Consumo incidental de noticias en un contexto de redes sociales y múltiples pantallas

Journal article

Abstract:

Resumen: El concepto de noticias incidentales como dinámica de consumo informativo, refleja el cambio que ha vivido el sistema de medios en las últimas décadas, producto de la masificación de internet, las redes sociales y los aparatos móviles, creando usuarios cada vez más activos y conectados. A pesar de su contingencia, no se trata de un concepto nuevo, sino que desde fines del siglo XX la noción de “sorpresa del hallazgo” informativo, ya había comenzado a ser trabajada por diferentes teóricos. Como forma de establecer la incidencia de este consumo en la relación de las audiencias con los contenidos informativos y sus efectos en el proceso de producción medial, este artículo consiste en una revisión bibliográfica descriptiva del trabajo que se ha hecho en torno a las noticias incidentales y el consumo en un contexto de redes sociales.

Francisco J. Fernández Medina, Valentina Proust, Enrique Núñez-Mussa.

Periodismo, Periodismo Digital, Interactividad y Medios digitales

Análisis al tercer debate presidencial en Estados Unidos El evento se llevará a cabo el próximo 19 de octubre.

Publicado en CNN Chile el 16/10/2016

El 19 de octubre se realizará el tercer debate presidencial entre Hillary Clinton y Donald Trump, en la Universidad de Nevada en Las Vegas. Y la polémica ya está instalada. El candidato republicano desafío a su contendora a hacerse un examen de drogas antes del foro.

En entrevista con CNN Chile el Profesor de la Facultad de Comunicaciones de la Universidad Católica, Enrique Núñez,  realizó un análsis sobre los puntos claves y dónde estará el foco en este nuevo y ultimo debate entre los candidatos a la presidencia de Estados Unidos.

Núñez indicó que “estamos en un nivel de matonaje político. Esta elección ha sido la elección con menos logos, con menos lógica y partió como una elección desde el pathos muy desde la emoción, por parte del discurso de Trump, pero hoy es la elección del Ethos, esta es la elección de la ética. Finalmente todos estos debates, lo que están haciendo y roda la cobertura que se está haciendo, es poner en juicio la ética de los candidatos”

Revisa el análisis completo en el video adjunto.

While my keyboard gently weeps

A replication of Rolling Stone Magazine boss Jann Wenner’s San Francisco office at the Rock and Roll Hall of Fame in Cleveland, Ohio.

The exhibition on the 50 years of Rolling Stone Magazine at the Rock and Roll Hall of Fame is a sign of how journalism can build identity and a strong relationship with its readers as music stars do with their audience.

Text and photos by Enrique Núñez Mussa, Chile.

(Originally published on Global Spotlight Vol. 10, Issue III, 2017

The sun trespasses the buildings of San Francisco and pours through the window. The hands hitting the keys receive the warmth of the sun’s rays. It is a regular day at the office, but a regular day in this office is like a party anywhere else or at least that is what they wants us to believe.

This office will become a museum exhibition 50 years later, but Jann, the man with messy hair, jeans, and boots who is writing inside those rays, doesn’t know it yet. He might intuit it, he is aspiring big. The letter he is writing is directed to Mick Jagger, he has already received one from the frontman of the Rolling Stones that reads: “Dear Jann: In return for my consent to allow you to register the name Rolling Stone what do you offer as far as cover stories, special small ad rates and summer clothes coverage”.

Selfie at the exhibition.

Jann Wenner founded the magazine in 1967 and was defined by him as: “Rolling Stone is not just about music, but also about the things and attitudes that the music embraces. We’ve been working quite hard on it and we hope you can dig it. To describe it any further would be difficult without sounding like bullshit, and bullshit is like gathering moss”. That definition and the epistolary interactions with the voice behind “Paint it Black” and “Satisfaction” are part of the exhibition on the 50 years of Rolling Stone Magazine at the Rock and Roll Hall of Fame.

The exhibit that recreates the first office also shows documents as the handwritten messages from Gonzo pioneer and journalist Hunter S. Thompson, a collection of the most memorable magazine covers, pictures from the first days, pieces of edited articles, the notes on the interview Wenner did with president Barack Obama and objects such as the recorder used by the now-film director Cameron Crowe, who presented the golden age of the magazine in his movie Almost Famous.

Cameron’s Crowe recorder exhibited at the Rock and Roll Hall of Fame.

The magazine was able to turn a typing machine into a rock and roll object as an electric guitar. It made journalism something as cool as The Beatles, The Sex Pistols and Jimi Hendrix, broadening narrative structures. Writers and photographers were able to develop their own voices, trying different registers. They could attempt diverse repertories and styles, bringing quality from an outsider’s perspective as the political photos of Annie Leibowitz.

After going through the halls of the Rock and Roll Hall of Fame looking at the different ages of popular music, I think at one level the reason to make worthy to exhibit a t-shirt or an old record is from the more visceral perspective of the emotions raised from that song, the same way as an article that surprises you.

There is also a response to their current societies through an embrace or a rebellious response to previous generations, Rolling Stone Magazine did break with traditional journalism and several times honored the best in good literature. That creates a point of view and a style that goes beyond an individual artist or band, it defines an age, as a collection of individual articles mixed with photography and design. It ended up defining a brand and an attitude toward society, creating an identity readers could relate to engage with the world.

Jann Wenner’s notes on his interview to Barack Obama.

The final scene of the movie The Power of Rock, directed by Jonathan Demme and presented in the Hall museum, ends with Tom Petty, Steve Winwood, Jeff Lynne, and Prince playing “While my guitar gently weeps”, written by George Harrison, is heart-beating and breaking when Prince plays a solo in which he moves his fingers as fast over the strings as you could imagine the fingers of Jann Wenner over the typewriter. The composer from Minneapolis closes his eyes and lets the chords flow as the music cries without lyric, it weeps, it is real and relevant and emotional, and it becomes history, as a letter to Mick Jagger that would help define the future of journalism.