School of Humanities, Finnish language

Artikkelissa tarkastellaan yhtä imperatiivin prototyyppisestä poikkeavaa käyttötapaa, jolla ilmaistaan kielteistä suhtautumista puhuteltavan toimintaa kohtaan. Esimerkiksi äidin lapsilleen lausuma repikää nyt se mun hame siinä ilmaisee paheksuntaa ja varoittaa samalla toiminnan ei-toivotuista seurauksista. Käyttötapaa nimitetään paheksuntaimperatiiviksi, ja sen osoitetaan olevan itsenäinen affektinen lausekonstruktio. Artikkelin yleisempänä tavoitteena on näyttää imperatiivin käyttötapojen moninaisuus ja sen hienojakoinen konstruktioituminen. Tutkimuksen teoreettinen lähestymistapa on konstruktionaalinen ja vuorovaikutuslingvistinen. Artikkeli perustuu noin 90 esiintymän aineistoon, joka on koottu monenlaisista puhutun ja kirjoitetun kielen lähteistä, muiden muassa murrearkistoista, haastattelulitteraatioista, puheesta tehdyistä muistiinpanoista, kaunokirjallisuudesta ja internetistä. Paheksuntaimperatiivi on yleiskielessä harvinainen; sen alueellinen tausta on aineiston perusteella...

We investigate how a residual network can learn to predict the dynamics of interacting shapes purely as an image-to-image regression task. With a simple 2d physics simulator, we generate short sequences composed of rectangles put in motion by applying a pulling force at a point picked at random. The network is trained with a quadratic loss to predict the image of the resulting configuration, given the image of the starting configuration and an image indicating the point of grasping. Experiments show that the network learns to predict accurately the resulting image, which implies in particular that (1) it segments rectangles as distinct components, (2) it infers which one contains the grasping point, (3) it models properly the dynamic of a single rectangle, including the torque, (4) it detects and handles collisions to some extent, and (5) it re-synthesizes properly the entire scene with displaced rectangles.

Potentiaali on verbinmuoto, johon suomen kielen puhuja tutustuu viimeistään koulussa äidinkielen tunnilla: lienen, lienet, lienee, lienemme, líenette, lienevät, oltaneen; tullen, tullet, tullee, tullemme, tullette, tullevat, tultaneen; purren, purret, purree, purremme, purrette, purrevat, purtaneen. Monille nämä muodot ovat ennestään vieraita. Koulumaailmasta on tullutkin tietooni monta tarinaa siitä, miten vaikeaa potentiaalimuotoja on oppia. Kun helsinkiläisessä koulussa oli eräällä äidinkielen tunnilla käsitelty potentiaalimuotoja tullee, purree ja pesı see. olivat oppilaat ymmärtäneet ne muotojen tulee. puree japesee muı teellisiksi varianteiksi, joissa konsonantti on kahdentunut. Eräs kokemäkeläinen äidinkielenopettaja tunnustaakin julkisesti potentiaalista kirjoittaessaan: >›Muodon täydelleen opettaminen kokemäkeläisille oppilailleni on ollut ainakin minulle toivoton tehtävä.›› 14-vuotias keravalaistyttö, jolle eräs tuttavani oli yrittänyt opettaa potentiaalia, oli ilmaissu...

During recent years instruments used in performing popular music have emerged in new and perhaps
somewhat surprising contexts. Especially second hand electric guitars and the rising value of vintage
instruments have received media coverage not only in magazines targeted to guitar players, but also in
printed media and Internet sites aimed at wider audiences. Furthermore, the celebrity-owned instruments are changing hands in auctions held at fine art and collectibles brokers such as Sotheby’s. There is also a special magazine for wealthy guitar collectors and enthusiasts, Guitar Aficionado, which is presenting collectible and vintage guitars as part of luxury lifestyle.

The paper seeks to answer why during recent decades originally serial produced musician’s tools such as electric guitars are being transformed into luxury items and highly collectible artifacts. Special attention is paid to individual instruments, which have been previously owned by celebrities and/or rock
musicians and to instruments that have been modeled after them.

The research is being contextualized to cultural history of the electric guitar. The paper also elaborates how the high market value of the vintage guitars and their increasing demand are being utilized in contemporary instrument making by
manufacturing replicas of the celebrity-owned instruments.

Theoretically the work draws from anthropological and sociological concepts of fetishism, magic
and distinction to interpret the immaterial values attached to specific vintage electric guitars. Empirically
the paper draws from the contents of Guitar Aficionado magazine and the discussion this publication has
raised on Internet sites used by guitar players.

This is a book about European acoustic heritage. The authors and editors are proposing multiple ways to define, describe, conceptualise, document and represent acoustic heritage of various sound cultures in Europe. The writers are sharing knowledge on major research projects and methodological tools developed among the different disciplines, such as architecture and soundscape studies. They are bringing forth the archival practices in preserving acoustic heritage and how environmental sounds have been utilised in different research and art projects. In addition the book will provide a full description of the online tools that have been developed with the aim of managing and preserving contemporary acoustic heritage in Europe, including a “good practices guide” for any individual, collective or institution interested in participating in the European Acoustic Heritage project. Above all, with this book the authors are hoping to make European sonic environments audible for listeners attracted by the cultural heritage of the continent in different times, places and contexts.

The project European Acoustic Heritage is coordinated by Axencia Galega das Industrias Culturais (AGADIC) and elaborated on by Tampere University of Applied Sciences (Tampereen ammattikorkeakoulu, TAMK), The Centre for Research on Sonic Space & Urban Environment (Centre de Recherche sur l’Espace Sonore et l’environnement urbain de l’Ecole Nationale Supérieure d’Architecture de Grenoble, CRESSON – ENSAG), Phonogrammarchiv, the Austrian Audiovisual Research Archive (Phonogrammarchiv, the Austrian Academy of Sciences PHA-ÖAW ), the multidisciplinary collective Escoitar.org and the Isle of San Simón Foundation (Fundación Illa de San Simón).

This article explores how the use of mobile phones has changed the contemporary Finnish soundscape. The change manifests itself firstly via telephone conversations which have spread
from private premises to public places and secondly via interchangeable ringing tones. Drawing on research carried out among cellular phone users, the article argues that the ringing tones are selected on the basis of musical taste, so they can no longer be regarded as impersonal telephone signals. They can be used as a means of distinction and identity like any music. Even if the quality of ringing tones is inferior to the original interpretation of the tune, they can still be considered to be music, because of their personal and collective associations.

In 1985, the profound structural change took place in Finnish radio history when the first commercial stations were granted experimental two-year licenses.  The competition between two types of radio practices, the European public service radio, and the American commercial radio changed the music contents irrevocably.

The paper claims that media deregulation and changes in radio music culture alter not only music consumption but also how public place is being sonically constructed.  Theoretically, the paper draws on concept of transfonia, which was coined after critical evaluation of R. Murray Schafer’s term schizophonia. Anahid Kassabian term ubiquitous listening and its effect on constructing radio music canons will be presented as well. The paper seeks to find out how the changes of radio music policy have an influence on public space. The answer will be provided by presenting the case study on commercial radio music played in public transportation in Tampere, Finland. The analysis of broadcast music will be contextualised by presenting the music selection process and how the fictional marketing personas (“Dave and Sue”) are utilized in formatting the radios. The research material consists of interviews of radio station personnel and IFPI Finland music reports. (Presented in Urban Sound Studies. Norsound Seminar, Copenhagen 16–18.11.2012. )

Abstract:

Transforming Finnish Soundscapes (2014–2016) is a project continuing but not restricted to themes introduced in the research project One Hundred Finnish Soundscapes (2004–2006). Both projects collect, document, archive and analyse the qualitative aspects of sonic environments within the Finnish geographical borders. Of particular interest are the ways recordings are socially used, exchanged, listened to and made in participatory fashion. Terrestrial radio and digital media, such as web mapping tools and portable recording devices, were utilised in collecting, preserving and presenting the materials. The analysis of data collected ten years apart enables a unique diachronic comparison of soundscapes.

Publication Name: Nicolas Rémy, Nicolas Tixier (dir.), Ambiances, demain | Ambiances, tomorrow | Ατμόσφαιρες, Αύριο, actes of the 3rd International Congress on Ambiances, Volos, Greece, co-edition : International Ambiances Network & University of Thessalie, Department of architecture, Sept. 2016, 1 016 pages.