Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This article conducts a speculative analysis of the media ecology framework and, in particular, of Marshall McLuhan’s media philosophy, through the prism of assemblage theory – a Deleuzian-inspired philosophy of multiplicities systematized over the last decade by Mexican-born thinker Manuel DeLanda. Through an interventionist approach seeking to push McLuhanism beyond its very limits, the article is concerned with a certain dimension of its conceptual body which cannot be accommodated by its own parameters. Specifically, we identify McLuhan’s substitution of the term “global theater” for his well-known “global village” as an indication of a paradigm shift in his late thinking – a transition from a metaphysics of identity to a philosophy of differences and multiplicities. By developing this hidden dimension through the tenets of assemblage theory, new untapped forces are unleashed from the McLuhan corpus, providing important clues for a potential reassessment of his media philosophy and, more generally, the media ecology framework.

The essay tries to make an empirical approach to music videos played by musician and singer David Bowie from the discourse of science fiction. The essay starts from the question of how Bowie was a reader of the science fiction and how his ideas, turned in lyrics, were printed in his songs. However, from the audiovisual field, it is important to realize the representation of the body in the context of the music shows and more elaborate videos, and how such representation dialogues with the visual aesthetics of science fiction.

Individuals are composed of an information system that dictates their behaviors and that conditions their perception and their congnition. This system is formed by infotmation inherits from the clan and the social group, by experiences, prejudices and prescriptions that are also in their context. This system gives identity and it is put on risk when a person come into contact with another person to establish a communication system. The couple relationship is highly sedimented in the collective information system, constituting a narrative program that marks and articulates many biological and social processes to organize them as an ideal and unique model to build a couple and a family. However, the individual ejecution of the program does not lead to the model, which causes dissatisfaction. The article presents a modeling of information system links found in empirical research, and raises the importance of propouse the communimethods that helps in communication therapy.

The present text will explore the historiography of music videos, will compare the levels of production and will evidence the changes in the production, consume and distribution, from two music videos that it transmited in MTV and two music videos uploaded in YouTube.

This proposal seeks an approach that allows us to generate a log on the existence of local Musical Bands as historical framework of musical creation in the Valley of Toluca; and Recognition of self-managed cooperatives that promote the organization of musical events. These musical movements have three indissoluble actors: Local Music Bands, organizers and followers. The three actors come together and can be whole time.

This work was developed as a general objective: to analyze the communicative practices developed by the Catholic schools in their process of approaching the Latino communities in Western Washington, USA. The theoretical foundation is grounded in intercultural communication theory. A qualitative methodology was used that is based on the case study method and semi-structured interview techniques (applied to 33 opinion leaders), questionnaires (applied to 300 members of Latino families) and focus groups. The results reveal, the lack of information that Latino families have about Catholic schools, ignorance of the mechanisms of participation in the school system evident by various factors, among which are: the lack of cultural training among school staff, bilingual teachers and administrators and communication and the lack of dialogue interaction between administrative offices and families. These deficits create an unwelcoming environment for Latino families because they perceive that their culture and language are not taken into consideration. It is concluded, that, as cultural outsiders, the Latino maintains high levels of uncertainty and anxiety that hinder and preclude active communication, despite remedial strategies that consciously or unconsciously can be developed. On the other hand, it becomes clear that the receiving group, in this case Catholic schools, despite the concern of some their key administrative personal, have not developed systematic actions to find a resolution to this situation.

Since its genesis, documentary is a communication genre linked to informal knowledge formation. In the new media ecology, documentary finds new ways of distribution, which allows the emergence of knowledge networks derived from its circulation. Based on these premises, the present article aims to understand how the formation of knowledge networks takes place, based on the circulation of the documentary and its knowledge throughout networks. A case study of the networks created on Twitter was held using social network analysis (SNA), focusing on the circulation of The Power of Gold, a documentary produced by The New York Times. Two networks were analyzed: a network based on the circulation flow of the documentar, analyzed by the perspectivist method, and a second network that focused on the influencers of the knowledge network. After the analysis, it was concluded that the documentary The Power of Gold circulated through a diverse network, but failed to penetrate more engaged nad interest-related networks. This article presents partial results of an ongoing research.

New information and communication technologies have given birth to a global order in which nothing seems to fall outside the digitalised tissue-network that is at the core of the multiscreen era. In this framework, the television series Black Mirror questions us, as viewers, about the radical transformations that technological mediation has introduced in the conformation of our identity as social subjects, from the perception of self to the social dynamics of collective interaction. Nosedive, the first chapter of the third and last season of the series to date, draws an incisive cartography of these mutations, facing us with the limits of a digital universe in which our entire existence and our relationship with the world pay absolute tribute to the new spectacle of the visual, and merge with a growing and interconnected multitude of screens and interfaces. Thus, the black, broken glass at the beginning of each episode of Black Mirror calls for our gaze to fall on there where the light of the screens show its shadowy part: there where, switched off, the screens become a mirror and give us back, as a negative, the reflection of our own world.

This article analyzes the repercussions of online audience metrics on information product commercialization. It can be observed to what extent knowledge on user behavior data with respect to digital media communication influences the way of selecting and assessing support, media-advertiser relations, and the risks that media must assume with respect to advertising. To undertake the analysis, factors used in audience metrics are addressed as are changes in systems for advertising contracts and remuneration criteria for advertisers. An important shift can be witnessed with regard to traditional practices for information product commercialization, as well as the assumption of greater risks for media in advertising negotiations

Music is one of the most important elements of radio language. Its ability to stimulate and evoke feelings generated a lot of possibilities to nurture sound messages. This Investigation provides a review for research and the experience of several authors who have written about the meaning of music and their roles in the radio production. Also, it aims to show how these paradigms are assumed in the current practice of broadcasters, in order to develop a conceptual framework to compile all these minks and generate a starting point for finding new ways to use music on the radio.