About Kimi Kärki

PhD, Docent, Research Fellow: International Institute for Popular Culture (IIPC, http://iipc.utu.fi/) & Cultural History, University of Turku, Finland

IIPC Debate 21 April

IIPC Debate 111, Wed 21 April, 5:15 pm (online, zoom-info below)

Dependent, distracted, bored: Affective formations in networked media
Professor Susanna Paasonen (University of Turku)

According to a dominant narrative repeated in journalistic and academic accounts for more than a decade, we are addicted to the digital devices, apps, and sites designed to distract us, which drive us to boredom and harm our capacities to focus, relate, remember, and be. Focusing on three affective formations — dependence, distraction, and boredom — as key to understanding both the landscape of contemporary networked media and the concerns connected to it, this talk challenges the dominant narrative and argues for the centrality of accounting for complexity and ambiguity instead. Dependence and agency, distraction and attention, boredom and excitement can be seen as dynamics that enmesh, oscillate, enable, and depend on one another — and, in some instances, cannot be told apart.

The debate is based on the book, Dependent, Distracted, Bored, out on April 20 with MIT Press. https://mitpress.mit.edu/books/dependent-distracted-bored

Susanna Paasonen is a Finnish feminist scholar. She is a Professor of Media Studies at the University of Turku, and was a visiting scholar at MIT in 2016. She gained her PhD from the University of Turku in 2002; her dissertation was on gender and the popularization of the internet, which was later published through Peter Lang. After holding positions at the universities of Tampere, Jyväskylä and Helsinki, Paasonen was appointed Professor of Media Studies at the University of Turku on 1 August 2011, and publishes on internet research, media theory, sexuality, pornography and affect.

Topic: IIPC Debate
Time: Apr 21, 2021 05:15 PM Helsinki
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IIPC Debate 24.3.

IIPC Debate 110, ke 24.3. klo 16:15 (online, Zoom-tiedot tapahtumatiedotteen lopussa)
Leevi & the Leavingsin pitkä kulttuurihistoria
Dosentti Janne Mäkelä (Vapaa tutkija / Taideyliopisto)

Leevi & the Leavings oli vuosituhannen vaihteen tunnetuimpia musiikkinimiä Suomessa. Yhtyeen suosio oli poikkeuksellista, sillä kokoonpano ei toiminta-aikanaan 1978–2003 esiintynyt keikkalavoilla ja loppuvaiheessa myös sen johtaja Gösta Sundqvist vältteli antamasta haastatteluja medialle. Tässä luennossa menestystarinaa valotetaan musiikin tekemisen, jakamisen ja kokemisen näkökulmista ja väitetään, että tragikoomisista kappaleistaan tunnettu yhtye oli “kulttuurihistoriallinen projekti”, joka oli sysätty liikkeelle vuosikymmeniä aiemmin ja jonka jäljet näkyvät selkeänä vielä 2020-luvullakin.

FT, dosentti Janne Mäkelä toimii vapaana kirjoittajana ja Taideyliopiston Sibelius-Akatemian vierailevana tutkijana. Hän on Turun yliopiston populaarikulttuurin historian dosentti. Hänen julkaisujaan ovat muun muassa John Lennon Imagined: Cultural History of a Rock Star (2004), Kansainvälisen populaarimusiikin historiaa (2011, e-versio Pophistoria: kuinka musiikki muutti maailman) ja Nubbenin levyt: taiteilija Lars-Gunnar Nordström jazzkeräilijänä (2019). Parhaillaan Mäkelä kirjoittaa Pop & Jazz Konservatorion historiaa.

Zoom meeting

Topic: IIPC Debate
Time: Mar 24, 2021 04:00 PM Helsinki

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Music Research, Now! Fri the 29th January (online)

Music Research, Now! will be arranged the 10th time already. Part of the day will be conducted in English.

Info (in Finnish): https://www.utu.fi/fi/ajankohtaista/mediatiedote/musiikintutkimus-nyt-seminaari-tuo-turkulaiset-musiikintutkijat?fbclid=IwAR2gnCqQ9hpz5lrFOjr9ndmzbn93QY-vckV8C9tIFhXO_UbfjaHsRsPGKKc

Programme (in English): https://m.facebook.com/permalink.php?story_fbid=3987747317954682&id=191364224259696

IIPC Debate 8 Dec

IIPC debate: Tuesday 8.12., 16:15
Female Metal Vocal Expression. Jinjer: Progressive Metal and Alternative Femininity
Lori Burns, University of Ottawa

Online:

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Lori Burns is Professor and Director of the School of Music at the University of Ottawa. Her interdisciplinary research (funded by the Social Sciences and Humanities Council of Canada) merges cultural theory and musical analysis to explore representations of gender in the lyrical, musical and visual texts of popular music. She has published articles in edited collections published by Ashgate, Bloomsbury, Cambridge, Garland, Oxford, Routledge, and the University of Michigan Press, as well as in leading journals (Popular Music, Popular Music and Society, The Journal for Music, Sound, and Moving Image, Studies in Music, Music Theory Spectrum, Music Theory Online and The Journal for Music Theory). Her book on popular music, Disruptive Divas: Critical and Analytical Essays on Feminism, Identity, and Popular Music (Routledge Press, 2002) won the Pauline Alderman Award from the International Alliance for Women in Music (2005). She was a founding co-editor of the Tracking Pop Series of the University of Michigan Press and is now serving as co-editor of the Ashgate Popular and Folk Music Series. She is also Associate Editor of the journal Music Theory Spectrum.

Abstract:

In the context of female performance in heavy metal bands—globally at the level of 3% (Berkers & Schaap 2018, 103-104)—my recent work examines the contributions of female vocalists to the metal subgenres. Using case studies, I realize two research objectives: 1) to analyze multimodal performance expression of female vocalists in metal music; and 2) to complicate the conventional understanding of extreme gender subjectivities (hypermasculinity and hyperfemininity) in metal subgenres. Heavy metal scholarship affirms the genre to be dominated by male performers (Walser 1993; Weinstein 2000) and points to the preponderance of patriarchal values and hypermasculinity, with the performance content contributing to an aesthetic production of misogyny, power, and intensity (Barron 2007; Kummer 2016; Overell 2013, 2014; Rafalovich 2006; Walser 1993; Weinstein 1991, 2009). The notion of heavy metal as a hegemonic discourse exhibiting “fantasies of masculine virtuosity and control” (Walser 1993, 108-109) has been queried by recent scholars who reveal metal to support a range of gendered and sexualized subjectivities (Clifford-Napoleone 2015; Kahn-Harris 2007). I examine how extreme vocalists navigate the hypermasculine discourse of death metal to express an alternative gendered subjectivity. Recognizing the dearth of music analysis for extreme vocal expression (Smialek 2015), and a recent appeal for scholars to “ground a constructed perspective of masculinity from examples in heavy metal itself” (Scott 2016, 122), this study analyzes the work of a female extreme metal vocalist within the subgenre of progressive metal. I adopt a rigorous analytic model for words, music, and images and illustrate how the expressive strategies of Tatiana Shmailyuk (of the band Jinjer) challenges the hegemonic norms of metal.

IIPC Debate 7 Dec

IIPC debate:  Monday 7.12., 16:15 
Spatial Imagination in Contemporary Music Video
Mathias Bonde Korsgaard, Aarhus University

Online:

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When compared to other audiovisual media, music video has occasionally been credited with opting for “a different articulation of space and time” (Shaviro 2017, 58). Scholars have noted how music videos “expand and transcend our conceptions of temporality and spatiality” (Frahm, 2010, 155), maintaining that music video space is often “fragmented and unstable” (Vernallis 2004, 116) or “hybrid” (Willis 2005; Korsgaard 2017ff). This spatial hybridity can be taken to mean two different things. Firstly, on a general level any music video represents space on two planes at once: an auditory/musical space alongside a visual/cinematic space, with the interrelation between these two creating a distinctly composite “audiovisual space” (Lexmann 2008, 49). Secondly, the notion of spatial hybridity also more specifically implies that music videos are visually discontinuous and fragmented with different spaces and image-planes frequently intermingling and colliding. This hybrid and composite nature of music video necessarily calls for an equally hybrid and composite theoretical and methodological approach to the analysis of music video spaces. Departing from an interdisciplinary theoretical framework, this lecture will engage with spatial imagination in contemporary music video, detailing how music video spaces are characterized by having become increasingly heterogeneous in the digital age.

References

Frahm, Laura (2010), “Liquid Cosmos. Movement and Mediality in Music Video”, in Rewind. Play. Fast Forward. The Past, Present and Future of the Music Video. Bielefeld: Transcript Verlag, 155-178.

Korsgaard, Mathias Bonde (2017), Music Video After MTV: Audiovisual Studies, New Media, and Popular Music. London & New York: Routledge.

Lexmann, Juraj (2008), Audiovisual Media and Music Culture. Frankfurt am Main: Peter Lang.

Shaviro, Steven (2017), Digital Music Videos. New Brunswick: Rutgers University Press.

Vernallis, Carol (2004), Experiencing Music Video: Aesthetics and Cultural Context. New York: Columbia University Press.

Willis, Holly (2005), New Digital Cinema. London & New York: Wallflower.

Bio

Mathias Bonde Korsgaard is assistant professor of film and media at School of Communication and Culture, Aarhus University, Denmark. He is the author of Music Video After MTV (Routledge, 2017) and has published widely on music video, film, and audiovisual studies. He is editor in chief of the Danish online film journal 16:9.

IIPC Debate 2 December

IIPC debate: Wednesday 2.12., 16:15
Gender and Taste in 1970s Rock Criticism
Sarah Hill, Cardiff University                                                                        

Progressive rock is a genre primarily populated by men, whether as musicians, producers, or audience members. As a genre marketed less for bodily engagement than for cerebral pleasure, it is worth noting that the early years of prog rock coincided with both the rise of rock journalism – another field populated largely by men, who valorised the ‘authentic’ over the ‘pretentious’ – and the nascent Women’s Liberation Movement. In this paper I will explore these intersections in the reception of two canonical recordings from the mid-1970s, chronicle the critical language used to describe prog rock in the UK and US music press, and chart the ways in which women’s musical tastes were alternately defined and stereotyped in the early-1970s. I will then turn to reviews of prog rock written by women critics, with a view toward understanding the role of second-wave feminism in the expressions of women’s critical thoughts in mainstream music magazines, and the curation of taste in women’s magazines of the early 1970s. 

Dr Sarah Hill is currently Senior Lecturer in Music at Cardiff University and Co-ordinating Editor of the journal Popular Music. She has published on issues of popular music historiography, popular music and politics, and popular music and cultural identity, particularly as it relates to the Welsh language. Her most recent monograph was San Francisco and the Long 60s (Bloomsbury, 2016), and she is currently editing a collection of essays on one-hit wonders and, with Professor Allan Moore, the Oxford Handbook of Progressive Rock. In April she will take a new post as Associate Professor of Popular Music and Fellow of St Peter’s College, Oxford.

Time: Dec 2, 2020 04:00 PM Helsinki

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IIPC Debates Nov 25 (Tore Størvold), Dec 2 (Sarah Hill), Dec 7 (Mathias Bonde Korsgaard), Dec 8 (Lori Burns)

Warm welcome to our online IIPC Debates (Zoom details for Dr Størvold available in this post, others will follow near the presentations)!

IIPC debate: Wednesday 25.11, 16.15
Nordic noir television music: Sounding an Arctic Scandinavia in Trapped
Tore Størvold, Norwegian University of Science and Technology

The Icelandic television crime drama Trapped (“Ófærð”, 2015), has become an international success that continues to impact the circulation of images and myths about Iceland in popular culture. This paper highlights aspects of its audiovisual aesthetics that construct a version of Iceland in line with current national aspirations and geopolitical rhetoric. To this end, I focus on the show’s opening title sequence, where many of the key visual and musical features are distilled in a gripping montage featuring music by the composer Jóhann Jóhannsson (1969–2018). The analysis focuses on the use of voice, string instruments, and aspects of studio production that enjoy a lineage within the genre of Nordic noir television music. In Trapped, these musical details are employed in new ways in order to provide an audiovisual narrative of Iceland as an “Arctic Scandinavia”.

Tore Størvold is a postdoctoral research fellow at the Department of Music, Norwegian University of Science and Technology. His research on contemporary music and culture in Iceland has appeared in the journals Popular Music and Popular Music and Society. His current research project deals with musical strategies for promoting ecological knowledge of the oceans. He holds a PhD in musicology from the University of Oslo. 

Topic: IIPC debate: Tore Størvold, Nordic noir television music:

Time: Nov 25, 2020 04:00 PM Helsinki

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IIPC debate: Wednesday 2.12., 16:15
Gender and Taste in 1970s Rock Criticism
Sarah Hill, Cardiff University                                                                        

Progressive rock is a genre primarily populated by men, whether as musicians, producers, or audience members. As a genre marketed less for bodily engagement than for cerebral pleasure, it is worth noting that the early years of prog rock coincided with both the rise of rock journalism – another field populated largely by men, who valorised the ‘authentic’ over the ‘pretentious’ – and the nascent Women’s Liberation Movement. In this paper I will explore these intersections in the reception of two canonical recordings from the mid-1970s, chronicle the critical language used to describe prog rock in the UK and US music press, and chart the ways in which women’s musical tastes were alternately defined and stereotyped in the early-1970s. I will then turn to reviews of prog rock written by women critics, with a view toward understanding the role of second-wave feminism in the expressions of women’s critical thoughts in mainstream music magazines, and the curation of taste in women’s magazines of the early 1970s. 

Dr Sarah Hill is currently Senior Lecturer in Music at Cardiff University and Co-ordinating Editor of the journal Popular Music. She has published on issues of popular music historiography, popular music and politics, and popular music and cultural identity, particularly as it relates to the Welsh language. Her most recent monograph was San Francisco and the Long 60s (Bloomsbury, 2016), and she is currently editing a collection of essays on one-hit wonders and, with Professor Allan Moore, the Oxford Handbook of Progressive Rock. In April she will take a new post as Associate Professor of Popular Music and Fellow of St Peter’s College, Oxford.


IIPC debate:  Monday 7.12., 16:15 
Spatial Imagination in Contemporary Music Video
Mathias Bonde Korsgaard, Aarhus University

When compared to other audiovisual media, music video has occasionally been credited with opting for “a different articulation of space and time” (Shaviro 2017, 58). Scholars have noted how music videos “expand and transcend our conceptions of temporality and spatiality” (Frahm, 2010, 155), maintaining that music video space is often “fragmented and unstable” (Vernallis 2004, 116) or “hybrid” (Willis 2005; Korsgaard 2017ff). This spatial hybridity can be taken to mean two different things. Firstly, on a general level any music video represents space on two planes at once: an auditory/musical space alongside a visual/cinematic space, with the interrelation between these two creating a distinctly composite “audiovisual space” (Lexmann 2008, 49). Secondly, the notion of spatial hybridity also more specifically implies that music videos are visually discontinuous and fragmented with different spaces and image-planes frequently intermingling and colliding. This hybrid and composite nature of music video necessarily calls for an equally hybrid and composite theoretical and methodological approach to the analysis of music video spaces. Departing from an interdisciplinary theoretical framework, this lecture will engage with spatial imagination in contemporary music video, detailing how music video spaces are characterized by having become increasingly heterogeneous in the digital age.

References

Frahm, Laura (2010), “Liquid Cosmos. Movement and Mediality in Music Video”, in Rewind. Play. Fast Forward. The Past, Present and Future of the Music Video. Bielefeld: Transcript Verlag, 155-178.

Korsgaard, Mathias Bonde (2017), Music Video After MTV: Audiovisual Studies, New Media, and Popular Music. London & New York: Routledge.

Lexmann, Juraj (2008), Audiovisual Media and Music Culture. Frankfurt am Main: Peter Lang.

Shaviro, Steven (2017), Digital Music Videos. New Brunswick: Rutgers University Press.

Vernallis, Carol (2004), Experiencing Music Video: Aesthetics and Cultural Context. New York: Columbia University Press.

Willis, Holly (2005), New Digital Cinema. London & New York: Wallflower.

Bio

Mathias Bonde Korsgaard is assistant professor of film and media at School of Communication and Culture, Aarhus University, Denmark. He is the author of Music Video After MTV (Routledge, 2017) and has published widely on music video, film, and audiovisual studies. He is editor in chief of the Danish online film journal 16:9.

IIPC debate: Tuesday 8.12., 16:15
Female Metal Vocal Expression. Jinjer: Progressive Metal and Alternative Femininity
Lori Burns, University of Ottawa

Lori Burns is Professor and Director of the School of Music at the University of Ottawa. Her interdisciplinary research (funded by the Social Sciences and Humanities Council of Canada) merges cultural theory and musical analysis to explore representations of gender in the lyrical, musical and visual texts of popular music. She has published articles in edited collections published by Ashgate, Bloomsbury, Cambridge, Garland, Oxford, Routledge, and the University of Michigan Press, as well as in leading journals (Popular Music, Popular Music and Society, The Journal for Music, Sound, and Moving Image, Studies in Music, Music Theory Spectrum, Music Theory Online and The Journal for Music Theory). Her book on popular music, Disruptive Divas: Critical and Analytical Essays on Feminism, Identity, and Popular Music (Routledge Press, 2002) won the Pauline Alderman Award from the International Alliance for Women in Music (2005). She was a founding co-editor of the Tracking Pop Series of the University of Michigan Press and is now serving as co-editor of the Ashgate Popular and Folk Music Series. She is also Associate Editor of the journal Music Theory Spectrum.

Abstract:

In the context of female performance in heavy metal bands—globally at the level of 3% (Berkers & Schaap 2018, 103-104)—my recent work examines the contributions of female vocalists to the metal subgenres. Using case studies, I realize two research objectives: 1) to analyze multimodal performance expression of female vocalists in metal music; and 2) to complicate the conventional understanding of extreme gender subjectivities (hypermasculinity and hyperfemininity) in metal subgenres. Heavy metal scholarship affirms the genre to be dominated by male performers (Walser 1993; Weinstein 2000) and points to the preponderance of patriarchal values and hypermasculinity, with the performance content contributing to an aesthetic production of misogyny, power, and intensity (Barron 2007; Kummer 2016; Overell 2013, 2014; Rafalovich 2006; Walser 1993; Weinstein 1991, 2009). The notion of heavy metal as a hegemonic discourse exhibiting “fantasies of masculine virtuosity and control” (Walser 1993, 108-109) has been queried by recent scholars who reveal metal to support a range of gendered and sexualized subjectivities (Clifford-Napoleone 2015; Kahn-Harris 2007). I examine how extreme vocalists navigate the hypermasculine discourse of death metal to express an alternative gendered subjectivity. Recognizing the dearth of music analysis for extreme vocal expression (Smialek 2015), and a recent appeal for scholars to “ground a constructed perspective of masculinity from examples in heavy metal itself” (Scott 2016, 122), this study analyzes the work of a female extreme metal vocalist within the subgenre of progressive metal. I adopt a rigorous analytic model for words, music, and images and illustrate how the expressive strategies of Tatiana Shmailyuk (of the band Jinjer) challenges the hegemonic norms of metal.

Cfp: EUPOP 2020 (deadline 29 Feb!)

EUPOP 2020

Jagiellonian University, July 22nd – 24th, 2020

Deadline: 29th February, 2019

Individual paper and panel contributions are welcomed for the ninth annual international conference of the European Popular Culture Association (EPCA), to be held at Jagiellonian University, Kraków, Poland, July 22nd – 24th, 2020.

EUPOP 2020 will explore European popular culture in all its various forms. This includes, but is by no means limited to, the following topics: Climate Change in Popular Culture, European Film (past and present), Television, Music, Costume and Performance, Celebrity, The Body, Fashion, New Media, Popular Literature and Graphic Novels, Queer Studies, Sport, Curation, and Digital Culture. We also welcome abstracts which reflect the various ways of how the idea of relationship between Europe and popular culture could be formed and how the current tur-moil in European identity (e.g. the legacy of totalitarianism and fascism), union, its borders and divisions are portrayed in popular cultural themes and contents.

Papers and complete panels for all strands will be subject to peer review. Proposals for individ-ual presentations must not exceed 20 minutes in length, and those for panels limited to 90 minutes. In the latter case, please provide a short description of the panel along with individual abstracts. Poster presentations and video projections are also warmly welcomed.

There will be opportunities for networking and publishing within the EPCA. Presenters at EUPOP 2020 will be encouraged to develop their papers for publication in a number of Intellect journals, including the EPCA’s Journal of European Popular Culture. A full list of Intellect journals is available at:

https://www.intellectbooks.co.uk/journals/index/

Proposals comprising a 300-word abstract, your full name, affiliation, and contact details (as a Word-file attachment, not a PDF) should be submitted to Kari Kallioniemi (kakallio@utu.fi) by 29.02.2020. Receipt of proposals will be acknowledged via e-mail, and the decision of ac-ceptance will be notified within two weeks of submission.

The conference draft program will be announced in May 2020, along with the conference regis-tration and accommodation details. The likely conference fee will be 150 euros (student), and 200 euros (other). The fee includes coffees, lunches, evening reception & dinner, and EPCA Membership (includes subscription to the European Journal of Popular Culture, Intellect Press).

The keynote speakers:

Dr Tomasz Z. Majkowski (Jagiellonian University)

Dr Mari Pajala (University of Turku)

Professor Małgorzata Sugiera (Jagiellonian University)

The European Popular Culture Association

The European Popular Culture Association (EPCA) promotes the study of popular culture from, in, and about Europe. Popular culture involves a wide range of activities, material forms and audiences. EPCA aims to examine and discuss these different aspects as they relate both to Europe and to Europeans across the globe, whether contemporary or historical.

EUPOP 2020 is organised by:

European Popular Culture Association (EPCA): https://epcablog.wordpress.com/

International Institute for Popular Culture (IIPC): http://iipc.utu.fi/

Kind Regards,

EPCA President, Kari Kallioniemi, kakallio@utu.fi

EPCA Vice-President, Pamela Church Gibson, pamelachurchgibson@gmail.com

EPCA Secretary, Kimi Kärki, kierka@utu.fi

EPCA Membership Secretary, Graham Roberts, grahamroberts83@gmail.com

Local Organiser Contact: Anna Svetlova, annaswietlowa@gmail.com and Olga Grzelak,

olgagrzelak@gmail.com

Imagined and real Talking Machines

This Saturday February 22nd Science Cafe’ will open the 2020 Season with a super-interesting talk by Docent Kimi Kärki from the University of Turku, who will talk about “Imagined and real Talking Machines” as usual in Koulu, History Class from 17.00 till 19.00.

Docent Kärki will be talking about the research project he is currently involved in (“Talking Machines. Electronic voice and the interpretation of emotions and self-understanding in human-machine communication in 1960-2020”, funded by Kone Foundation), that studies speech audio as an interface between human and machine. The cultural history of such technologies is partially built on imagined futures within the works of speculative fiction, of which Kärki will focus on science fiction films. He will also talk about the transhumanism as the current meeting point of speculative popular culture and scientific advancements.

As usual, the presentation is for non-experts and is followed by a Q&A session. Come and bring your friends! More info: https://sciencecafeturku.wordpress.com/?fbclid=IwAR2I9Y08fKTeAqlCrGoJjSo8E1EkwFaLGPFRIK_RJkD_WlxyF6vAj2AbER8