CFP: Fanitutkimuksen konferenssi “Nörttikulttuurin nousu” (3.-4.3.2016)

Levittäkää sanaa: Esitelmäkutsu/CFP:

NÖRTTIKULTTUURIN NOUSU
Kuudes valtakunnallinen fandom-tutkimuksen konferenssi

Jyväskylän yliopiston Taiteiden ja kulttuurin tutkimuksen laitoksella
3.–4.3.2016

Ketä voi haukkua nörtiksi – ja kuka puolestaan on “todellinen nörtti”?
Haittaako, että yhä useampi vastaantulija tuntee nettislangia ja
kulttifiktion sankareita? Entä onko tytöillä mitään asiaa videopeli-
ja sarjakuvakulttuureiden maskuliinisina pidettyihin maailmoihin?

Nörttikulttuuri (engl. geek culture) on viime vuosina kaapattu
marginaalista valtamedian materiaaliksi: niin sarjakuvat, genrefiktio
kuin video- ja roolipelitkin ovat löytäneet uuden teknologian kautta
uusia yleisöjä ja saattaneet samalla yhteen vanhoja faneja. Tämä yhä
jatkuva kasvu ja monimuotoistuminen on herättänyt monet pohtimaan
“nörttimäisten” harrastustensa motiiveja ja muuttanut nörttiyden
merkitystä. Eri sukupuolet, sukupolvet ja kulttuurit tuntuvat
käsittävän nörttiyden hyvin eri tavoin, mutta tavallisin nörtin
tuntomerkki  on tiedollinen omistautuminen jollekin (arkielämän
kannalta hyödyttömälle) asialle. Juuri perehtyminen tuntuu yhä
erottavan “todelliset” nörtit ja fanit tavallisista kuluttajista ja
satunnaisista harrastajista, mutta eri perehtymisen kohteet ovat
edelleen eri tavoin arvokkaita ja sallittuja eri ryhmille. Tämä on
paljastanut uudella tavalla myös eskapistisina pidettyjen,
nörttimäisten kulttuurimuotojen poliittisuuden.

Vaikka nörttiys on muodostunut keskeiseksi, joko valituksi tai
annetuksi identiteettitekijäksi lukemattomille ihmisille ympäri
maailman, sen muuttuva merkitys on edelleen sumea. Jyväskylän
yliopiston Taiteiden ja kulttuurin tutkimuksen laitoksella
järjestettävässä kaksipäiväisessä kansallisessa konferenssissa
haluamme avata suomalaisen akateemisen keskustelun siitä, mitä
nörttikulttuuri oikeastaan on, miten se on muuttunut ja miten se
vuorovaikuttaa niin sanotun valtavirran kanssa.

Etsimme tapahtumaan esitelmiä tai paneeleja, jotka tarkastelevat
nörttikulttuuria, eli erilaisten (aiemmin) marginaalisena pidettyjen
mediailmiöiden aktiivista ja/tai sosiaalista kuluttamista, minkä
tahansa tieteenalan näkökulmasta. Aiheet voivat liittyä esimerkiksi:

-nörttiyden ja nörttikulttuurin historiaan, määritelmiin ja
murroksiin; eroaako nörttiys tavallisesta faniudesta?
-sarjakuvakulttuuriin ja -markkinoihin, sarjakuvien keräilyyn tai
sarjakuvan transmedialisoitumiseen
– lauta- ja roolipelikulttuurien näkymiseen populaarikulttuurissa
– videopelien harrastajayhteisöihin ja videopelikulttuurin valtavirtaistumiseen
– hakkereihin, verkkoaktivismiin ja internet- ja hakkerikulttuurin
näkymiseen valtavirta- tai populaarikulttuurissa
– japanilaisen otaku-kulttuurin kansainvälisiin ja suomalaisiin
ilmenemismuotoihin
– kirjallisen, audiovisuaalisen ja muunlaisen genrefiktion ympärille
kehittyviin (verkko)keskusteluihin ja fanitoiminnan muotoihin, myös
antifaniuteen
– fanitapahtumiin eli coneihin, fanituotantoon, cosplayihin tai muihin
nörttikulttuurille leimallisiin harraste- ja fanitoimintoihi
– populaarikulttuurin sukupuolittumiseen ja poliittisuuteen.

Lähetä 200–300 sanan abstrakti n. 20 minuutin esitelmästä pdf-muodossa
10.1.2016 mennessä Jonne Arjorannalle (jonne.arjoranta[ät]jyu.fi).
Otamme vastaan ehdotuksia myös paneeleista ja muista laajemmista
esitelmäkokonaisuuksista. Laitathan liitetiedostoon näkyviin nimesi,
sähköpostiosoitteesi ja koti-instituutiosi.

Lisätietoja antaa Katja Kontturi (katja.j.kontturi[ät]jyu.fi).
Esitelmäkutsua saa levittää vapaasti.

Fanitutkijoiden tapaamisia on aiemmin järjestetty Tampereen ja
Jyväskylän yliopiston tutkijoiden yhteistyönä vuodesta 2006 lähtien.

iPhone 6: boring, but must-have?

iPhone 6 & 6 Plus © Apple.
iPhone 6 & 6 Plus © Apple.

There have been substantial delays in my advance order for iPhone 6 Plus (apparently Apple underestimated the demand), and I have had some time to reflect on why I want to get the damned thing in the first place. There are no unique technological features in this phone that really set it apart in today’s hi-tech landscape (Apple Pay, for example, is not working in Finland). The screen is nice, the phone (both models, 6 and 6 Plus) are well-designed and thin, but then again – so are many other flagship smartphones today. Feature-wise, Apple has never really been the one to play the “we have the most, we get there first” game, rather, they are famous for coming in later, and for perfecting few selected ideas that often have been previously introduced by someone else.

I have never been an active “Apple fan”, even while it has been interesting to follow what they have to offer. Apple pays very close attention to design, but on the other hand closes down many options for hacking, personalising and extending their systems, which is something that a typical power-user or geek type abhors – or, at least used to.

What has changed then, if anything? On one hand, the crucial thing is that in the tech ecosystem, devices are increasingly just interfaces and entry points to content and services that reside in the cloud. My projects, documents, photos, and increasingly also the applications I use, live in the cloud. There is simply not that much need for tweaking the operating system, installing specific software, customising keyboard shortcuts, system parameters etc. than before – or is it just that I have got lazy? Moving all the time from office to the meeting room, then to the lecture hall, next to seminar room, then to home, and next to the airport, there are multiple devices while on the road that serve as portals for information, documents and services that are needed then and there. Internet connectivity and electricity rather than CPU cycles or available RAM are the key currencies today.

While on the run, I carry four tools with me today: Samsung Galaxy S4 (work phone), iPhone 4S (personal phone), iPad Air (main work tablet device), and Macbook Pro 13 Retina (personal laptop). I also use three Windows laptops (Asus Vivobook at home, Vaio Z and Vaio Z3 which I run in tandem in the office), and in the basement is the PC workstation/gaming PC that I self-assembled in December 2011. (The video gaming consoles, alternative tablets, media servers and streaming media boxes are not included in the discussion here.) All in all, it is S4 that is the most crucial element here, simply because it is mostly at hand whenever I need to check some discussion or document, look for some fact, reply to someone – and while a rather large smartphone, it is still compact enough so that I can carry it with me all the time, and it is also fast and responsive, and it has large enough, sharp touchscreen that allows interacting with all that media and communication in timely and effortless manner. I use iPhone 4S much less, mainly because its screen is so small. (Also, since both iOS 8 and today’s apps have been designed for much speedier iPhone versions, it is terribly slow.) Yet, the Android apps regularly fall short when compared to their iOS counterparts: there are missing features, updates arrive later, the user experience is not optimised for the device. For example, I really like Samsung Note 10.1 2014 Edition, which is – with its S Pen and multitasking features – arguably a better professional tablet device than iPad; yet, I do not carry it with me daily, simply as the Android apps are still often terrible. (Have you used e.g. official Facebook app in a large-screen Android tablet? The user interface looks like it is just the smartphone UI, blown up to 10 inches. Text is so small you have to squint.)

iPhone 6, and particularly 6 Plus, show Apple rising up to the challenge of screen size and performance level that Android users have enjoyed for some time already. Since many US based tech companies still have “iOS first” strategy, the app ecosystem of iPhones is so much stronger than its Android counterpart that in my kinds of use at least, investing to the expensive Apple offering makes sense. I study digital culture, media, Internet and games by profession, and many interesting games and apps only come available to the Apple land, or Android versions come later or in stripped-down forms. I am also avid mobile photographer, and while iPhone 6 and 6 Plus have smaller number of megapixels to offer than their leading rivals, their fast auto-focus, natural colours, and good low-light performance makes the new iPhones good choices also from the mobile photographer angle. (Top Lumia phones would have even better mobile cameras in this standpoint, but Windows Phone app ecosystem is even worse than Android one, where at least the numbers of apps have been rising, as the world-wide adoption of Android handsets creates demand for low-cost apps, in particular.)

To summarise, mobile is where the spotlight of information and communication technologies lies at the moment, and where games and digital culture in general is undergoing powerful developments. While raw processing power or piles of advanced features are no longer the pinnacle or guarantee for best user experiences, it is all those key elements in the minimalistic design, unified software and service ecosystem that support smooth and effortless access to content, that really counts. And while the new iPhone in terms of its technology and UI design is frankly pretty boring, it is for many people the optimal entrance to those services, discussions and creative efforts of theirs that they really care about.

So, where is that damned 6 Plus of mine, again? <sigh>

Books or Papers?

I was delighted by the recent publication of Jill Walker Rettberg’s book Seeing Ourselves Through Technology: How We Use Selfies, Blogs and Wearable Devices to See and Shape Ourselves. This is partly due to the interesting discussion of phenomena like use of filters in Instagram photos, diaries that write themselves automatically for us, and affective ties to other data, quantified and used to organise and make sense of our “gamified lifes”. But another part stems from the fact that this was a book, a monograph, and also one that was made available under Creative Commons as a digital download.

For us educated in the Humanities, book-lenght studies carry intrinsic value that is hard to explain and measure. Books are works of sustained scholarship, and their hard-copy form is designed for permanence. While I was still actively working in literary and textual studies fields, I was routinely making references to studies in Poetics or Rhetorics, authored originally over two thousand years ago. Making that historical treasure trove to relate and connect with in dialogue with the more recent phenomena from digital culture was a source or enormous thrill and pride. Contemporary papers and articles published only in various, semi-permanent digital archives simply do not fulfill similar function in long-term historical and intellectual perspective.

There has been talk about the “death of the monograph” for several decades already, but somehow the book still survives. The imprints are small, university libraries carry smaller numbers of physical copies, and there are increasing “productivity” and “impact” pressures to publish and read shorter texts online. However, there is also actual research into how a monograph is doing, like “The Role and Future of the Monograph in Arts and Humanities Research” by Peter Williams & co, or Alesia Zuccala’s recent paper on evaluation of Humanities in Research Trends, which point that monographs continue to be essential for Humanities scholarship. The hybrid forms of publishing both a (typically small-print or print-on-demand) hard copy, alongside a searchable and freely available digital version, appear as the most prominent ways towards the future.

Links:
Seeing Ourselves Through Technology: http://www.palgraveconnect.com/pc/doifinder/10.1057/9781137476661

“The role and future of the monograph in arts and humanities research”: http://www.emeraldinsight.com/doi/abs/10.1108/00012530910932294

Research Trends, Issue 32: http://www.researchtrends.com/wp-content/uploads/2013/02/Research_Trends_Issue32.pdf