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This brief essay proposes and clarifies the use of the transpodcast concept to refer to transmedia projects that, starting from a core podcast, expand their storytelling to other platforms and media. In analogy to the concept of transradio, the transpodcastextends its narrative (without repetition of content and with differentiated functions) in web spaces such as blogs, social media, digital radio and newsletters, and can complement its stories in non-digital contexts, such as live shows. It is important to differentiate these transpodcast strategies from other developments such as transmedia stories where the podcast is a narrative extension and not a central element of the project, or adaptations of the same (audio) content in other media and/or platforms.

Transmedia podcasting (transpodcast) is an example of a digital medium essentially promoted by a community of independent creators that arises from the technological advancement derived from the arrival of Web 2.0. This medium is considered to offer its users greater possibilities of participation and co-creation by abandoning the traditional communicative models based on unidirectionality. The objective of this work is to determine how audience engagement takes place in this medium, taking into consideration the analysis of its participation spaces. In order to reach this goal, a Mixed Method Research Design was used, integrating two case studies with a total sample of 2,490 units of participation generated by users on the iVoox platform, the blogs of the two selected projects, and messages on Twitter. The research was complemented with an ethnographic investigation through observational methods on the presence of the user’s voice in the podcasts of a total of 19 transpodcast projects. Despite the fact that numerous and relevant voices have defended that the new media ecosystem causes the decentralization and democratization of the agenda-setting and empowers ordinary citizens, this study shows a less optimistic and more critical perspective about the possibilities of meaningful citizen participation in online discourse.

Covid-19 has triggered not only a pandemic that endangers our social, economic, and health systems but also an infodemic resulting from the prolific spread of fake news, hoaxes, and misleading content. From a statistical-descriptive perspective and using content analysis, this research analyzes the information disorders, media language, and narratives that carry the disinformation generated about Covid-19 at an international level. The analysis focuses on determining its frequency of occurrence, based on the time it takes to be verified and establishing the relationship between the spread of the virus and the prevalence of disinformation on different continents. A sample of 582 fake news items included in the International Fact-Checking Network (IFCN) database on the novel coronavirus was analyzed. This information was divided into a general sample made up of 511 pieces of disinformation and a specific one on fake news spread throughWhatsApp (n=71). The results partially confirm recent studies that reported a greater prevalence of information that reconfigures legitimate content and takes longer to be verified than fully fabricated content. Disinformation in textual form predominates over the production of images and audios. Video content required longer verification times in comparison with the other media formats. Disinformation about Covid-19 includes narratives with a dynamic and changing character as the pandemic expands. Likewise, a parallelism between the geographical evolution of the pandemic and the spread of the infodemic is detected, as well as specific disinformation patterns on WhatsApp, where more audio-based disinformation and a higher percentage of fabricated content is shared, sometimes for criminal purposes.

In the 1970s, the publications of Alvin Toffler and Jean Cloutier were essential for the emergence of two concepts, prosumer, and emirec, whose meanings have been mistakenly equated by numerous scholars and researchers. At the same time, the mercantilist theories linked to prosumption have made invisible the models of communication designed by Cloutier. In this article, configured as a review of the state of the art made from an exhaustive documentary analysis, we observe that, while the notion of prosumer represents vertical and hierarchical relations between companies and citizens, Cloutier's emirec evokes a horizontal relationship and an isonomy between professional and amateur media creators. The prosumption presents an alienated subject, which is integrated into the logic of the market under free work dynamics and from the extension of time and productive spaces, while the emirec is defined as a potentially empowered subject that establishes relations between equals. The theory of the prosumer reproduces the hegemonic economic model by seeking solutions from the field of marketing so that the media and entertainment industries must face the challenges they have to face in the digital world. On the contrary, the emirec theory connects with disruptive communicative models that introduce new relationships between media and audiences and the establishment of logic of affinity between communication participants.

Resumen basado en el de la publicación Título, resumen, palabras clave en español e ingles Se explora a través de un estudio de casos el uso de varios espacios de afinidad y socialización del universo literario del escritor español Blue Jeans. Se analiza 3.997 comentarios de los espacios digitales de este fandom, con datos cuantitativos y cualitativos, además de una entrevista semiestructurada con el propio autor. Los resultados sugieren (1) diferencias relevantes en la socialización lectora según el tipo de espacio y su gestor (autor o fans), (2) correlaciones entre algún espacio y la socialización literaria, y (3) la relevancia de mantener activa una red de socialización lectora como parte del acervo de profesionalización del escritor. Gracias a la interacción entre iguales, los seguidores de Blue Jeans desarrollan aprendizajes de corte sociocultural, que revelan el potencial de relacionar contextos vernáculos y educación formal para formar generaciones lectoras y críticas, sin que ello implique extirpar la cultura fandom de sus contextos. Se acaba con algunas líneas de actuación futura en la educación lingüística y literaria, como la semiosis social o las multiliteracidades. ESP

Both fans' and writers' social network participation configures an ecology of digital literary practices which alter how literary pieces are received and how readers and writers can potentially connect and interact. We explore the use of online affinity literary spaces through the literary universe of Spanish writer Blue Jeans. We proposed a case study. We analyzed 3,997 comments from digital spaces in the fandom (managed by the author or by the fans), and a semi-structured interview with Blue Jeans. Results indicate that (1) there fans socialize their affinity to literary reading differently according to the various spaces and who manages them (author, fans), (2) there are spaces more prone to literary socialization, and (3) keeping an active network for literary and reading socialization is a prominent part of the repertoire of the writer's professionalization. Thanks to the horizontal interaction (writer/fans, fans/fans), Blue Jeans' followers extract intercultural learnings revealing the potential of connecting vernacular contexts and formal education to educate generations of critical readers, without this involving the extraction of fandoms from their contexts. Finally, we propose some lines for future action in language and literary education such as tapping into the potential of social semiosis or the multiliteracies proposal., La participación de fans y autores en redes sociales configura una nueva ecología letrada digital que modifica la recepción de la obra literaria y las posibilidades de interacción entre lectores y escritores. Con un estudio de caso, exploramos el uso de varios espacios de afinidad y socialización del universo literario del escritor español Blue Jeans. Analizamos 3.997 comentarios de los espacios digitales de este fandom, con datos cuantitativos y cualitativos, además de una entrevista semiestructurada con el propio autor. Los resultados sugieren (1) diferencias relevantes en la socialización lectora según el tipo de espacio y su gestor (autor o fans), (2) correlaciones entre algún espacio y la socialización literaria, y (3) la relevancia de mantener activa una red de socialización lectora como parte del acervo de profesionalización del escritor. Gracias a la interacción entre iguales, los seguidores de Blue Jeans desarrollan aprendizajes de corte sociocultural, que revelan el potencial de relacionar contextos vernáculos y educación formal para formar generaciones lectoras y críticas, sin que ello implique extirpar la cultura fandom de sus contextos. Acabamos con algunas líneas de actuación futura en la educación lingüística y literaria, como la semiosis social o las multiliteracidades, Este estudio está apoyado parcialmente por «Verdad y ética en las redes sociales. Percepciones e influencias educativas en jóvenes usuarios de Twitter, Instagram y YouTube. (INTERNÉTICA)». Proyectos de I+D+i, Ministerio de Ciencia e Innovación, España (Convocatoria 2019) (PID2019-104689RB-I00, 2020-2023) y por «ForVid: El video como formado de aprendizaje lingüístico dentro y fuera del aula», Proyectos I+D+i, Ministerio de Ciencia e Innovación, España (Convocatoria 2018) (RT2018-100790-B-100; 2019-2021).

Nacido en 2004, el podcasting independiente español ha conseguido construir una comunidad online de comunicadores y usuarios que puede ser entendida como un mecanismo de socialización intermedia que conecta la producción individual con la conexión social. A través de una investigación desarrollada en tres fases mediante técnicas de observación etnográfica, análisis documental y entrevistas a podcasters, el objetivo de este estudio es construir una taxonomía del conjunto de competencias mediáticas y digitales que los creadores de podcasts adquieren dentro de esta comunidad y cómo se produce la incorporación de tales conocimientos. Los resultados muestran la existencia de un total de 7 categorías competenciales que los podcasters adquieren en su interacción dialógica con otros miembros de la podcastfera: conectivas, etiquetado, programación de código, producción web, diseño gráfico, gestión de redes sociales y producción de vídeo digital. Las estrategias que utilizan para adquirir estas habilidades son el ensayo-error, la consulta de materiales de terceros y el aprendizaje entre iguales. Estos resultados demuestran el potencial de las comunidades de producción mediática ciudadana como «escuelas conectadas» cuyos principios de comunicación horizontal, discusión permanente y generación compartida del conocimiento deberían ser integrados por las instituciones educativas.

Podcasting has created an own narrative that provokes a rupture of the traditional radio´s language due to the transmedia configuration of its contents and its multiplatform strategies. By analyzing the most relevant Spanish podcasts and through in-depth interviews, this investigation presents a cartography of the diverse platforms and the different contents that pod­casters use so as to expand their stories beyond the sound language. Our results demonstrate that podcasting offers its messages in a wide range of platforms, digital and analog, that functionally complement each other. This involves producing materials in different media language. Moreover, podcasting presents a great variety of contents that, instead behaving in an isolated way, conform a logical and coherent grammar.

En los años 70, las publicaciones de Alvin Toffler y Jean Cloutier resultan esenciales para el surgimiento de dos conceptos, prosumidor y emirec, cuyos significados han sido equiparados de forma errónea por numerosos académicos e investigadores. De forma paralela, las teorías mercantilistas vinculadas a la prosumición han invisibilizado a los modelos de comunicación entre iguales de Cloutier. En este artículo, configurado como una revisión del estado de la cuestión realizada a partir de un exhaustivo análisis documental, observamos que, mientras que la noción de prosumidor representa unas relaciones verticales y jerárquicas entre las fuerzas del mercado y los ciudadanos, el emirec de Cloutier evoca a una relación horizontal y una isonomía entre comunicadores profesionales y amateurs. La prosumición presenta un sujeto alienado e integrado en la lógica del mercado bajo dinámicas de trabajo gratis y a partir de la extensión del tiempo y los espacios productivos, mientras que el emirec se define como un sujeto potencialmente empoderado que establece relaciones entre iguales. La teoría del prosumidor pretende la reproducción del modelo económico hegemónico buscando soluciones desde el ámbito del marketing a los constantes desafíos que la industria de los medios y el entretenimiento deben afrontar en el mundo digital. Por contra, la teoría del emirec conecta con modelos comunicativos disruptivos que introducen nuevas relaciones entre medios y audiencias y el establecimiento de la lógica de la afinidad entre los participantes de la comunicación In the 1970s, the publications of Alvin Toffler and Jean Cloutier were essential for the emergence of two concepts, prosumer and emirec, whose meanings have been mistakenly equated by numerous scholars and researchers. At the same time, the mercantilist theories linked to prosumption have made invisible the models of communication designed by Cloutier. In this article, configured as a review of the state of the art made from an exhaustive documentary analysis, we observe that, while the notion of prosumer represents vertical and hierarchical relations between companies and citizens, Cloutier’s emirec evokes a horizontal relationship and an isonomy between professional and amateur media creators. The prosumption presents an alienated subject, who is integrated into the logic of the market under free work dynamics and from the extension of time and productive spaces, while the emirec is defined as a potentially empowered subject that establishes relations between equals. The theory of the prosumer reproduces the hegemonic economic model by seeking solutions from the field of marketing so that the media and entertainment industries must face the challenges they have to face in the digital world. On the contrary, the emirec theory connects with disruptive communicative models that introduce new relationships between media and audiences and the establishment of a logic of affinity between communication participants