March 6th, 2012 by Joonas Rokka

Our award-winning film ‘Pushing the Scene’ has spurred some good interest in the forums as well as amassed a delightful number of viewers. Just to give an update on this, the film, which was released on Vimeo last November 2011, has got over 4000 views only in a matter of months. From an academic point of view, this needs to be considered some sort of success: typically academic research projects and their findings are available only to a handful of people (i.e. academics). Let’s hope we can spread the word even more so here’s the film one more time!

‘Pushing the Scene’ – Tensions and Emergence in an Accelerated Marketplace Culture from Inside Videography on Vimeo.

August 23rd, 2010 by Joel Hietanen

Right then, the following is quite a bit overdue, so I guess its better to jump right in. After our little escapade to meet the New York dubstep scene, we all quickly washed the most important articles of clothing, rezipped our bags, and headed back out there, this time to London to do what we set out to do across the pond in a dandy British setting.

Don’t get me wrong, this videography hustle does come with a wealth of new experiences and amounts of a kind of hard-pressed fun (with all the hurry and the gear-related hassle), but having been out on our videographic odyssey for close to a month does lend itself to certain abuses. Yes, we were beginning to become somewhat fatigued by being crammed together in our (certainly too) modest hotel rooms. One must say I have to be traveling with the greatest team of all time, as we eventually seemed to endure our hasty run in London without any major hitches.

Again, our agenda was filled with interesting places to be and people to meet. We would be attending the legendary DMZ dubstep party night in Brixton, meet up with Oneman during his Rinse FM show, talk to Benny Ill at the place of the pioneers – the Horsepower Productions studio, catch up with Blackdown, Cyrus, Distance, Boomnoise, and finally cut some dubplates at the renowned Transiton Mastering Studios.

At the DMZ night we got to hear the influential sounds of dubstep pioneers the likes of Loefah and Coki, and in addition, we had the privilege of shattering our eardrums to the refreshingly minimalist sound of the up-and-coming James Blake. Whilst we were unable to get any in situ interviews during the night, we were (surprisingly enough) able to get ourselves into the party mood to an extensive degree. This was not a shortcoming however, as our planners were heavily booked through the coming week.

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James Blake

James Blake on decks.

Meeting partygoers outside the DMZ in Brixton.

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Loefah on decks.

The following night we got to sneak into the legendary Rinse FM show, and Risto under his producer alias, Desto, ended up spinning his plates too. Quite the world premier for him in such a context. After the show (in the very late night) we got chat with Oneman and Asbo in the somewhat rough (somebody actually tried to do some business-a-bit-on-the-shady-side with us while we were shooting) streets of Brixton. Yet, it was especially interesting to get Oneman’s and Asbo’s knowledgeable take on the present state and future of the culture in an ever-digitalizing world. Thanks for the ride guys!

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Desto and Oneman in front of Rinse FM radio.

Oneman, Desto, Asbo

With Oneman and Asbo at Brick Lane in the early hours.

The next notable (and very much so) setting for us was the Horsepower Productions studio of Benny Ill in Southern London. This was another great highlight for us, as Benny and his Horsepower Productions studio is touted as a true place of origin for many dubstep sounds. During the course of the interview, Benny invited Lev Jnr to join us. We had a great time discussing primarily about the history of the scene in their old-school surroundings complete with heaps of gear topped off with the worthy addition of an old Atari ST. Big thanks to Benny and Lev for letting us into your home!

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Benny Ill and Jay King

Benny Ill and Lev Jnr of Horsepower Productions

Horsepower Productions studio

Horsepower Productions studio Pt.1.

Horsepower Productions studio

Horsepower Productions studio Pt. 2.

Also, we were able to quickly meet up with Blackdown and Boomnoise to get some truly analytic accounts of the fast-paced developments in the scene, along with a visit to the studio of Distance and Cyrus, for more historical accounts spiced up with an analysis of the economic rationale of being a contemporary dubstep producer, as the sound is undergoing increasing pressures of commercialization.

Desto and Blackdown

Blackdown came with gifts.

Desto and Boomnoise

With Boomnoise in front of the Plastic People club.

Cyrus, Distance and Desto

With Cyrus and Distance at their studio.

Finally, we took the tube to South East London Forest Hill to Transition Mastering Studios, where we were able to get both LD and Jason into the view of our lenses along with an interesting experience of truly professional mastering work as LD cut two dubplates for Risto including tunes from Late, Kfka, and Tes La Rok. At Transition the topics mostly hovered around the role of the dubplate culture in dubstep and the implications of ever-increasing digitalization and the effect of digital DJ technologies such as Serato.

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The Transition Mastering Studio.

Plates

Nothing beats the smell of new dubplates.

LD and Jason

LD and Jason of Transition Mastering Studios.

Again, thank you all! Now back in Finland, I have to say I’ve had my fill of running around the world touting various recording equipment with my arm constantly reminding me of a developing camera-elbow. Fortunately, one can now feel some preliminary accomplishment, as the bulk of our material is done. With now just a couple of places to visit in Finland, it seems the editing table is the next embedded cultural context for us.

While we continue to have our sights set to the ACR submission in February 2011, we have, being the busy little bees that we are, started to think about a much wider array of uses for our material than the ACR alone. Stay tuned!

Desto

Lots of time spent on the train.

Joel and Joonas

For the whole team.

Cyrus and Distance

Plastic People

Boomnoise and Desto

July 19th, 2010 by Joel Hietanen

In our previous project ‘Brothers-In-Paint’ we found it paramount to visit many contexts where the social practices of paintball culture take place. This allowed us to not take the site as the location of the culture, but rather the practices as the culture itself, not defined, but co-existing with the spatiotemporal ‘places’ of activity and agency. Thus we visited 6 countries in attempts to gain more insight and a translocal appreciation of the social practices.

Risto had made smoothly scheduled arrangements for us to meet the central figures of the New York scene, and for him to simultaneously play a set or two in various locales. Firstly, we met up with DaveQ and headed out to Brooklyn to be a part of a SubFM radio show. Risto (Desto) ended up hitting the decks also alongside such pioneers as DaveQ – thanks Dave for taking such great care of us!

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Finding the studio can sometimes be somewhat puzzling.

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DaveQ on decks.

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AIM screen in the SubFM studio. The DJs we're in constant interaction with the audience.

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SubFM getting lively.

Later Risto was scheduled to play a set at a record store right under the Brooklyn Bridge. The place, Halcyon, was a vinyl enthusiasts playground and had a great soundsystem (especially considering it is a record store and not a club venue). Later Risto played at a venue called the White Rabbit. Too bad not so many people made it over. Fortunately, the interesting experience in Halcyon more than made up for this.

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The Halcyon storefront.

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Vinyl. Lots.

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Desto at it again.

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Desto at White Rabbit.

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Pt. 2.

The main event for us, the Dub War 5 year anniversary, was truly a night to remember. We began by navigating through the masses of dubstep lovers making their pilgrimage. The place was packed like sardines in a crushed tin box already at ten when the party was only picking up. In terms of filming, we got amounts of intense contextual footage, and Risto did an admirable bit of legwork in order to grab such pioneers as Joe Nice and Alex Incyde, and the dubstep Internet forum creator Seckle for little back-and-forth with us in interesting back rooms and corridors while the party was booming. Even Skream popped into one of our interview sessions right behind the DJ booth – where we actually got quite a bit of action also. Thanks again to the New York scene for giving us such a warm welcome!

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Welcome to the Dub War 5 year anniversary!

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Desto, always listening.

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The booming night pt. 1.

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Incyde.

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Joe Nice.

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Skream jumps in.

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The booming night pt. 2.

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Hard at work beside steam-leaking piping in the backroom.

During our walkabouts through Broadway we had additional time to think about our up-and-coming editing process. As Risto has become an increasingly central figure in our work, we went further in our preliminary ideas about the arc of drama in what is to become the final product. Our first project, Brothers-in-Paint, was very much a conservative article-like showcase of how to, for the lack of better terms, create a videography that resembled an article in video format. How it exactly came out so, we do not know, but I do still remember our original ethos of really exemplifying how a theoretical perspective could be depicted on video. In retrospect, we might have overdid it a tad bit. Now, while we wish to still make a theoretical case, we will attempt to incorporate a much more entertaining approach, with Risto’s autoethnographic commentary hopefully bringing about a more interesting, theatrical, and continuous story line.

But to match Risto’s insighful autoethnographic story, we need contextually founded footage in situ. And certainly, as experimentality goes, we have found one of the most demanding contexts equipment-wise. Dubstep is certainly loud and noisy, taking an evident toll in terms of video and audio quality. Fortunately, again, we have Risto to work his producer magic on the audio, and we do expect decent outcomes. Moreover, the lack of video footage quality is more than compensated for by the graininess of the context presenting itself right in-your-face with all its loudness. As Rob Kozinets has pointed out before, social practices are bright, noisy and messy. Without completely slipping into the rabbit hole at this point, it can be noted that it is this loudness and messiness we are aiming to represent. An interesting comment by Lisa Marks seems to bubble up here too, as she was known to have said that what the film represents is often dull, but nevertheless the impurities and the scratches on the film material itself are perpetually fascinating. I would agree, and that is why we are not afraid of grainy material, when such outcomes go on to represent the murkiness of the many contexts we were introduced to in our underground travels. Because we dare to profess love for the loudness and embrace the grittyness of some of the video material as our equipment are maxed out, we gain more confidence in our perspective – the contextual representation of social practices in close proximity.

In order to accomplish this, I believe strongly that the video ethnographer must do as little of obstruction as possible, and therefore all we shoot is uncompromisingly in situ. This means, that even with the implications for video quality, we will not use additional lights and we will not be sticking lapel microphones around peoples’ necks. In our adventures in the dubstep scene this has not been purely an question of preference either, as the promoters of many club venues will not permit lighting for video works. An important concern arises from this preferred modus operendi, however. Equipment truly matters. Indeed, there must be something seriously wrong with our heads, as we are conducting video work in probably one of the most hostile environments. It is dark (often and often very much so) and it is loud (have you felt the subbass causing tremors in your spine and jiggling the clothes on you). To pull this silly feat off, we are no longer going in with equipment more at home in capturing the kids making sandcastles on a sunny Mediterranean beach, where the food was delicious and the wine was just right. While still nowhere near a professional outfit, we are now donning a decent videocam and a back-up video DSLR with lenses specifically chosen to lure in all possible trickles of light in the illlit places we happen to enter. See the post before this one for a more technical perspective (and gripe) into the contents our gear bag.

Yet again, what would we be, if we were hauling lighting and microphones into sweat drenched rooms packed to the rim with euphoric music followers being blazed by the club lights and battered with subbass that you can feel in your spine? That’s right, a distraction, an obstruction. Worse than that, we could become what I as an ethnographer fear the most, a odd academic peculiarities flailing about a context that will never again give us a pass. No, to get close to that sweat, that pounding, that energy, we must and will continue to go in light. What you see is what you get. And what you get is noisy and bright.

We’ll leave you with a couple more memories. Soon to come, our continued adventures in London.

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moma

joel111

nyrkki

dubday

June 18th, 2010 by Joonas Rokka

In addition to the themes covered in the previous posting, here’s to summarize some of this year’s sessions (with a couple of notes linking to our own project). The themes included: new research methods, postmodern and ethnic consumption, challenges linked to public goods/services, class dynamics and consumption, consumer culture in third world countries, consumer resistance/culture jamming, culture and ideology, market-mediated relationships, the contested notion of place that shapes consumer experiences, femininity, consumer-marketer co-creation, community and family, mediated images and ideologies of body and health, consumer identity practices, critical questions on consumer culture terminology, and finally, socio-cultural construction of authenticity — session where we presented this time.

I particularly liked the session on new methods. Visual Analysis (VA) was explored as a tool for gaining cultural insight on consumer behavior and practices. Kristen San Jose presented a piece in which she applied VA in the context of fashion consumption in Tokyo. Although there’s a long tradition of visual research in CCT, I agree that there’s plenty of future opportunities in this regard. For instance, researchers (and companies alike) often rely on text-based analyses. For us, it would be interesting to extend VA also towards moving images / video, something I haven’t seen yet. Adding nicely to the session, Alex Thompson’s presentation brought about interesting views on how companies perceive and conceptualize consumers, in a study where commercial ethnography was the focus. I liked the way in which video was used as a means to communicate consumer knowledge to company executives — this nicely contrasts with more traditional ppt presentations and figures we’re used to. Alex’s points about different mechanisms at play, including rituals, embodiment and symbols, are something video really can capture in an intriguing way.

Another interesting session set out to re-conceptualize the contested notion of place. Drawing insights from material culture theory, Jeppe Trolle Linnet’s presentation shed light on material and social aspects of place and space in the context of home and homeyness (what he called ‘hygge’ in Danish). It was interesting to see how this hygge is constructed and negotiated in different settings, not only at home but also in other social places such as neighborhoods or communities. They act as a sort of social comfort zone, a cozy, warm, and safe environment that is distinguished from other non-hyggelig, cold, and modern places. In a closely related study Zeynep Arsel and Jonathan Bean presented on ‘apartment therapy’ — a conduct in which people modify their homes through interior design to better match their desires. In our own research we’re also interested in how such interlinked and mediated cultural spaces and sites are at play.

In the co-creation session, several papers sought to understand the cultural dialogue and co-creation between consumers and producers/marketers. Robert Harrison presented a fascinating paper on Black Friday – a sort of corporate ritual and event which is largely the result of consumer’s active participation during a consumption event. Another really nice paper was by Daiane Scaraboto and Rob Kozinets who investigated the community of geo-cacaching — a sort of GPS treasure hunt game invented and organized by consumers. This study showed how consumer’s infinite innovative potential, playfulness, and creativity plays an important role in the creation of a new markets — exactly what we’re also seeing our own study.

Finally, our own session in which authenticity was explored as an essential component and a driver of culture. I think the session was very interesting as it nicely brought together three distinct viewpoints on authenticity — namely brand, place, and consumption-production interplay. As it was noted, in consumer research authenticity is often investigated by looking at consumer perceptions, and it is commonly tied to certain objects (e.g. brands), lifestyles, or places. In our presentation on electronic music culture, we wanted to consider how authenticity — which often drives cultural change in (music) culture — is actually achieved and negotiated by different influential cultural agents. In our study these agents in fact simultaneously adopt the role of producers, DJs, and consumers. We also brought with us our new research team member Risto (aka Desto) who is an authoethnographic member in our research team and a DJ/producer himself. This move was very well received, and we had lots of lively discussions after our presentation. Thanks for everyone involved!

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Some pics from our presentation at CCT5

Overall this fifth annual CCT conference pointed out many interesting future directions. Especially, the increasing attention to spatial and embodied aspects of culture as well as emphasis on creative methodologies — including audiovisual and multi-method approaches — brings to the fore new thrilling work that is currently emerging.

February 18th, 2010 by Joel Hietanen

This would be our new videographic project (which we started scetching out late 2009), and I got to say, I am quite happy to push the paintball-related video clips off my editing table for now. Seeing the same material over and over again, from the conferences to my doing-the-Edward-Scissorhands on the editing table – well, its stating to finally become just a bit stale… So, on to new and better things it is, then, and what will such things entail?

For us, an exploration of the consumer community partaking into the growing ‘dubstep’ electronic scene is the answer. We needed an interesting and a highly audiovisual cultural phenomenon, and a great deal of access. Dubstep gave us all of the above.

Coming this far, we have come to understand the role of access and autoethnographic accounts when going after an in-depth understanding of a phenomenon and rich material for its representation. This time we did not have to search far and wide. Our initial impulse came from the ‘Illicit Pleasure’ JCR article (Goulding, Shankar, Elliott & Canniford 2009), even though what we consequently set out to go after is quite different, except for taking an interest in consumption cultures revolving around electronic music. As it happened, I used share a student flat with Risto Roman (going by the alias Desto), and at the time we got together to experiment with music production. I might even post up some of our work dating back to the days of yore, but I’ll need to summon some more courage before you’ll see that happening. With all the other things on my plate, my musical ambitions (or dabblings) had become comprehensively afterburnered. Meanwhile, Desto had gone on to establish himself as an internationally known dubstep producer and DJ.

In this project, he would thus be the autoethnographic member, Joonas would look at the phenomenon from a somewhat less acculturated perspective and I would initially be the fence-sitter with some experience in producing (and obviously partying out to) electronic music, albeit not so much specifically related to the dubstep genre.

Before we entered into the contexts where dubstep happens, we held (quite) thorough conversations about the curiosities of dubstep culture with Risto. Additionally, he provided us with a wealth of internet resources in the form of forums (e.g. Step Ahead), blogs (e.g. Blackdown) and insider documentaries (e.g. Dubfiles) all revolving around dubstep. At that point Risto had already set up interview sessions with renowned DJ/producers as they came over to Finland to strut their stuff at dubstep parties. At present, we have already conducted some interesting filming with a couple of DJ/producers of international fame in interesting backstage settings and the like.

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Bristol based Jakes in the back room of SLAM IT at Kuudes Linja, Helsinki.

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Desto on decks at Kuudes Linja.

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Some screengrabs of Pinch from our video material. The low light capabilities of our JVC videocam leave a lot to be desired - which is why we decided to go shopping for new gear.

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Pinch again.

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Pinch in the backroom of Kuudes Linja, displaying his dubplates. He keeps them unlabeled so as to not let onlookers easily learn his selection.

This time, in order to not spend as long pondering on what the hell we are actually doing, we decided to focus on uncovering the perspectives of cultural agents, specifically the DJ/producers, who, through their actions, shape and reproduce the culture. At this early stage we are primarily interested in (still hanging on to the practice theory as a foundation),

  • The practices that drive the evolution of the dubstep culture
  • Agency and authentication in dubstep culture
  • The marginal/mainstream tension regarding this genre of electronic music

Next we are looking forward to visiting some of the most interesting international settings where dubstep has a central role. This would, at the very least, entail two trips to UK (Croydon and Bristol) and a hop over the pond to the states (New York). We will keep you all updated about our progress (and all unplanned slapstick-like outcomes during the process) on this same bat channel, so please keep reading this blog in the future as well.

While this project is still at quite an early stage (we are going after a rich ethnographic immersion, not a few quick & dirty interviews), we have already submitted some early scribblings to the CCT 2010 conference. Hopefully we get accepted, and I hope to see all you guys there.

References:

Dubfiles – Dubstep Documentary. Directed by G. McCann and G. Jugdeese. Dubfiles 2008.

Goulding, C., Shankar, A., Elliott, R., Canniford, R. 2009. The Marketplace Management of Illicit Pleasure. Journal of Consumer Research. 35, 5, 759-771.