MMOs. The concept of authorship will be considered initially from three vantage points: Barthes’ death of the author, Foucault’s author as a function, and von Hippel’s concept of democratic innovation. These considerations will be developed to present our perspective that the author goes beyond the producing subject to become a function of a process of collective construction. The function of the author within an MMO follows the process the author assumes in this virtual world. Hence, the moral rights upon the creative production remain with every author, whereas the collective compilation becomes an untraceable product, which dissolves within the collective process of production itself. As such, authorship, once collective, cannot be disentangled into specific parts of the whole. Copyright and moral rights in virtual worlds and MMOs must reflect this - otherwise what is the underlying purpose of copyright? At the very least, the notion of authorship ought to be acknowledged a

Much of the reporting of the tracing apps, tracking programmes, and privacy concerns during the developmental processes and the initial stages of the Covid-19 pandemic have focussed on pitting digital rights and privacy against public health interests. Undoubtedly, there is best practice in establishing a tracing app to respond to Covid-19 while the work of civil society and NGOs in scrutinising the apps in various nations is vitally important and provides the core analysis of the scope of the data to be collated and retained. The holding to account of tracing systems and governments in utilising technology that is by its very nature invasive is vital in protecting digital rights. In times of crisis in particular, accountability is incredibly important to ensure that digital rights are not pushed aside in light of other concerns. To balance digital rights and privacy, and public health, accountability and transparency are essential – the scrutiny of the track and trace systems in Germany, the UK, and Colombia is therefore undertaken in this paper, which questions from interdisciplinary perspectives the scrutiny, accountability, and privacy concerns in each nation’s app before offering some conclusions and recommendations for the improvement and development of privacy and digital rights in Latin America. The conclusions offered here highlight good practice and outline the need for a holistic consideration of tracing systems, rather than advocating for a ‘one size fits all approach’ by positioning privacy as a public good, rather than an opponent of technological tracing systems.

With implications for the content we watch, listen to and enjoy everyday, the future of broadcasting touches upon our collective imagination and identities. It also presents legislative challenges and powers over public service media are hotly contested, with ongoing discussions at both ends of the M4 about the potential for devolved nations to take ownership of their own broadcasting services. The IWA has collaborated with Media Cymru researchers Dr Marlen Komorowski and Enrique Uribe-Jongbloed to lead a research project assessing the current state of regulation and accountability for broadcasters in Wales, and surveying the options available for future models of regulation.

The fates of endangered languages are closely linked to conceptions of what value they provide to their communities. We examine how minority (particularly indigenous) communities in Colombia have understood themselves over time, as well as how the state as viewed them, and how definitions of communities and their relationships have historically been framed within hierarchical networks framed in terms of power and hegemony. More recently, national legislation has made considerable strides in recognizing and supporting Colombia’s fundamentally multicultural character, opening the way to increased recognition and autonomy for minority language communities, especially in the areas of education. However, there has been a disappointing lack of accompanying action or real change; the attitudes on all sides that inform actions often remain mired in the past. In a rapidly globalizing world, greater communication and collaboration between all actors are necessary if endangered languages are to be strengthened. We make particular recommendations aimed to generate a more collaborative relationship between minority and mainstream communities, in the understanding that the whole of humanity is enriched (or impoverished) by the survival (or loss) of its languages and cultures.

In Massively Multiplayer Online games (MMOs) and virtual worlds, the idea of authors seems to have ‘died’ or been ‘wiped out,’ at least from the perspective of users. The concept of authorship does not receive adequate attention or recognition in MMOs and online games in particular appear to deprive authors of their rights, both legally and morally. Users of MMOs are required to consent to the deprivation of rights in both authorship and intellectual property before they can access multi-user environments. This deprives users of their rights as authors. This paper will show that currently acceptable practice is problematic and leads to a decrease of innovation. Furthermore, it will consider a fresh approach to such issues, in light of the idea of authors as producers and as a vivid force for innovation. In addition to this, consideration will be given to the idea of collective authorship. Rather than a strictly legal analysis, this paper will explore a legal and media approach to authorship in MMOs. The concept of authorship will be considered initially from three vantage points: Barthes’ death of the author, Foucault’s author as a function, and von Hippel’s concept of democratic innovation. These considerations will be developed to present our perspective that the author goes beyond the producing subject to become a function of a process of collective construction. The function of the author within an MMO follows the process the author assumes in this virtual world. Hence, the moral rights upon the creative production remain with every author, whereas the collective compilation becomes an untraceable product, which dissolves within the collective process of production itself. As such, authorship, once collective, cannot be disentangled into specific parts of the whole. Copyright and moral rights in virtual worlds and MMOs must reflect this - otherwise what is the underlying purpose of copyright? At the very least, the notion of authorship ought to be acknowledged a

The COVID-19 pandemic has highlighted – across intricate borders, different geographies, and legal jurisdictions – that there is only so much that can be done in the way of governance to tackle the challenge posed by a virus. The pandemic is a global problem, one which has affected almost every country in significant and seldom-felt ways. Governments have been forced to react, to respond with emergency measures, temporary rules and legislation, and impose restrictions on freedoms. It has brought to the fore a range of responses, locally, regionally, nationally, and internationally. What is particularly evident across the unfolding of the pandemic is the divergent approaches in introducing governance measures to control behaviour, to share data and information, and to report on the pandemic while holding decision-makers to account. Much of the reporting of government reactions to the pandemic has focussed on emergency restrictions, lockdowns, the suspension of ‘normal’ gatherings, public health data, and tracing apps. Each of these is bundled up with concerns over the interferences with freedoms, a lack of scrutiny and holding to account of governance bodies and lawmakers, and privacy concerns. The new ways of working, governing, and communicating emergency rules is a COVID-19 legacy for governments, but is it one that will shift our expectations? The balance between fundamental freedoms has been – to an extent – pitted against the public health agenda and the nature of the emergency response by governments across the world, but particularly in Germany, the UK, and South America. This article explores the nature of the government responses through emergency measures (and restrictions) and tracing programmes in three countries: Germany, the United Kingdom, and Colombia. The assessment – and comparison – of three countries, across two diverse regions – offers a unique discussion from the perspective of pandemic responses to the COVID-19 emergency. The pandemic itself p

Much of the reporting of the tracing apps, tracking programmes, and privacy concerns during the developmental processes and the initial stages of the Covid-19 pandemic have focussed on pitting digital rights and privacy against public health interests. Undoubtedly, there is best practice in establishing a tracing app to respond to Covid-19 while the work of civil society and NGOs in scrutinising the apps in various nations is vitally important and provides the core analysis of the scope of the data to be collated and retained. The holding to account of tracing systems and governments in utilising technology that is by its very nature invasive is vital in protecting digital rights. In times of crisis in particular, accountability is incredibly important to ensure that digital rights are not pushed aside in light of other concerns. To balance digital rights and privacy, and public health, accountability and transparency are essential – the scrutiny of the track and trace systems in Germany, the UK, and Colombia is therefore undertaken in this paper, which questions from interdisciplinary perspectives the scrutiny, accountability, and privacy concerns in each nation’s app before offering some conclusions and recommendations for the improvement and development of privacy and digital rights in Latin America. The conclusions offered here highlight good practice and outline the need for a holistic consideration of tracing systems, rather than advocating for a ‘one size fits all approach’ by positioning privacy as a public good, rather than an opponent of technological tracing systems.

La expansión de MTV y de los videos musicales a nivel mundial se ha presentado como evidencia de la globalización de los mercados internacionales y de su supuesta homogenización estética. Desde sus inicios en los años 80, con su punto más alto en los 90s y ahora con su transformación en la era de YouTube, el videoclip se ha catalogado como el referente estético de toda una generación. Sin embargo, más allá de clasificarlo como un producto rápido, delirante y espasmódico, se le ha anunciado como la esencia misma de esta nueva cultura globalizada, sin un reconocimiento específico de sus características estéticas. Es en ese punto donde hacemos nuestro aporte. A través del presente artículo presentamos una matriz de análisis para estudiar las características estéticas de los videos musicales. Para hacerlo nos adentramos en debates estéticos sobre las relaciones entre imagen y sonido, asumiendo la canción como el texto subyacente que motiva una construcción audiovisual que la complementa. Aunque el producto final pueda resultar en solo una gran estructura en la cual se clasifiquen distintos productos, sirve como herramienta para evitar generalizaciones sobre el contenido audiovisual. En futuras propuestas de análisis, valdría la pena ver reflejado un acucioso uso de estas categorías que sirvan para complementar argumentaciones sobre el impacto cultural de los videoclips en estéticas internacionales. Ofrecemos, de este modo, una herramienta para mejorar, que nos permite escapar interpretaciones genéricas, aportando rigurosidad a la búsqueda estética.

Este artículo establece un diálogo entre el concepto de medio –presentado por Marshall McLuhan– y el concepto de mito–enarbolado por Roland Barthes– para evidenciarsus similitudes de trasfondo, y de este modo acercar el trabajo de estos dos pensadores quienes, no obstante susdistintos puntos de partida, logran confluir conceptualmentepara comprender de mejor manera la idea del macro-mito, y reconocer el efecto que esta construcción tiene sobre la reconocida sentencia de McLuhan: el medio es el mensaje.