First in Turku: Popular cultural interaction in city space

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First in Turku Popular cultural interaction in
city space
Kimi Kärki, Coordinator, Phil. Lic. European
Heritage, Digital Culture and the Information
Society A European Masters Programme, part of
EuroMACHS network http//europeanheritage.utu.fi/
http//users.utu.fi/kierka/
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Lecture stuctureMonday1. Methodology
Cultural History, Cultural Studies, Popular
Culture and Urban Space2. Popular Music in
Turku History, Venues, Festivals3. Film in
Turku Case LouhimiesTuesday4. Methodology
Subcultures5. Underground Music6. Capturing the
Nightlife Case Saarniemi
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1. Methodology Cultural History, Cultural
Studies, Popular Culture and Urban Space
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What is Cultural History?

• Historicality
• Chronological layers
• Being / existing in Culture
• Deep Structure
• Totality
• Dialogic
• Activeness

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• Just as when tribesmen make masks, disguise
  themselves as monsters, heap up disparate ritual
  symbols, invert or parody profane reality in
  myths and folk-tales, so do the genres of
  industrial leisure, the threatre, poetry, novel,
  ballet, film, sport, rock music, classical music,
  art, pop art, etc., play with the factors of
  culture, sometimes assembling them in random,
  grotesque, improbable, surprising, shocking,
  usually experimental combinations.
• (Turner 1982, 40.)

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The metropolitan space get reshaped within the
postindustrial relations. The physical
environment loses its importance and life
continues through the virtual spaces. Television
screens, cellular phones, digital photography
have become the extensions of the human beings
parallel to the abstraction related to physical
environment. (Aytanga Dener, Istambul Technical
University)
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The current uses and abuses of urban space have
informed much of the renewed interest in
contemporary city life. Abstract, absolute,
rationalized, commercial, privatized spaces are
at odds with differential, chaotic, forgotten,
peripheral, or public spaces. The spatial logic
of capital dominates our experience of place,
positions us as consumers and audiences, rapt
spectators caught in the glare of the
contemporary global spectacle. (Geoff Stahl,
Humboldt University)
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2. Popular Music in Turku History, Venues,
Festivals
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Bogart Co.
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Darude
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3. Film in Turku Case Louhimies
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It is not simply what film genres present by way
of content that makes them so powerful, but
rather it is the medium itself and the economy
within which it is situated. It is not powerful
medium because of its message rather, its
message is powerful because of the medium, and
its reach. Film is perhaps the most impressively
disturbing example of the argument that the
centre of cultural influence is no longer a
geographical place, but the mediations
themselves, and the actual process rather than
just the content of cultural diaspora.(Bruce
Johnson, Cultural History, UTU)
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4. Methodology Subcultures
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The meaning of subculture is, then, always in
dispute, and style is the area in which the
opposing definitions clash with most dramatic
force. (Hebdige 1979, 3.)
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Style in subculture is, then, pregnant with
significance. Its transformations go against
nature, interrupting the process of
normalization. As such, they are gestures,
movements towards a speech which offends the
silent majority, which challenges the principle
of unity and cohesion, which contradicts the myth
of consensus. (Hebdige 1979, 18.)
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As a symbolic violation of the social order, such
a movement attracts and will continue to attract
attention, to provoke censure and to act, as we
shall see, as the fundamental bearer of
significance in subculture. (Hebdige 1979, 19.)
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SUBCULTURES represent noise (as opposed to
sound) interference in the orderly sequence
which leads from real events and phenomena to
their representation in the media. We should
therefore not underestimate the signifying power
of the spectacular subculture not only as a
metaphor for potential anarchy out there but as
an actual mechanism of semantic disorder a kind
of temporary blockage in the system of
representation. (Hebdige 1979, 90.)
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In most cases, it is the subcultures stylistic
innovations which first attract the medias
attention. Subsequently deviant or anti-social
acts vandalism, swearing, fighting, animal
behaviour are discovered by the police, the
judiciary, the press and these acts are used to
explain the subcultures original transgression
of sartorial codes. In fact, either deviant
behaviour or the identification of a distinctive
uniform (or more typically a combination of the
two) can provide the catalyst for a moral panic.
(Hebdige 1979, 93.)
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Eventually, the mods, the punks, the glitter
rockers can be incorporated, brought back into
line, located on the preferred map of
problematic social reality (Geertz, 1964) at the
point where boys in lipstick are just kids
dressing up, where girls in rubber dresses are
daughters just like yours (see pp. 98 9 158
9, n. 8). (Hebdige 1979, 94.)
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The media, as Stuart Hall (1977) has argued, not
only record resistance, they situate it within
the dominant framework of meanings and those
young people who choose to inhabit a spectacular
youth culture are simultaneously returned, as
they are represented on T.V. and in the
newspapers, to the place where common sense would
have them fit (as animals certainly, but also
in the family, out of work, up to date,
etc.). It is through this continual process of
recuperation that the fractured order is repaired
and the subculture incorporated as a diverting
spectacle within the dominant mythology from
which it in part emanates as folk devil, as
Other, as Enemy. (Ibid).
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Subcultures are therefore expressive forms but
what they express is, in the last instance, a
fundamental tension between those in power and
those condemned to subordinate positions and
second-class lives. (Hebdige 1979, 132.)
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-- I think there will be nothing in store for
us but what anti-utopians like Huxley and Orwell
have forecast though I have no doubt that these
dismal despotisms will be far more stable and
effective than their prophets have foreseen.
(Roszak 1969, xii-xiii.)
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One spatial concept used by participants in
extreme metal culture is 'scene'. The term is
used in a variety of ways to describe the context
within which exteme metal music, practices and
discourses are produced.(Kahn-Harris 2007, 13.)
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5. Underground Music
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Xysma
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Archgoat
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Hellbox
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Ugulishi
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Arsonist Lodge
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Kirkkopalovaroitus
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6. Capturing the Nightlife Case Saarniemi
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