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10.4185/RLCS-2016-1096en | ISSN 1138 - 5820 | RLCS # 71 | 2016 | |
Spanish University Radio Stations' Own Content Programming: Ondacampus, UPV Radio, Uniradio Jaén, Radio Universidad and RUAH
María Peña Mónica Pérez-Alaejos [CV] [ ORCID] [ GS] School of Social Sciences - University of Salamanca, USAL, (Spain) - firstname.lastname@example.com
Translation by Diane Garvey Zaccar
1. Introduction
As a unifying force of media, the Internet has become the great new medium of the twenty-first century, capable of offering contents on a mass level, but at the same time personalized information adapted to each user according to their individual habits, tastes and preferences. Moreover, we have moved from the local to the global, but also from mass to segment, and as one would expect, the digital transformation and the Internet itself have led to a questioning of the old paradigm of sectors such as telecommunications and mass media (Hendy, 2000). Faced with this new situation, traditional media have had to re-invent themselves and try to become part of a situation that keeps on evolving by leaps and bounds. In the case of radio, this adaptation is going ahead with a certain amount of confusion and an unclear future.
"[…] the Spanish radio industry still needs to renovate its analogical model in the full digital age: the same as in other countries, radio has moved from the exclusiveness of the Hertzian medium to a much broader context where it converges with other media, formulas and multi-media services fostered by computer technologies, such that we are witnessing a mistrustful co-existence of the traditional concept of radio and the still uncharted territory that some authors call 'postradio'". (Pedrero Esteban, Sánchez Serrano, & Pérez Maillo, 2015: 422) (our translation).
Therefore, we consider that the research presented here is socially justified in that it proposes a continuity in the reviews of online radio content programming within the context of public universities, where this kind of programming must address the goals of training, educating, and disseminating culture, as well as making interactivity one of the principal engines for the creation and configuration of contents in their programming. Our goal was to analyze to what extent university radio stations address these public service objectives, and to do so we studied the programming of five public university radio stations in Spain that broadcast online, have a podcast library and fulfil all the requirements of our methodology.
In times of great technological change, it becomes necessary to reflect on the new contexts that are emerging not only on a technical level, but on a social one as well. Traditional paradigms no longer serve to understand the communicative processes in the mass media, according to Orihuela (2002); the existence of the Internet means that they have to reinvent themselves. The new media context that adapts to or emerges directly from the web can be defined through seven new paradigms proposed by Orihuela (2002): interactivity, personalization, multimedia, hypertextuality, updating, abundance and mediation. Thus, radio has also found itself involved in this change or transition to new paradigms. Gallego (2010) describes the main aspects that today's radio companies should stress: digitalization, convergence, and interactivity.
Radio today is not only listened to; it can be seen, written to, participated in, chatted about. The aim, proposed by Cebrián (2008), is to broaden the contents, with texts, images, video and, in short, all types of extra multimedia content that complements the main services based on the broadcasting of audio contents.
"The 2.0 environment widens the concept of radio consumption, which is no longer exclusively linear. But the object of consumption also varies, and, in addition to being audio it can be complemented with texts and images. Giving value to the objectives is one of the priorities of radio stations, which consider that they are thus also reinforcing the digital brand." (Martí i Martí, Monclús, Gutiérrez, & Ribes, 2015: 18).
In this aspect, the models of Internet radio programming and therefore the majority of university radio stations now entail both live broadcasting and the opportunity to store contents to make them available to audiences.
"The young university audience shows a tendency that has consolidated into individual, multi-screen, multi-task consumption with a constant drive for interaction with their preferred audiovisual contents through mobile applications and social networks. This new channel of communication opens new, practically unlimited, possibilities for communication groups that were unthinkable only five years ago." (Ortega, González Ispierto, & Pérez Peláez, 2015: 627-651) (our translation).
To understand the concept of online radio one has to comprehend the possibilities the Internet offers this medium and thus also the university radio stations that had their origins there. The web has opened up new opportunities for audio exposure on the radio, and, according to Pagador (2012), three of these are durability (audio archives), fleetingness (audio broadcasts only available at certain times, such as news), and live broadcasting (downloading of podcasts and streaming). The Internet has also permitted the use of new languages because of its multimedia nature, links and hyperlinks, and the possibility of accessing contents in a non-sequential way (Farkas, 2006).
Online radio is not limited to streaming; the podcast is another very important element when consuming radio contents on the Internet. Users can have access to and download audio contents and listen to them wherever, whenever and however they want. This allows personalized media consumption (Crofts, Dilley, Fox, Retsema, & Williams, 2005).
The Internet offers university radio stations the possibility of creating communities, forums, surveys, blogs, and of interacting with the audience when creating and programming contents, or giving their audience the freedom to change the contents according to their individual tastes, and to publish them and retransmit them (Gallego, 2010). We have come to the point where the audience no longer only listens, but has moved from passivity to activity, evaluating the products, participating in their construction and disseminating them (Canavilhas, 2011: 22).
"This is precisely where university radio can differentiate itself, in the content. That is why it must devote time to what the general-interest radio stations normally do not: to culture, science, social exclusion, underprivileged groups, etc. That is, university radio should devote itself to broadcasting specialized or alternative contents to be able to reach the public or audience that the rest of the media are not able to." (Espino Narváez, 2014: 29).
For all of these reasons we consider that the academic interest of this research study lies in the critical approach to what we present as a trend towards a homogenization of contents in the radio stations analyzed, in contrast to the voices advocating that university radio stations should take good advantage of the resources available to them (Perona Páez, 2012; Romo, 1989). The text contributes a negative view of the results obtained and progresses towards a constructive criticism that will help these radio stations to differentiate themselves from commercial and general interest radio as far as contents and objectives are concerned.
Currently, there are different models of programming: general-interest radio, music radio, and cultural radio. One of the definitions of general-interest radio is that made by Faus (1995: 182), who understands it as "radio of information, of intellectual communication, of ideas, that is, total radio". On the other hand, Moreno (2005) defines music radio as that which constantly airs musical contents, taking advantage of the aesthetic-emotional dimension of music. It is heard more than it is listened to and accompanies more than it informs. This is the largest radio specialization. Finally, we have the characteristics of cultural radio, of which university radio forms a part. It pertains to the group of thematic radio stations, whose objectives are educational, cultural and informative. The structure and programming of their contents depend less on news and current events and focus more on educational aspects. The cultural message is meant to enrich minds and seeks to "cause the audience to make an effort and at the same time clarifies what it broadcasts in order to awaken the public to new interests" (Moreno, 2005: 13).
1.1. The university radio phenomenon
University radio stations are a radio phenomenon that comes within the frame of what we know as free or non-profit audiovisual mass media. These stations are linked to academic institutions, usually universities, and thus their objectives are mainly cultural, educational, informative and entertaining, addressed chiefly to a young university student public. The goal of the university is to educate citizens, and university radios can be considered one more tool involved in this educational purpose.
These stations are proliferating owing to the advances in technologies and the Internet, giving rise to greater participation and debate among the audience, according to Espino Narváez and Martín Pena (2012). This digital boost in an online context must be understood within the context in which non-profit radio exists: low budgets, non-commercial programming and mainly cultural objectives. This is why, although there are university radio stations that broadcast over the air, most of them have found their best ally in the Internet, owing to its global nature and the fact that the allocation of radio frequencies is not necessary. This reduction in costs and requirements for broadcasting quality programming is much more favorable on the Internet, which in addition offers the possibility for increased interaction with audiences, for generating debates, and for permitting the station and the audience to work together to build contents. Its multi-media aspect allows greater variety of contents and greater dissemination of them through social media and the possibilities of hypertext. Since no legislation exists in Spain specifically to regulate these radio stations, and even less so on line, there has been an increase in the number of new university radio stations that broadcast on line.
In Spain, university radio emerged in the 1940s with Radio Barcelona and Cadena SER, which broadcast university contents even then. The first Spanish radio station entirely devoted to the university was that of the University of La Laguna, which began broadcasting in 1987. According to Marta and Segura (2012), Radio Universidad de Salamanca appeared in 1996, and in subsequent years radio stations of the following universities came on the scene: Complutense University de Madrid, Autonomous University of Madrid, and the Universities of Navarra, León and A Coruña.
The university radio stations pertaining to the Association of University Radio Stations (ARU, acronym in Spanish) [1] are addressed in this research and currently number 22. Their main objectives, as stated on the Association's website (ARU, 2014), are to group radio professionals from Spanish universities, plan and disseminate university, cultural, scientific and technological topics to society in the form of radio contents, and, in short, any other activity relating to public service that has been entrusted to universities.
The ends pursued by ARU coincide with the spirit of the university as an institution; however, what we intended to do in this research, by analyzing programming grids, was to study whether these objectives are actually met or whether university radio stations function simply as one more university service. "Nonetheless, the sector still shows important signs of instability […] The reasons behind these circumstances have a lot to do with the fragile structure on which, with a few exceptions, this type of mass media depends: diffuse organization, temporary volunteer workers, scarce or null budget after the initial investment, etc." (Perona Páez, 2012: 38).
University radio stations are non-profit, and this means that they are entities that should not receive economic benefits for their activity. However, to better understand what being a non-profit radio station in Spain involves, it would not be amiss to review the pertinent Spanish legislation regarding the mass media, and more specifically, radio.
The General Act of Audiovisual Communication (BOE, 2010) defines the radio as an audiovisual communication service with editorial responsibility and with the objective of providing programs and contents aimed at informing, entertaining or educating the public at large, and of broadcasting commercial communications. The legislation focuses mainly on stations and public and private service providers. However, the LGCA also regulated and takes into account free, alternative or community radio stations that are non-profit and that had existed in a legal limbo for years (Hernández Prieto, 2016). Arboledas (2012) points out that the first time these types of radio stations were recognized in the legislation was with the Planning Act of 1987, which stipulates that to receive a non-profit radio license the owner had to have Spanish nationality and be a resident of the country.
The LGCA of 2010 was an attempt to fill the gap in specific legislation for the free radio sector, despite the subsequent lack of specificity at the level of tendering in Spain's Autonomous Communities. This Act stipulates that community non-profit private communication services will be able to provide non-commercial audiovisual communication services to attend to the specific social, cultural and communication needs of communities and social groups, as well as to foster citizen participation. These contents must be broadcast openly and without commercial advertising. The providing of these services requires a license that establishes the conditions that guarantee that these services are not commercial.
These non-lucrative radio stations are a "blind spot in the entire Spanish radioelectric system" (Badillo & Pérez Alaejos, 2012: 90). Most of Spain's autonomous communities have not known how to guarantee their legal existence, and oblige them to participate in competitions for licenses together with commercial stations; alternatively, they have tried to eliminate them from regulation.
In regard to exclusively online radio, the LGCA makes practically no reference to the Internet context. It is therefore understood that regulation in this aspect will be determined by respecting and paying for the licenses and canons relating to copyright and royalties of protected audiovisual contents, especially in the case of music. This legal "vacuum" of online radio has been one of the main drivers behind the creation of new free or university radio stations, to come back to the subject of our research.
The main objective in this study is thus to determine what Spanish public university radio is like on the Internet, analyzing the type of contents offered and the extent to which their programming is homogeneous. In addition, given that web 2.0 interactivity is key to the dissemination of contents, we addressed the type of relation these stations have with their audience through social networks.
Although there are both public and private universities in Spain that have radio stations, we decided to analyze only those linked to public universities, since they are likely to be the ones that foster free and public citizen education to a greater extent. Besides offering academic and educational contents, these radio stations should support the dissemination of cultural and social contents, providing an alternative to radio formulas and general interest radio programming. Thus we posit the first hypothesis of our study:
H1. The contents of Spanish university radio stations linked to public universities are above all educational and cultural, in line with the objectives pursued by universities: to educate citizens.
If this kind of programming is to have a sizeable impact, it must be stable. The design of weekly programming with a succession of constant programs and a minimum of variation helps not only to garner audience loyalty, but also to create a positive image that can attract a wider audience.
It must also be taken into account that broadcasting university radio on the Internet offers very favorable possibilities for the stations' activities. These stations and their web services should offer accessible and up-to-date contents to their audiences. Just as private radio stations (both general interest and thematic) usually present quite similar programming, since their objectives are similar, Spanish university radio stations may also be likely to reflect this tendency to design programming with common features. Thus, we pose the second hypothesis of our study:
H2. Spanish university radio stations linked to public universities chosen for the sample, and which therefore fulfill all the requirements established in the study, are homogeneous in nature and show similar programming.
Our idea was to find out what type of programming the selected stations use, whether it falls in line with the principles and values related to university institutions, and whether the stations take advantage of the possibilities offered by the Internet as a channel for differentiating their contents from what is offered by commercial radio.
The research consists of a comparative study based on the quantitative analysis of the contents, programming and social network activity of the Spanish university radio stations chosen for the sample.
There are many definitions of "content analysis." Walizer and Wienir (1978), among others, define it as any systematic procedure devised to examine the contents of stored information. Krippendorf (1980) defines it as a research technique capable of making valid and stable inferences from data about a context. The definition by Kerninger (1986) is perhaps one of the most standardized: content analysis is a method of study and analysis of communication in a systematic, objective and quantitative way, with the purpose of measuring certain variables. To design and direct the most appropriate work method when approaching the task of collecting, analyzing and exhibiting data, we reviewed several previous academic studies in this sense related to the topic of radio programming (Gutiérrez & Huertas, 2003; Martí i Martí, 1990; Moreno, 2005).
Given that there are many university radio stations, "the analysis of different radio stations that depend on institutions of higher education allows us to confirm the broad diversity of communication projects that can be found internationally. Each university radio station has its own objectives and a certain idiosyncrasy. In the case of Spanish radio stations these differences and typological variety are even greater." (Fidalgo, 2009: 135).
We therefore began by establishing certain criteria for selecting the necessary sample population of radio stations for the research study. Thus the stations had to:
To delimit the size of our sample we consulted the website of the Association of Spanish University Radio Stations to find out how many of the stations were members. Of the 26 stations found, only 17 had active websites and regular online broadcasting. Among these 17 radio stations, 13 correspond to public universities, and four to private ones. Finally, we selected for the study the only five stations that fulfilled all of the requirements and criteria described above: Ondacampus (University of Extremadura), UPV Radio (Polytechnic University of Valencia), Uniradio Jaén (University of Jaén), Radio Universidad (University of Salamanca) and RUAH (University of Alcalá de Henares). The rest of the stations were ruled out because they did not meet the criteria.
After determining the sample, we went on to investigate the programming of each of these stations [2]. Below, and in the understanding that genre, as defined by Wolf (1984), refers to that form of communication that the audience is able to identify without difficulty, and whose characteristics are linked to the type of contents offered, we proceeded to identify the topics offered by the university radios either by listening or by reviewing the podcast tags of each of the slots having their own autonomy within the programming. In all cases we excluded programming contents only meant to maintain continuity in the broadcasting, such as continuous music, breaks, and jingles. Thus, addressing only the autonomous slots, we defined nine types of subject matter or genres:
To locate the programming of the university radios within a time frame, we differentiated between weekdays and weekends, and the day was divided into three blocks of time: morning (8 AM to 2 PM), afternoon (2 PM to 9 PM), and night (9 PM to 3 AM). Uniradio Jaén is the only station that broadcasts a few programs after 4 AM, so we decided to include them as part of the morning slot. The sample contents were collected during the week May 26 - June 1, 2014.
We also decided to differentiate between four types of content duration (up to 10 minutes, up to half an hour, up to one hour, and longer than an hour) to be able to classify each spot within one of these categories and subsequently calculate the approximate number of hours the five radio stations devote to each genre. We then selected the data referring exclusively to weekday programming, since that is when the stations offer most of their own productions (on weekends the programming of autonomous spots decreases in favor of musical radio formula programming).
To analyze social network activity we sought out the Facebook and Twitter profiles of each of the stations and measured the data regarding their followers, the station's own postings or what they post by others, "likes", "shares", comments, tweets, retweets, mentions and hashtags over the last week of May 2014 (May 26 - June 1). In addition, and for purely descriptive purposes, we collected information about the stations' activity in social networks. These data have been arranged in tables that reflect the number of postings, tweets and different types of interaction in addition to the number of times each station promoted audience participation. To obtain a more overall picture of the topic we used the "Top 40 Spain" station broadcasting on May 26 as a point of comparison.
The results are presented in two different sections: the first is focused on the subject matter or genre used in the radio broadcasting, and the second addresses the analysis of the radio stations' weekday programming.
3. Results
As described in the Method section, all the information extracted and analyzed refers to programs that are a programming unit in themselves, not taking into account the contents that make up the "continuity" or station breaks, the purpose of which is to maintain constant broadcasting between specific programs, usually comprising music, brief items, or announcements. Below we present the data analysis relating to the thematic classification of university radio programming.
Table 1 . Classification by subject matter of university radio programming
Regarding the information in Table 1, and comparing the total number of programs represented, it can be observed that the genre that stands out most among all the stations is Music, followed by Entertainment and Educational, which between the three occupy 58.2% of total programs. In contrast, the types of content least represented in this set of stations are News (1.4%), and Film, with only 3.8% of the total programming. Not all the stations broadcast all the genres we chose to investigate. Ondacampus and RUAH do not offer news programs. UPV Radio has no programs devoted to film or other cultures, and RUAH has no programming of social contents.
If we take into account that the values relating to universities are the ones most linked to what we call News, Educational, Social and Other Cultures categories, we find that education is the only one to which all the radio stations devote programming. Only Unirradio Jaén and Radio Universidad offer programs in these four categories, whereas RUAH only participates in two of them.
3.1 Comparative analysis of university radio programming
Turning now to the analysis of the weekly programming of Spanish radio stations, the data presented below refer to the total number of autonomous programs within the stations' programming, taking into account when they are repeated as well. Although in all cases we also analyzed weekend programming, results are only shown for the weekday programming, since it is more complete and based on the production of each station's own contents. This analysis was done taking as a reference the data included in Table 2, which reflects the relation between the number of autonomous programs (plus their repeats) in the programming offered by each station on weekdays, and their type of content.
As can be observed, Music stands out above the rest of the categories, comprising more than a third of the programming in the total calculation of the five radio stations. Music is followed by Entertainment, but with less than half the programming devoted to Music, which was 37%, and in the last places we have Sports and Film, both with values under 4%. The mean presence of the rest of the content categories is approximately 8%. Briefly analyzing genre by genre all of the programming and repeats of all the stations, we find the following:
Focusing our attention now on the programming of each radio station, it can be seen that of the five university radio stations, the ones with the most slots devoted to their own autonomous programs from Mondays to Fridays are Radio Universidad and UPV Radio. The former offers almost five times the programs of Ondacampus, which comes in last with only 20. But to better understand the programming of these five stations, we can observe the behavior of each of them in their general weekday programming, based on the data shown in Table 3.
The weekly programming of the radio stations can be divided into several blocks of time; in this case we agreed on three: morning, afternoon and night. Table 4 shows which of these time blocks offers more programs in general and how each station in particular distributes its programs.
Tabla 4 . Classification of programming according to time block.
As far as the time blocks are concerned, the one accumulating the most programs in general is the morning, followed by the afternoon and in last place, nighttime. The thematic categories that appear most in the morning scheduling are Music (30.1%), Entertainment (18.3%) and Educational programs (12.9%), and these genres are also the most important ones in the afternoon. At night, however, news programs take over from educational ones (sharing the same percentage as Entertainment at 9.1%), but always behind Music, the leading genre occupying 63.6% of the programming. It is also of interest here to compare the behavior of each radio station in relation to these blocks of time:
Finally, in this comparative analysis of the programming of these five Spanish university radio stations, it is important to bear in mind how long each program lasts, that is, approximately how much real time is devoted to each genre. To start with, Table 5 shows data concerning program length in relation to the five stations.
Table 5 . Percentages of program length by station.
As can be observed, the programs lasting up to 60 minutes are those that clearly stand ahead in the total computation, followed by programs lasting approximately 30 minutes. Radio Universidad is the only station to broadcast programs lasting under 10 minutes and it is also the one with the most 30-minute programs. Uniradio Jaén and RUAH are the stations with the most contents lasting up to an hour in their own programming. Ondacampus is the station with the greatest percentage of programs lasting an average of 90 minutes in its weekday programming. In regard to the relation between subject matter and program length in the five stations, Table 6 shows the following results:
Table 6 . Classification of programs according to length and subject matter.
In regard to each classification of program length and taking into account all programs broadcast by the five stations:
An approximate calculation of the programming time that each station devotes to each topic category can be observed in Table 7.
Table 7 . Classification of genres and the time they occupy in each radio station.
The stations with the highest number of hours devoted to programming proper (i.e., not taking into account continuous music, breaks, space fillers, etc.) were UPV Radio and Radio Universidad (63h and 60h, respectively), and the one with the least was Ondacampus (20h). Among all the programs of all the stations, the categories with the most hours were Music and Entertainment (98.5h and 32.5h, respectively), whereas the least number of hours was devoted to Film and Sports (4.5h and 7.5h, respectively). Analysis of the hours in relation to each station shows that:
Additionally, we also made an approximation of each station's activity on social networks and their interaction with their audience on Facebook and Twitter. Based on the data shown in Table 8 we analyzed the presence of each radio station on Facebook, as well as the type of use each of them made of this social network in order to interact with their audience during the week of May 26 - June 1, 2014.
Table 8 . University radio stations and Facebook.
The station showing the most activity, inviting the most participation and receiving the most feedback is Unirradio Jaén. The amount of each station's own postings is similar for all five, but even so, Radio Universidad stands out. The only two stations that invite active audience participation are UPV Radio and Unirradio Jaén, whereas the rest limit themselves to informing about their broadcasts, contents or current events linked to their surroundings.
In regard to postings by others on the stations' Facebook pages, only UPV Radio, Unirradio Jaén and Radio Universidad receive them, and in very low numbers (3, 2 and 3, respectively), although the feedback in the form of "Likes", "Shares" and "Comments" that UPV Radio and Radio Universidad receive in this sense is quite a bit higher than in their own postings. None of the stations interact with their followers within their own postings or postings by others on the stations' own pages.
The university radio stations analyzed also have their own profiles registered on Twitter. Table 9 shows the Twitter activity of the five stations over the week between May 26 and June 1, 2014.
The station that tweeted most during the week analyzed was Radio Universidad (80 tweets). The rest of the stations made an average of 24 tweets that week, an average of eight tweets of which were retweeted to others. The station receiving the most retweets was UPV Radio (almost 40% of its tweets). The only station that did not retweet to anyone was Uniradio Jáen, which, moreover, was the station that most demanded participation in its tweets, concretely in all of them, the same as in its postings on Facebook. Ondacampus was the other station that also invited audience participation through its tweets.
In relation to direct interaction, Ondacampus was the only station to answer the tweets of other users, and all of them except Uniradio Jaén were mentioned in tweets by others. Finally, all of them except Ondacampus and Uniradio Jaén used hashtags to promote dissemination of their contents. The activity of these radio stations on social networks is very low in comparison to that of large radio stations such as Top 40 Spain, whose social network activity can be seen in comparison to that of the university radio stations in in Table 10, which provides data on a single day of activity.
4. Discussion and conclusions
To summarize, the data show that the radio stations in the sample address contents that foster education, closely linked to university objectives, and pay less attention mainly to news and current events. Nonetheless, as we highlighted at the beginning, the genres that have the greatest weight in the stations analyzed are Music and Entertainment, which shows that the stations selected do not go so far as to risk offering a different kind of programming. "In my point o view, university radio stations are in the midst of an identity-seeking process within the broad spectrum of mass media. At the present time, the arrival of digital technologies and the development of information and communication technologies (ICT) means that the path taken by university radio, the same as in the case of the rest of the mass media, will become more and more global and employ more multimedia, although the radio will continue to be its principal medium of reference." (Fidalgo, 2009: 135).
As far as our initial hypotheses are concerned, after the analyses it can be seen that although these university radio stations should have education as one of their prime objectives, the large number of hours and programs devoted to entertainment and music show that they are not ready to take the risk of proposing a "different" kind of radio. This does not mean that they do not devote time to cultural, educational and social programs, which in fact they do, and more so than in general interest radio stations, but not to the extent nor with the sufficient weight that one might expect from radio stations linked to institutions of higher education. In fact, the group of the stations' own contents within the programming that contains educational programs comes in third place.
With these results we thus put into question the idea of (Romo, 1989) concerning the role of university radio stations in advancing the dissemination of culture, in seeking a dialogue with society, in denouncing social problems by constructing ideas of social knowledge and wisdom at the service of the community and in favor of social justice, not so much because of the profit-seeking typical of commercial radio programming as for a lack of creativity and a failure to take advantage of the new digital scenarios. The trend observed in this research is that university radio stations copy commercial formats and do not take risks by incorporating thematic categories that could differentiate them from the rest.
Our second hypothesis assumed that Spanish university radio stations linked to the public universities selected for our sample based on the criteria described in the methodology section would have homogeneous programming. This would mean that their programming is shaped around very similar original contents, in programming grids with common patterns.
"Most Spanish university radio stations broadcast their programming on the Internet, using streaming or podcasts. The most frequent type of programming has a mosaic structure, with short spots of the "window" type and fragmentary contents that usually make the rhythm of the broadcasting dynamic. These kinds of programs are usually thematic and have a set periodicity. Less common but present are programs of special coverage and practice of curricular contents for students." (Marta & Segura, 2012: 122).
The stations analyzed show certain trends in terms of placing certain types of contents in specific time spots, such as music in the afternoon in most cases, and music at night on all the stations studied. These stations also tend to place news programs in morning or afternoon spots. Nonetheless, the sample size in future research should be greater in order to corroborate the trend toward homogeneity found here.
Along the same line as Perona Páez (2012: 47), we support the idea that university radio stations could take better advantage of the possibilities offered by the Internet and promote their web presence by making an authentic a la carte radio, interacting on Facebook and Twitter much more intensely, and participating in their programmed contents by intervening in blogs which some programs already have.
Moreover, the Internet has fostered the creation and development of this type of radio, as well as its range, which is now global. Interactivity is fundamental on the Internet, and the participation of these stations' audiences, with a demographic profile of young people familiar with digital technologies, should be an essential pillar when constructing and sharing content. However, it seems that in general it is still difficult to enter into contact with this audience, and more contents are produced for them than with them; the stations offer content rather than involving audiences creatively and fostering dissemination. In short, the university radio stations studied fulfill a divulgative role, although that is not essentially their main objective. As they face the future, these stations should increase their offer of educational contents in order to position and differentiate themselves more clearly from commercial stations with general interest and thematic programming. They should also increase their activity on line to favor interaction and "teamwork" with an audience that is now demanding to form part of the creation of products consumed on the Internet, with much more personalized contents.
In relation to the ever greater segmentation and personalization of contents, it would be of interest to open future lines of research to verify whether university radio stations have adapted to or are on their way to adapting to these trends, in addition to increasing their offer of educational contents. Something that also should be investigated is how these changes in the generation of new, more individualized contents are taking place (if indeed they are taking place), and in what ways audiences are being integrated into this process in terms of how they study, their preferences and their habits of consumption. In short, we must continue once again to observe the development and adaptation of radio as it faces the new challenges that are emerging.
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Espino Narváez, C. & Martín Pena, D. (2012). Las TIC y las radios universitarias: hacia una nueva comunicación. In C. Espino Narváez & D. Martín Pena (Eds.), Las radios universitarias, más allá de la radio. Las TIC como recursos de interacción radiofónica (pp. 21-33). Barcelona: Editorial UOC.
Farkas, B. G. (2006). Secrets of poadcasting. Audio Blogging for the Masses. Berkeley: Peachpit Press.
Faus, A. (1995). La radio española en la encrucijada. Situación: revista de coyuntura económica, 4, 179-194.
Fidalgo, D. (2009). Las radios universitarias en España. Transformación al mundo digital. Telos, 80, 124-137.
Gallego, J. I. (2010). Podcasting. Nuevos modelos de distribución para los contenidos sonoros. Barcelona: UOC Press.
Gutiérrez, M. & Huertas, A. (2003). La programación de las radios generalistas en España. Zer, 8, 117-135.
Hendy, D. (2000). Radio in the global age. Cambridge: Polity Press.
Hernández Prieto, M. (2016). Legislación y pluralidad de actores. LSCA y LGCA en perspectiva comparada. Revista Internacional de Comunicación y Desarrollo, 1(3), 55-70.
Kerlinger, F. N. (1986). Foundations of behavioural research. New York: Holt, Rinehart and Winston.
Krippendorff, K. (1980). Content analysis. An Introduction to its Methodology. Beverly Hills: Sage.
Marta, C. & Segura, A. (2012). Emisoras universitarias españolas en la web 3.0: programación y contenidos. In C. Espino Narváez & D. Martín Pena (Eds.), Las radios universitarias, más allá de la radio. Las TIC como recursos de interacción radiofónica (pp. 103-124). Barcelona: Editorial UOC.
Martí i Martí, J. M. (1990). Modelos de programación radiofónica. Barcelona: Feed-Back Ediciones.
Martí I Martí, J. M., Monclús, B., Gutiérrez, M. & Ribes, X. (2015). La radio, modelo de negocio en transición: estrategias de oferta y de comercialización en el contexto digital Quaderns del CAC, XIII(41), 13-22.
Moreno, E. (2005). Las "radios" y los modelos de programación radiofónica. Comunicación y Sociedad, XVIII(1), 61-111.
Orihuela, J. L. (2002). Los nuevos paradigmas de la comunicación. Retrieved 09/06/2014, from http://www.ecuaderno.com/paradigmas/
Ortega, F., González Ispierto, B. & Pérez Peláez, M. E. (2015). Audiencias en revolución, usos y consumos de las aplicaciones de los medios de comunicación en tabletas y teléfonos inteligentes. Revista Latina de Comunicación Social, 70, 627-651. doi: 10.4185/RLCS-2015-1063
Pagador, I. (2012). La ventana radiada: oyentes y Red en Conexión. In C. Espino Narváez & D. Martín Pena (Eds.), Las radios universitarias, más allá de la radio. Las TIC como recurso de interacción radiofónica (pp. 87-101). Barcelona: Editorial UOC.
Pastor, L. (2012). Prólogo. In C. Espino Narváez & D. Martín Pena (Eds.), Las radios universitarias más allá de la radio. Las TIC como recursos de interacción radiofónica (pp. 87-101). Barcelona: Editorial UOC.
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6. Notes
[1] The website of the Asociación de radios universitarias is: www.asociacionderadiosuinversitarias.es
[2] To extract the data on the number of programs, broadcasting schedules and program length, we reviewed the programming grids and podcasts available on the following websites: (http://www.ondacampus.es/radio_index.php?id_aplic=13; http://www.upv.es/pls/oreg/rtv_web.RadioCarta?p_idioma=c;http://uniradio.ujaen.es/; http://www.ruah.es). For Radio Universidad, we used the programming grid provided directly by the station.
How to cite this article in bibliographies / References
MPM Pérez-Alaejos, M Lavín, M Hernández-Prieto (2016): "Spanish University Radio Stations' Own Content Programming: Ondacampus, UPV Radio, Uniradio Jaén, Radio Universidad and RUAH". Revista Latina de Comunicación Social, 71, pp. 287 to 308.
Article received on 13 January 2016. Accepted on 18 March.


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Monthly Archives: November 2017
Post # 413 Ok, I've been good too long, it's time to venture out of my shell! I been pondering on aerodynamics for awhile. No, I'm not an astronaut, and no, I'm not a pilot, and no, I'm not a … Continue reading
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This Battle is for the Birds
Post # 412 Its WAR!!!!!. And I do mean war right here in my back yard!! As I've explained before I live in the middle of nowhere, practically. I live in a middle Midwestern state, down near the end of … Continue reading
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subset: commoncrawl


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It has already been more than a week since former child actor, Sawyer Sweeten, took his own life. Over the weekend, approximately 200 of the 19-year-old's friends and family gathered to say goodbye to the young man many referred to lovingly as "Bubs."
His twin brother, Sullivan, with whom he starred on Everybody Loves Raymond, served as one of his pallbearers and one can only imagine how painful it was for him to help load that coffin into the hearse trailer (which was attached to a motorcycle in a nod to Sawyer's love for Harley-Davidson) when the service was over.
Almost everyone in attendance opted to wear greens and blues over the traditional black to remember the young man's favorite colors. One family member, his aunt, Ashley Antonissen, told the mourners that Sawyer "really loved cats, like, a lot" to explain why she had chosen to wear a shirt adorned with the image of an adorable feline.
For all intents and purposes, Sawyer sounded like an average teenager but, clearly, he was suffering. Not much has been revealed about the circumstances leading up to his death but we do know that, while visiting family in Texas, he went out onto the front porch and fatally shot himself. His sister (who also co-starred on Everybody Loves Raymond), Madylin Sweeten, wrote on Facebook on Thursday afternoon, "At this time I would like to encourage everyone to reach out to the ones you love. Let them have no doubt of what they mean to you."
At the funeral, Sawyer's siblings took turns explaining how much he had meant to them but his mother's final tribute was heartbreakingly beautiful. Elizabeth Gini, stood before the crowd and wondered how she could "begin to summarize 20 years of loving [her son] with mere words."
She described the joy of learning that she was pregnant which was only magnified six months later when she learned that she was expecting twins. She explained that her "heart was filled with anticipation and love" but that she had to push aside fears of losing him." She said that the feeling of having "borrowed time" nagged her as she watched him grow.
Mrs. Gini touched on the early days when she raised her boys alone and then, later, when she remarried and Sawyer welcomed his younger siblings with hands that "colored, read, played and comforted each new baby sister." She described her son as someone who went out of his way to help others and always left her feeling supported as a mother.
She concluded by saying: "…And tell God, 'Thank you' for me. And tell him how grateful, lucky, and privileged I feel that he chose me to be your mom and I hope I made him proud. And I will help guide those who you left behind until we are called up to be with you. I hold you with my whole entire heart, Mom."
An entire family is mourning this tragic loss which, of course, highlights this important issue once again. According to the American Foundation of Suicide Prevention, suicide is the 10th leading cause of death in this country. Clearly, more needs to be done to raise awareness with a focus on preventing more lives from being lost.
In his memory, Sawyer's family is planning to honor his love of cats by building an outdoor play area at the Mary S. Roberts Pet Adoption Center in Riverside, California.


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African private equity has entered a new phase: less gung-ho than the 'Africa rising' years, but still full of opportunity. Our guide to the region details a marked shift to scale, with larger funds, larger portfolio companies and larger investors – and how not just to find value, but to create it.
Private equity in Africa: Regional guide 2019
Visit our special reports section, where you'll find an extensive library of Private Equity International reports on the key issues affecting the industry.


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The American economy added 162,000 jobs in March, offering some hope that the labor market, after shedding millions of jobs during the recession, had reached a turning point.
But economists sounded a cautious note, pointing out that a sizable portion of the growth came from the government's hiring of 48,000 census workers. There were clear signs, however, that the private sector was slowly gaining strength: over all, it added 123,000 jobs last month.
Recent strength has come from sectors like health care, which added another 27,000 jobs in March. In addition, employers added 40,000 temporary jobs, raising hopes that they might soon begin hiring permanently.
Manufacturing, which has been a rare bright spot, added 17,000 jobs in March, continuing an upward trend fueled by a surge in orders and production.
Government hiring and the stimulus packages have created jobs, but the government needs to do more to bring jobs back to the U.S. The "buy American" provision of the stimulus was defeated by both Democrats and Republicans who are in the pockets of big business, and a lot of our tax dollars went to overseas manufacturing. We need to stop these anti-American activities.
Every other country that had a stimulus program had protectionist provisions in them. It's time we did what's right for America. It's time for stronger tariffs and penalties for companies that ship jobs to China and other places where workers are paid slave wages.


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As Greater Cincinnati's neighborhood self-storage business, Circle Storage offers variety, convenience, and superior customer service. Whether moving, remodeling, or reorganizing, we can meet any of your storage needs. Visit one of our six locations to ask about our array of storage options today!
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Circle Storage can be found at Omni Dr 3226. The following is offered: Warehouse Storage. The entry is present with us since Sep 8, 2010 and was last updated on Nov 14, 2013. In Batavia there are 2 other Warehouse Storage. An overview can be found here.


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Preparation of a thesis proposal/preliminary thesis research. Normally taken by students in the papers year for a Master's degree by papers and thesis.
|Paper title
|Master's Thesis Preparation
|Paper code
|40 points
|Teaching period
|Full Year
|Domestic Tuition Fees (NZD)
|International Tuition Fees (NZD)
- Limited to
- MSc
- Eligibility
- Enrolments for this paper require departmental permission. View more information about departmental permission.
- Contact
- firstname.lastname@example.com
- More information link
View more information on the Department of Physiology's website
- Teaching staff
Course Convener: Associate Professor Kirk L. Hamilton
Students will work with a previously agreed upon supervisor within the Department.
- Paper Structure
- This paper is intended to allow you to plan and organise all of the background aspects
of your MSc research project (for a 2-year MSc degree). In addition you will carry
out pilot or preliminary experiments. Completion of PHSL 495 should place you in a
good position to conduct the majority of your experimental work and dissertation writing
in the second year.
Please note, we encourage students to consider completing a 400-level degree programme instead of the first-year MSc and subsequently complete a 1-year MSc degree.
- Teaching Arrangements
- The paper extends throughout the academic year.
- Textbooks
- Original research articles
- Graduate Attributes Emphasised
- Global perspective, Interdisciplinary perspective, Lifelong learning, Scholarship,
Communication, Critical thinking, Cultural understanding, Ethics, Information literacy,
Research, Self-motivation, Teamwork.
View more information about Otago's graduate attributes.
- Learning Outcomes
- Acquired deep knowledge and understanding of the physiology of a specific area of research
- High intellectual appreciation of the value of research to generating new knowledge, including critical evaluation, interpretation, deductive reasoning and rigour
- Developed oral and written scientific communication skills


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Love is in the air
With a little imagination color this Love is in the air coloring page with the most crazy colors of your choice. It would be so much fun to color a whole bunch of VALENTINE'S DAY coloring pages like this. Welcome to VALENTINE'S DAY coloring pages! Enjoy coloring the Love is in the air coloring page on Hellokids.com!


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The Technical Education and Skills Development Authority (TESDA) has geared Filipino youth for the South East Asian Nations Skills competitions in Singapore and the World Skills in Russia.
First leg was the TESDA Skills competitions themed, "TVET Skills: A Challenge to The World" which opened February 27. The Manila District skill competitions awarding was held March 19 at the Magsaysay Center for Hospitality and Culinary Arts (MIHCA), Manila.
Proclaimed winners were Jemuel Lumbera, Jelwin Blasi, Poala Javier, Lalaine Aperocho, Erickson Buenaflor, John Cydrex Vitug and Ralph Andrei Narvaez.
The annual competitions were among tech-voc graduates and trainees of TESDA's Technical and Vocational Education and Training (TVET) program in Automobile Technology; Electrical Installation; Electronics; Graphic Design Technology;
IT Network Systems Administration; IT Software Solution for Business; Mechanical Engineering Design-CAD; Mechatronics; Welding; Refrigeration and Air conditioning; Web Design;
Beauty Therapy; Fashion Technology; Hair Dressing; Cooking, and Restaurant Servicing.
TESDA Regional Director Conrado Bares, Manila Director Cecilia Amaro and Association of Technical Schools of Manila (ATSMI) Pres. Glenn Mark Blasquez were at the ceremonies.


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ABB launches new DS-ARC1 arc fault detection device (AFDD), with integrated residual current circuit breaker with overcurrent protection, aimed at bridging the gap in circuit protection.
ABB has entered the ongoing arc fault detection debate with the launch of a new "belt and braces" arc fault detection device (AFDD).
Following the passing of new regulations in Germany last year, making it a legal requirement to install AFDDs in the electrical switchboard of certain types of buildings, including kindergartens and homes for the elderly, consideration is now being given as to whether this should be extended to cover all buildings.
Current protection devices installed in most domestic consumer units do not provide complete protection against all types of arc faults.
Residual current devices (RCDs) can only detect earth arc faults, where there is current leakage to ground, whereas miniature circuit breakers (MCBs) can detect parallel arc faults, but only according to their intervention time curves.
Series arc faults, on the other hand, will remain undetected by both MCBs and RCDs. This gap can be closed by installing an AFDD.
In response, the new DS-ARC1 device from ABB offers protection against all arc faults, including series arc faults, which could otherwise go undetected by traditional MCBs and RCDs.
Daniele Pandolfo, ABB's Global Product manager for AFDDs explained: "At ABB, we are dedicated to providing smarter solutions for a building's electrical installation.
Our new AFDD with integrated residual current circuit breaker with overcurrent protection further extends our range of arc fault detection devices, offering added peace of mind when it comes to protecting people, buildings and assets."
Completing the existing S-ARC1 range, DS-ARC1 is a new 1P+N device with integrated RCBO. It is available in 6 kA and 10 kA breaking capacity and integrates with ABB's System pro M compact® range, reducing the risk of fire by providing complete protection against arc faults, over-voltages, overcurrent and earth fault currents.
Other key features include: easy cross-wiring and installation; the option to feed cables or busbars either from the top or bottom for hassle-free installation; a useful LED to troubleshoot network issues, monitor the device's operation and reduce downtime in the event of tripping; and a handy memory recall function.


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Rick Edsall
Dec 9, 2015
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Concrete is one of the strongest, most durable materials used in the construction and building industry. If you're looking for a practical, industrial strength floor, polished concrete flooring systems provide an affordable solution that will hold up to the heaviest traffic.
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By hiring a professional who knows how to polish concrete, floors can be ground down and finished in satin or high-gloss finishes that provide the ultimate no-wax surface. Polishing concrete floors requires a lot of knowledge, skill and experience, so it's important to hire a professional concrete polishing contractor to do the work. The process requires the use of special heavy-duty polishing machines that are equipped with diamond-impregnated disks. These disks gradually grind down the concrete floor surface to the desired degree of shine and smoothness. Penetrating hardeners which form a hard, crystalline structure are often applied after the first grinding process to strengthen the concrete and add protection from liquids and penetrating stains. Careful attention must be given to floor preparation, especially if existing concrete floors are old or damaged. Polishing without proper preparation may save you money up front, but your floors will be less that perfect and may need to be redone within a short time.
If structurally sound, both old and new concrete floors can be polished. For new floors, no special mix is required, but floors should be allowed to properly cure for at least 30 days before polishing begins. Existing floors typically require some surface preparation before polishing begins. All dirt, grime, grease, imperfections and existing sealers must be removed first. If floors are uneven, damaged, extremely porous, or need extensive repairs, special preparation, techniques, and expertise on how to polish concrete may be necessary for best results.
Concrete polishing offers many benefits and provides a beautiful, long-lasting finish. It's a great way to create durable, stylish floors for any commercial space.
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More than 300 new students and their families moved into the residence halls at Whitman College on Thursday, Aug. 23, 2018. The campus became a hive of activity on Wednesday as first-year students returned from the annual Scrambles trips and the local SCORE service trips.
Returning second-year students move into the newly constructed Stanton Hall on Friday. Among those assisting with moving in students and welcoming families were Interim Vice President for Student Affairs and Dean of Students Kazi Joshua and President Kathleen Murray.
"We are thrilled to welcome the Class of 2022 to campus as they embark on their college journey," Murray said. "This is the start of four years unlike any other in a young person's life, four years full of opportunities for learning and personal development, and we are very excited to have them join the Whitman community."
The college will mark the start of the new academic year with Convocation at 4:30 p.m. Friday, Aug. 24, 2018, in Cordiner Hall. This year's speech is by Associate Professor Susanne Beechey of the Politics Department. Classes resume on Tuesday, Aug. 28.


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|Forlì and Cesena Travel Guide
|Forlì: A peaceful and quiet town in the heart of Romagna. A lively cultural and trade centre with high quality of life.Cesena: a lively town where traditions and important historical events blend with the ability to look to the future with renewed energy.
|Related images (26)
A brief history.
Places of culture.
The Via Emilia crosses this lively town with a beautiful centre restored to its ancient splendour, which is the meeting place for tourists and local people.
A brief history.
Texts and images are published with courtesy of Province of Forlì-Cesena Tourist Office www.turismo-fc.it
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|Bagno di Romagna
|Well being centers (7)
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|Outlet and firm shops (24)
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- Top row from left to right: S-Factor Diamond Dreams Shampoo + Conditioner, S-Factor Vivacious Hairspray, S-Factor Silky Smooth Moisture Serum, Sebastian Drench Shampoo, Wella Blondor Lightening Powder.
- Bottom row from left to right: Nioxin Volumizing Reflectives Bodifying Foam, Nioxin Volumizing Reflectives Spray Gel, Sebastian Trilliant, Sebastian Whipped Creme x 2, Rusk Volumize Designer Collection (includes W8less Plus Hairspray, Shining Sheen and Movement Mist, and Thick Body and Texture Amplifier), Big Sexy Hair Spray & Play Harder, Bed Head Maxxed-Out Hairspray, Bed Head Control Freak Serum, Bed Head Dumb Blonde Reconstructor, Bed Head Creative Genius.
- The three little ones are: Bed Head Hard To Get Texturizing Paste, Sebastian Microweb Fiber, and Nioxin Defining Pomade.
See anything you like, or want me to review? OR do you see something you have and love/hate? You should totally be awesome and leave a comment telling me all about it. ;-) Also, I think it's time for me and Recessionista to do another tandem review, what do you think?! Those are always so fun, hehe. Well, I hope you all had a good Monday, and if you didn't - there's always tomorrow! ♥ Take care of your hair!


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11 Best Keyboard Shortcuts for Outlook 2007
If you're like me, Microsoft Office Outlook is pretty much your home-base while you're at work. Outlook 2007 is the latest version of this ubiquitous email client, and it is much improved over its predecessors. I use it for everything from the normal correspondence, to task-lists and appointments, to even a little bit of data storing and information management.
With so many things going on in Outlook at any given time, those in the "Getting Things Done" (GTD) ultra-high-productivity camp probably think that keeping everything straight and minimizing mouse navigation is a nightmare in Outlook. Well, it doesn't have to be!
With these handy keyboard shortcuts for Outlook 2007, you can get things done more efficiently, and get the feel of an email ninja as you whip from page to page, message to calendar item, to task, and much more!
Best Outlook 2007 Keyboad Shortcut: Single Key Reading
First up, the arguably best of the best Outlook shortcut: Single Key Reading. This option lets you scroll through an email message, switch to the next message, and repeat by only hitting the spacebar. It's the quickest simplest keyboard shortcut that I can think of for Outlook, but it's tremendously useful for those who just want to quickly skim a few messages in their inbox. Also, you can do the same thing going backwards by holding shift and then pressing the spacebar.
Here's how you can enable/disable this feature. On the Tools menu, click Options.
Click the Other tab and then Reading Pane…
Now check to enable or uncheck to disable Single Key Reading:
That's all there is to it! Now go give it a try, all you GTD'ers.
Increase Your Productivity with These 10 Easy Keyboard Shortcuts for Outlook 2007
Here are ten more useful keyboard shortcuts that should satiate your productivity appetite when working with Outlook 2007:
- CTRL + R – Reply to a message
- CTRL + F – Forward a message
- CTRL + PERIOD – Switch to the next message (works only if you have a message open)
- CTRL + COMMA – Switch to previous message (works only if you have a message open)
- CTRL + SHIFT + K – Create a task
- CTRL + SHIFT + A – Create an appointment
- CTRL + SHIFT + Q – Create a meeting request
- F11 – Enter a name in the Search Address Books box
- F3 or CTRL + E – Go to the Search box
- F6 or CTRL + SHIFT + TAB – Move between the Navigation Pane, the main Outlook window, the Reading Pane, and the To-Do Bar
That's quite a few to remember, and this should get you to a good start. To find the complete list of Outlook keyboard shortcuts go to the official Outlook 2007 product page. Here you can find a keyboard shortcut for anything you want to do faster. The shortcut topics range from Basic Navigation, Search, and Email, to Color Categories, Macros, and different types of Views. So have fun and enjoy!
And if you're really looking to master Outlook 2007, then make sure to check out our comprehensive Outlook 2007 Training which offers over 11 hours of hands on instruction.