New players in the field: sports web radio in Brazil

This objective of this master's thesis is to investigate the business models adopted by two sports web radio exclusively dedicated to football clubs from São Paulo, Brazil. The emergence of new and cheaper production and delivery technologies allows amateurs and enthusiasts to create, repurpose and distribute content that attracts increasing attention from the audience. As a result, small media companies start facing threats and limitations posed by longestablished firms and regulatory bodies that seek to put a lid on their participation. The operations of the case study companies selected for this thesis are addressed through a framework built around the participatory culture theory advanced by Henry Jenkins, studies focused on the economics of Internet radio and researches focused on football fandom. The analysis of the managerial practices of Rádio São Paulo Digital and Web Rádio Coringão are performed with the use of the Business Model Canvas, a hermeneutical tool developed by Alexander Osterwalder and Yves Pigneur. Thus, this research aims at developing a better understanding of how sports web radio are changing the dynamics and interactions between football fandom and sports coverage in Brazil, and how these new media firms apply different business models, create revenue streams and provide innovative value propositions to specific customer segments. The results of this qualitative research indicates that while new platforms like Internet radio offer opportunities for greater user participation and enable the flow of alternative content, they still fall behind traditional media companies in terms of developing stronger business models that provide them with more stable revenue streams and better conditions to take advantage of their various partners, two essential conditions for achieving self-sustainability

Radio evolution: conference proceedings

Fundação para a Ciência e a Tecnologia (FCT

CIRCUS 2001 Conference Proceedings: New Synergies in Digital Creativity. Conference for Content Integrated Research in Creative User Systems

CIRCUS (Content Integrated Research For Creative User Systems) was an ESPRIT Working Group, originally set up in 1988 as one of the very last additional actions in Framework 4, under DG III. Its purpose was to develop models for collaborative work between artists (the term here used in its widest sense) and technologists (ditto) and to promote these models by whatever means available. While some have criticised this aim as implicitly promoting a 1950s agenda of building bridges across C.P. Snow’s ‘two cultures’, there is no such intention here, rather that technology, particularly computer and communications technology (ICT) , is irresistibly intruding into what is normally thought of as creative work (and so practised by artists) and that, like any new technique, this has to be understood by its potential practitioners in terms of its true strengths and limitations. The specific problem that computer technology poses is that it is in principle malleable to such an extent that the limitations on its form and functionality are still barely understood, yet the people charged with the task of making the technology available have little or no understanding of the needs of creative users. What the artist usually sees is a tool which is in principle capable of being harnessed to creative ends but in practice resists being so applied. Quite often the tool is shaped more by blind economic forces than by a clear response to a specific, here creative, need. CIRCUS came into existence as a forum in which both artists and technologists could work out how best to play to the strengths of ICT and how to apply both creative and technological solutions (possibly both together) to its limitations. In particular the then new Framework V programme invited projects in such areas as new media but required them to be addressed in essentially the same old way, by technologists working towards commercialisation. The only obvious exception to this was in the area of cultural heritage which, incidentally, CIRCUS was also capable of reviewing. The scope for effective participation by artists was thus limited by an essentially technological agenda although everybody at the time, the participants of CIRCUS and programme managers in DG III, believed that we could do far better than this, and to develop new models of working which could inform the nature of Framework VI or even the later stages of F V. It is fair to say that everyone involved was excited by the idea of doing something quite new (and iconoclastic), not least the expanding of the expertise base on which future Frameworks could draw. It is also fair to say that, while not ultimately wholly original, the CIRCUS agenda was an ambitious one and the WG has had a chequered history peppered with misunderstandings perpetrated by the very people who might have thought would give the WG their strongest support. The CIRCUS idea has been aired before, specifically at the University of Illinois at Urbana- Champaign, the MIT Media Lab (and its imitators), and a recent IEEE forum. However a near total change in participation, fuelled by natural migration and a switch to DG XIII, has resulted in the CIRCUS agenda being restarted on at least one occasion and a fairly regular questioning of the principles on whose elucidation we are engaged. While this is no bad thing in principle, in practice we haven’t learned anything new from these periodic bouts of self-examination other than a reinforcement of the values our goals. On the other hand it is evident that we have made progress and have moved on a long way from where we started. A recent experience of a workshop whose agenda appeared to be to form another version of CIRCUS, this time with an overwhelmingly technological (DG III) membership, demonstrates they have a CIRCUS-worth of work to do before they will have reached where we are now. (Foreword of CIRCUS for Beginners

Digital transformation, business models and the postal industry

For many decades, the postal industry offered postal services and in parallel, had a monopoly over the national postal markets. Recently, the postal industry endured a phase where their national postal markets were subjected to liberalisation by the respective nations. This was due to various reasons such as inefficiencies of the postal services, ambiguous monopoly legislations, mounting pressure from competitors, and changing nature of customer demands. The liberalisation of the European Union postal markets is an example of a liberalisation that was based on the unique requirement of harmonising the postal services across the whole European Union. Other nations outside the European Union liberalised their postal markets either completely or partially based on their own unique requirements. After the liberalisation phase, the postal industry faced a significant challenge from digital services. Digital services were responsible for the constant declines in profitable letter service volumes. In response, the postal industry started developing digital postal services. However, therein lies the problem. The postal industry is unaware of the steps needed to develop digital postal services and has not had a great deal of financial success in this area. I address this problem by referring to âbusiness models. Business models have been a recent area of interest in management literature and, as such, offer an innovative perspective on the postal industry development activities in digital postal services. The main goal of my dissertation is to provide recommendations for the postal industrys development of digital postal services via business models. The four sub-goals of the dissertation are as follows: determine the business model framework, determine the different types of business models for digital postal services using the business model framework, determine the antecedents to these business models, and determine the performance effects of these business models on the postal industry. The targeted research methodology involves multiple exploratory case studies and explanatory survey studies on the digital service activities of the postal operators. I initially developed a business model framework from the literature review. The business model framework has four components that help identify business models within firms: value proposition, resources, network and finance. Subsequently, I conducted case studies on the digital postal services activities of six postal operators, in order to investigate the different types of business models for digital postal services. I identified four types of business models for digital postal services based on my developed business model framework: traditional add-ons, digital add-ons, hybrid ecosystem and digital ecosystem. I then conducted survey studies with postal operators in a number of countries, in order to investigate the antecedents of the business models described above, as well as the performance effects of these business models on the postal industry. The findings suggest that dynamic capabilities have a statistically significant impact on the business models that are in synergy with the postal operators physical postal services. In addition, the business models that are in synergy with the postal operators physical postal services have a statistically significant impact on firm performance