Audio is an effective but often overlooked component of World Wide Web delivery. Of the nearly twenty billion web pages estimated to exist, statistically few use sound. Those few using sound often use it poorly and with hardly any regard to theoretical and rhetorical issues. This thesis is an examination of the uses of audio on the World Wide Web, specifically focusing on how that use could be informed by current and historical rhetorical theory. A theoretical methodology is applied to suggest the concepts and disciplines required to make online audio more meaningful and useful. The thesis argues for the connection between the Web and the modern orator, its embodiment, its place in sound reproduction technology, and awareness of the limitations placed on it by design and convention.

Made available in DSpace on 2016-04-26T18:18:03Z (GMT). No. of bitstreams: 1 Johan Cavalcanti van Haandel.pdf: 1998712 bytes, checksum: 208cad61d2ab422d9484c67e1d70027c (MD5) Previous issue date: 2009-05-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the last years the transmission of audio is being transformed for the new technologies of the digital support, which had generated new processes and products, among them is the sonorous webcasting. This work investigates the creation of content of the four existing formats of sonorous webcasting: web radio, playlist, on demand audio and the audio portal, which comprises the corpus of the research. As methodological strategy, firstly, examples of the sonorous webcasting formats and of others transmission processes for the digital support had been observed, to distinguish them; the second step was to observe the assembly of audio of the sonorous webcasting formats and the third step was to investigate its graphical interfaces. With basis in the methodological strategy, the research presents itself in three stages: in the first one, it was outlined a mapping of the existing digital transmissions of audio and a classification of sonorous webcasting formats, in which the main authors of reference are Trigo-De-Souza and Kischinhevsky, among others; in the second stage, the construction of the transmission of sonorous webcasting through audio assembly is investigated with data based on Ferraretto, Cyro César, Barbosa Filho and McLeish, among others; and in third stage, it is investigated the construction of the transmission of sonorous webcasting through the graphical interface, where the hypermedia interfaces study referring data are based on Beiguelman, Manovich and Johnson. It is concluded that sonorous webcasting consists of a transmission process of audio that does not have to be confounded with radio and it sets up a new type of content reading, mediated by texts and images, implying, therefore, in studies of audio assembly and graphical interface / Nos últimos anos a transmissão de áudio está sendo transformada pelas novas tecnologias do suporte digital, as quais geraram novos processos e produtos, entre eles o webcasting sonoro. A presente pesquisa investiga a criação de conteúdo dos quatro formatos existentes do webcasting sonoro: a web rádio, a playlist, o áudio on demand e o portal de áudio, os quais compõem o corpus da pesquisa. Como estratégia metodológica, primeiro foram observados exemplos dos formatos do webcasting sonoro e de outros processos de transmissão pelo suporte digital, para particularizá-los; o segundo passo foi observar a montagem de áudio dos formatos do webcasting sonoro e o terceiro passo foi investigar as suas interfaces gráficas. Baseada na estratégia metodológica, a pesquisa se apresenta em três etapas: na primeira, há um mapeamento das transmissões digitais de áudio existentes e uma classificação dos formatos do webcasting sonoro, em que os principais autores de referência são Trigo-De-Souza e Kischinhevsky, entre outros; na segunda, é investigada a construção da transmissão do webcasting sonoro através da montagem de áudio, com dados baseados em Ferraretto, Cyro César, Barbosa Filho e McLeish, entre outros; e na terceira, é investigada a construção da transmissão do webcasting sonoro através da interface gráfica, em que os dados referentes ao estudo de interfaces da hipermídia são baseados em Beiguelman, Manovich e Johnson. Conclui-se que o webcasting sonoro consiste em um processo de transmissão de áudio que não deve ser confundido com rádio e que institui um novo tipo de leitura de conteúdo, mediado por textos e imagens, implicando, por isso, em estudos de montagem sonora e de interface gráfica