Crossroads in Cultural Studies Conference 14-17th December 2016 Program Index

Nicholas Carah Sensing and Tuning: Music festivals, Instagram and the interplay between human and machine
judgment
This paper examines the creation and circulation of Instagram images at the popular Australian music festival
Splendour in the Grass. Festival-goers use their sensory capacities to create images that both narrate cultural
experiences and tune them into the computational logic of algorithmic media platforms. Festival designers,
partnering brands, artists, festival-goers and media platforms like Instagram each attempt in various ways to
stimulate the creation of, make judgments about, and shape, flows of images. I examine the loop between
the design of cultural space, the creativity of participants and the computational capacities of media. Image
creators pre-empt not only the judgments of other humans but also those made by the image-classification
algorithms of media platforms. I argue that a critical cultural account of image creation requires a serious
engagement with how the use of machine learning to make non-human judgments about cultural life affects
the design of cultural spaces and practices.
Marjukka Colliander
Access to Culture via Live streamed Concerts
Access to culture is highly topical issue worldwide. It is argued that everyone should have an opportunity to
participate and make arts and culture in all stages of life. Tampere Hall (congress and Concert Centre in
Tampere Finland) has responded to this challenge by offering live streamed concerts to those people who
cannot attend concerts at Tampere Hall for some reason. Since 2013 some concerts that take place in
Tampere Hall have been streamed to various remote audiences such as prisoners, elderly people, and young
people in mental hospital. I have studied these live streamed concerts as complex social situations, using
nexus analysis as a method (Scollon & Scollon, 2004). In my paper I focus on the perspective of people living
in residential care homes and nursing homes, in prison and in mental hospital. What kind of an opportunity
for participation livestreamed concert creates for them? What does it offer for older people who live in
various conditions? Is technology a solution for making culture accessible to everyone? What technology
does not enable? Examining concrete concert situations brings out that the reality of elderly people and care
institutions and ideological objectives of accessibility do not always meet. Art is experienced individually.
Any disabilities, different environments and organizational culture impact on this experience.
Ae Jin Han
The Mediatised Performance of K-Pop
This research is to investigate the phenomenon of the mediatised performance in K-pop, analyzing the
performance context of ‘liveness’ as exemplified by K-pop live performance and hologram concert in
London. The term ‘liveness’ is derived from Auslander’s work of the same name and denotes all forms of
cultural production that occur live. The ‘liveness’ in K-pop idol groups’ performances is based on technomedia
forms. In other words, this is a contradictory form, and its contradictory nature is explored in this
research. The concept of remediation can be usefully applied to K-pop performances’ aesthetic form, in
relation to the existence of an audience thoroughly familiar with televisual mediation and performances that
are then re-mediated into an experience of the ‘live’. I demonstrate, from a phenomenological perspective,
how the relationship between performers and audiences at live concerts proceeds and reveal how concepts
of ‘liveness’ and remediation are relevant to live K-pop performances.
3G
Divergence is Convergence: Rethinking Hong Kong’s Hybridity (Chair, Stephen Chan)
This panel will weave together the theoretical, linguistic and pop cultural components of Hong Kong cultural
configuration from the colonial to the postcolonial eras. All three papers examine how these components breed a
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