Search results

This chapter presents an overview of the Brazilian regional media groups that are characterized by cross-ownership of media outlets in the four main reference platforms for news coverage: daily print, radio, broadcast television, and Web.

The research uses institutional documents to explore the history and operating mode of the groups that own the 50 best-selling newspapers in the country. The theoretical approach is guided by the notion of “spatialization” applied to business communication by Vincent Mosco, and by the concepts of “region,” “regionality,” and “regionalization” based upon authors aligned with the critical thinking approach in the field of geography.

The study identifies the multiple geographical scales at which these groups operate, as well as their dominant business models and the sources of their owners’ capital. Based on this analysis, it argues that the variables which are applied to the large-circulation media at a national level cannot be automatically transferred to the regional and local levels.

The study of regional media reveals a landscape that has not received adequate attention from communications researchers worldwide. It also points to problems which deserve more investigation and elaboration. This represents a new challenge for media studies, for the political economy of communication, and for the nascent field of geography of communication.

This chapter provides a distinctive and nuanced approach to the Brazilian media system. It can inspire other studies on regional communication which take into account the specificities of their geographic scales.

This study aims to explore the relationship between folk religious place-making and the development of urban public spaces and summarize its influence on community network construction and daily behavior to discover the authentic practices and role of folk faith culture in social space.

Taking Macau's Shi Gandang Temple and its belief culture as an example, on-site research, historical evidence and interviews were used to elaborate and analyze the processes of place-making, social functions, management mechanisms and folk culture to establish a new perception of folk religious place-making in contemporary urban spaces.

The article argues that the culture of folk beliefs profoundly influences urban spaces and the social management system of Macau and has a positive significance in building the local community and geopolitical relations. In addition, it suggests that the participation of folk religious places in local practices is important as key nodes and emotional hubs of local networks, reconciling conflicts between communities of different backgrounds and driving urban spaces toward diversity while forming a positive interaction and friendly cooperation between regional development and self-contained management mechanisms, governance models and cultural orientations.

This study takes an architectural and anthropological perspective of the impact of faith on urban spaces and local governance, using the Shi Gandang Temple in Macau as an example, to complement related studies.

The purpose of this paper is to identify, operationalise, and test a knowledge management model in the context of electroacoustic and mixed music preservation. This operationalisation intends to provide an interdisciplinary framework for the specification of meaningful usability for idiosyncratic technological artefacts build up during the creative process of these works.

The design of the questionnaire was based on semi‐structured interviews with seven composers. The resulting questionnaire was used for an online survey targeting composers registered at electroacoustic and mixed music online associations. Data were collected from 33 composers.

This article demonstrates the relevance of Boisot's knowledge management model in order to categorize the knowledge involved during the creative process of electroacoustic and mixed music with spatialisation.

In terms of Boisot's model operationalisation, the authors identified limitations with regards to composers' ability to discriminate between different levels of abstraction and diffusion. Since multiple agents, both human and non‐human, are involved in the creative process of electroacoustic and mixed music, further studies should address their interaction throughout the creative process.

Based on the findings of the survey, the authors propose the concept of significant knowledge as an extension of significant properties in order to provide a meaningful usability of digital objects. Since similar technologies are used in theatre, dance, and fine arts, the authors expect this research to benefit the artistic community at large in terms of preservation.

Reviews of Ground Zero, New York on TripAdvisor show a diversity of interpretations. Amidst the cacophony of voices, there is communication and a semblance of community. This sense of community—despite the lack of strong coherent and consistent views, a plethora of diverse topics, and heterogeneous perspectives—is brought together and built on chronotopic (time–space) structures. Drawing inspiration from Bakhtin’s chronotopes, this chapter shows how spatial and temporal structures are negotiated. The negotiation processes demonstrate that tourists now have a global platform to communicate and are able to stake claims of legitimacy to interpreting foreign heritage. Thus tourists are layering new meanings on historical sites and are contributing to the rewriting of local histories, all as part of glocalization.

Building on Kavaratzis and Hatch’s (2013) identity-based place branding model, this paper aims to explore the spatial and social dimensions of the place brand identity formation process and how residents used social media to participate in the process of shaping a city brand during a crisis.

Adopting an interpretive and social constructionist approach, this study analyses a sample of 187 short videos created and posted by Wuhan residents on the social media app Douyin during a COVID-19 lockdown. The authors read the videos as cultural texts and analysed underlying social processes in the construction of place brand identity by residents.

This study develops an adapted conceptual model of place identity formation unfolding in four sub-processes: expressing, impressing, mirroring and reflecting, and each sub-process subsumes two dimensions: the social and the spatial. In addition, this study empirically describes how residents participated in place branding processes in two ways, namely, their construction of city brand identity via communicative practice and their exertion of changes to a city brand during a crisis. The model reveals how place brands emerge and can be transformed.

This paper amplifies Kavaratzis and Hatch's (2013) identity-based place branding model by testing it in an empirical study and highlighting the social and spatial dimensions. This paper contributes to research about participatory place branding by exploring how residents participated in the place branding process. This study analysed short videos on social media, a new communication format, rather than textual narratives dominating past studies.

Extending documentation and analysis frameworks for acousmatic music to performance/interpretation, from an information science point of view, will benefit the transmission and preservation of a repertoire with an idiosyncratic relation to performance and technology. The purpose of this paper is to present the outcome of a qualitative research aiming at providing a conceptual model theorizing the intricate relationships between the multiple dimensions of acousmatic music interpretation.

The methodology relies on the grounded theory. A total of 12 Interviews were conducted over a period of three years in France, Québec and Belgium, grounded in theoretical sampling.

The analysis outcome describes eight dimensions in acousmatic performance, namely, musical, technical, anthropological, psychological, social, cultural, linguistic and ontological. Discourse profiles are provided in relation to each participant. Theory development led to the distinction between documentation of interpretation as an expertise and as a profession.

Data collection is limited to French-speaking experts, for historical and methodological reasons.

The model stemming from the analysis provides a framework for documentation which will benefit practitioners and organizations dedicated to the dissemination of acousmatic music. The model also provides this community with a tool for characterizing expert discourses about acousmatic performance and identifying content areas to further investigate. From a research point of view, the theorization leads to the specification of new directions and the identification of relevant epistemological frameworks.

This research brings a new vision of acousmatic interpretation, extending the literature on this repertoire’s performance with a more holistic perspective.

Hybrid structures are emerging in the leisure sector that are neither museums nor amusement parks, but which borrow elements from both. Dedicated to the exploration of a cultural theme (cultural heritage, ecosystems and historic events), they use experiential marketing levers to entertain large publics while at the same time pursuing the cultural integrity of heritage. This study aims to examine how visitors perceive and experience the offer proposed by these hybrid museums and how they manage the dual (cognitive and sensorial) stimulation. The authors then consider the extent to which the experiential levers used to dramatize these venues help to deliver a unique experience.

The authors developed a qualitative approach based on a case study methodology. The authors first selected the case studies (the Cité du Vin – a wine museum in Bordeaux, France and the Cité de l’Océan – a museum dedicated to the ocean at Biarritz, France) and analysed them from two angles. The authors began by examining the managerial perspective from secondary data to identify the experiential levers used by providers and the promises made to visitors in terms of experience. The authors then analysed the visitors’ experiences through a netnographic approach. The data were drawn from visitor reviews of their experience as posted on Tripadvisor.

The authors show that hybrid museums manage to provide visitors with edutainment value, but the promise made by managers for a memorable experience by way of an immersive journey is not kept. The authors demonstrate that a hybrid museum environment contains certain elements that prevent visitors from enjoying immersion. More specifically, the authors note issues regarding the way the theme is expressed through spectacular buildings, the way visitors are free to choose their visit and the scenarization presented through digital devices. The authors also show that hybrid museums are perceived largely as traditional museums and so are subject to culturally-established preconceptions.

This contribution concerns a topic that has drawn little attention in the marketing literature, namely, hybrid museums. The authors adopted a qualitative methodology from the perspective of both the provider and the consumer to gain a global understanding of the hybrid museum. The data were analysed using a manual thematic analysis, completed with a QDAS to support the findings.