- Cultural Studies, Urban Studies, Popular Music, Metodology of social research, Music, Media Studies, and 48 moreCultural History, Musicology, Architecture, Comparative Literature, German Studies, German Literature, Subcultures, Punk Culture, Berlin, Interculturalism, Manchester, PhD Thesis, Turin, Helsinki, Russian-Germans, Sociology of Music, Popular Music Studies, History of Popular Music, German History after 1945, Electronic Dance Music, Post-War History of British Pop Music, Punk Studies, Post-punk, Urban Sociology, Cultural Geography, Popular Culture, Street Art, Sociology of Arts, Punk Rock, Icelandic Sagas, Sociology of Art, Popular Italian Cinema, Pop Culture, DIY culture, Hardcore punk, Music and Media, Cultural Sociology, Scandinavian Studies, Sound studies, Space and Music, Punk Subculture, Cultural Policy, Punk Based Subcultural Studies, Cinema, Anarcho Punk, Youth Subcultures, Actor-Network-Theory, and Media and identityedit
- Giacomo is a researcher in urban and cultural studies, with the title of Docent in Urban Studies at the University of... moreGiacomo is a researcher in urban and cultural studies, with the title of Docent in Urban Studies at the University of Helsinki. He received a PhD in comparative studies from the Libera Università di Lingue e Comunicazione IULM Milan; his dissertation examined Berlin in German-speaking literature between 1989 and 2000.
He has been lecturing mainly at the University of Helsinki, where he held courses ranging from German Cultural Studies to Cultural Representations of the City, but also taught at the Estonian Art Academy, at the University of Freiburg and at the Karlsruhe Hochschule für Musik. He gave guest lectures at the Universities of Strasbourg, Tampere, Turku, Sorbonne and Freiburg. in 2011- 2012 he was Von Humboldt Foundation experienced researcher at Deutsches Volksliedarchiv – Centre for Popular Music and Culture in Freiburg, where he conducted a research on industrial cities, economic crisis and popular music in the 1980s.
He published articles on major journals (such as The European Journal of Cultural Studies and the Serbian Architectural Journal) and book chapters in innovative books (such as Culture and the City and Handbuch Jugend – Musik – Sozialisation). He has organized since 2008 the Urban Studies course at the Helsinki Summer School.
His main fields of expertise are urban cultures, popular music, urban branding, interculturalism, creative cities, cultural planning and temporary uses.
Contact him at: giacomo.bottaÄTgmail.comedit
This article focuses on the temporary activation via popular music of former industrial buildings awaiting redevelopment in Strasbourg, France. The renting out of lucrative areas for certain periods of time, either for continuous use or... more
This article focuses on the temporary activation via popular music of former industrial buildings awaiting redevelopment in Strasbourg, France. The renting out of lucrative areas for certain periods of time, either for continuous use or one-off events, to cultural entrepreneurs, artists, NGOs and small businesses is increasing. In relation to popular music, temporary uses work in relation to one-time live events and yearly festivals attracting crowds to former industrial areas, the creation of affordable rents for rehearsal spaces, studios and clubs, and other experimental uses. These processes increasingly develop durable effects in cities, both on the spatial and on the socio-cultural level. This article analyses in particular Les Nuits électroniques de l’Ososphère festival, which has taken place in Strasbourg France since 1997.Peer reviewe
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This paper’s claim is that popular music is able to implement places in powerful ways, forming new modalities to conceive and perceive them. This is the result of a layering: popular music mediates places as textscapes, soundscapes and... more
This paper’s claim is that popular music is able to implement places in powerful ways, forming new modalities to conceive and perceive them. This is the result of a layering: popular music mediates places as textscapes, soundscapes and landscapes. Song lyrics referring to places make up a band’s textscape. The use of local music tradition, vernacular or typical city noises constitute a band’s soundscape. Finally, the landscape consists of all the visual elements (e.g. covers) referring to the same particular locality. Turning to the regeneration level, it seems important to note that music in itself is ethereal, but its production, circulation and fruition rely on material factors located in cities. This kind of implementation on the representational and regeneration level could be analysed in Manchester. Since the late 1970s, the local popular music scene has adopted a particular ‘cultural sensibility’. Bands such as The Smiths, The Fall, and Joy Division were able to root their po...
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Research Interests: Cultural History, Music History, Musicology, Media and Cultural Studies, Popular Music Studies, and 15 morePopular Music, Cultural Heritage, Heritage Studies, Popular Culture, Urban History, Cultural Theory, Culture, Urban Studies, Intangible cultural heritage, Creative Industries, Urban Sociology, Intangible Heritage, Patrimonio, Urban cultural studies, and Intellect
This article explores the relation between popular music and creative cities through the example of Manchester between 1976 and 1997. The formation of a local music scene is analysed through the notion of urban creative milieu stating its... more
This article explores the relation between popular music and creative cities through the example of Manchester between 1976 and 1997. The formation of a local music scene is analysed through the notion of urban creative milieu stating its historical debt to the city industrial heritage; place-images produced by the local popular music scene are analysed as visual, aural and lyrical productions. The article examines the consolidation of the considered local popular music scene through bottom-up and autonomous projects and the regeneration of some areas of Manchester. It looks at the role of the 'New Left' municipality, its difficulties in recognizing the city's creative capital and its attitude towards the production and consumption of popular music. The conclusions present some general reflections on the Manchester legacy and its significance for a definition of creativity at the urban level.
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This article focuses on the temporary activation via popular music of former industrial buildings awaiting redevelopment in Strasbourg, France. The renting out of lucrative areas for certain periods of time, either for continuous use or... more
This article focuses on the temporary activation via popular music of former industrial buildings awaiting redevelopment in Strasbourg, France.
The renting out of lucrative areas for certain periods of time, either for continuous use or one-off events, to cultural entrepreneurs, artists, NGOs and small businesses is increasing. In relation to popular music, temporary uses work in relation to one-time live events and yearly festivals attracting crowds to former industrial areas, the creation of affordable rents for rehearsal spaces, studios and clubs, and other experimental uses.
These processes increasingly develop durable effects in cities, both on the spatial and on the socio-cultural level.
This article analyses in particular Les Nuits électroniques de l’Ososphère festival, which has taken place in Strasbourg France since 1997.
The renting out of lucrative areas for certain periods of time, either for continuous use or one-off events, to cultural entrepreneurs, artists, NGOs and small businesses is increasing. In relation to popular music, temporary uses work in relation to one-time live events and yearly festivals attracting crowds to former industrial areas, the creation of affordable rents for rehearsal spaces, studios and clubs, and other experimental uses.
These processes increasingly develop durable effects in cities, both on the spatial and on the socio-cultural level.
This article analyses in particular Les Nuits électroniques de l’Ososphère festival, which has taken place in Strasbourg France since 1997.
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... has emerged as decisive because of the spread of transnational economies, where cities work as» nodes «in the global flow of people, goods and information. ... Its biggest hall, the Marine Cable Hall is widely used for live concerts... more
... has emerged as decisive because of the spread of transnational economies, where cities work as» nodes «in the global flow of people, goods and information. ... Its biggest hall, the Marine Cable Hall is widely used for live concerts and festivals of rock and electronic music. ...
Economic crisis and popular music have often been put in synergic relation to each other especially in the context of industrial cities. Disparate genres first conceived in industrial cities, ranging from hardcore punk to house, and from... more
Economic crisis and popular music have often been put in synergic relation to each other especially in the context of industrial cities. Disparate genres first conceived in industrial cities, ranging from hardcore punk to house, and from post-punk to heavy metal, seem to be the most fitting score for a grey, gloomy, decaying built environment or for its evocations, but is there an organic relation between de/industrialization and cultural production? This article addresses these issues, trying to unfold the relation between industrial soundscapes and landscapes, symbolic representations, material changes and attempts to make sense of the crisis by dramatizing it, in the context of 1980s European industrial cities. It also considers the ongoing ‘heritagization’ of popular music, taking place in contemporary (post?)industrial cities and the way this relates to tourism, local economies, place perception and branding.
Research Interests: Cultural History, Music History, Musicology, Media and Cultural Studies, Popular Music Studies, and 15 morePopular Music, Cultural Heritage, Heritage Studies, Popular Culture, Urban History, Cultural Theory, Identity (Culture), Culture, Urban Studies, Intangible cultural heritage, Creative Industries, Urban Sociology, Intangible Cultural Heritage (Culture), Intangible Heritage, and Patrimonio
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The book is a comparative study of popular music cultures in 1980s Torino, Tampere, Manchester and Düsseldorf and their relation to the industrial city as imaginary, as heritage and as everyday reality. Popular music genres, such as... more
The book is a comparative study of popular music cultures in 1980s Torino, Tampere, Manchester and Düsseldorf and their relation to the industrial city as imaginary, as heritage and as everyday reality.
Popular music genres, such as hardcore punk, house, industrial, post-punk and heavy metal, share a common origin in 1980s decaying industrial cities. All these genres have been canonized and understood as “scores” for grey, gloomy, decaying urban industrial environments or for their evocation, but is there an organic relationship between de-industrialization and this kind of music production?
Popular music genres, such as hardcore punk, house, industrial, post-punk and heavy metal, share a common origin in 1980s decaying industrial cities. All these genres have been canonized and understood as “scores” for grey, gloomy, decaying urban industrial environments or for their evocation, but is there an organic relationship between de-industrialization and this kind of music production?
Research Interests: Cultural History, Cultural Studies, Media Studies, Performing Arts, Popular Music Studies, and 13 morePopular Music, Cultural Heritage, Cultural Theory, Urban Studies, Punk Culture, Punk Studies, Post-punk, Post Punk, Deindustrialisation, Creative Economy, Music scenes, Hardcore punk, and Punk Based Subcultural Studies
Popular music is as much about places as it is about sounds. Its production is forged in studios, rehearsal areas and bedrooms, places often mythologised in popular music history. Popular music is also recorded using studio techniques... more
Popular music is as much about places as it is about sounds.
Its production is forged in studios, rehearsal areas and bedrooms, places often mythologised in popular music history. Popular music is also recorded using studio techniques designed to recreate space, through reverb and other effects. Its collective consumption happens in concert halls, clubs and bars while its individual consumption takes place in streets, homes and at bus stops; all physical places. In addition, popular music often represents or sounds like certain urban or rural, real or imagined places of various scales. These places are often invisible, intangible and hidden behind the music, or recreated on record covers and music videos.
This is a multilingual volume, written by a group of transnational scholars, with chapters in German and English. It comprises chapters about heterogeneous popular music practices, largely, but not exclusively, from Europe. Addressing the relation between popular music practices and political struggles, postcolonialities, dense and layered urban settings and a certain understanding of cultural heritage, this volume turns noise into sound, revealing the invisible landscapes of Europe.
With chapters by Giacomo Bottà, Thomas Burkhalter, Christina M. Heinen, Fernand Hörner, Meri Kytö, Carlo Nardi, Leonard Nevarez, E. Şirin Özgün, Philipp Rhensius, Daniel Tödt, David-Emil Wickström
Sample from Google Books: https://books.google.fi/books?id=NQ7dCwAAQBAJ&lpg=PA1&pg=PA1#v=onepage&q&f=false
Its production is forged in studios, rehearsal areas and bedrooms, places often mythologised in popular music history. Popular music is also recorded using studio techniques designed to recreate space, through reverb and other effects. Its collective consumption happens in concert halls, clubs and bars while its individual consumption takes place in streets, homes and at bus stops; all physical places. In addition, popular music often represents or sounds like certain urban or rural, real or imagined places of various scales. These places are often invisible, intangible and hidden behind the music, or recreated on record covers and music videos.
This is a multilingual volume, written by a group of transnational scholars, with chapters in German and English. It comprises chapters about heterogeneous popular music practices, largely, but not exclusively, from Europe. Addressing the relation between popular music practices and political struggles, postcolonialities, dense and layered urban settings and a certain understanding of cultural heritage, this volume turns noise into sound, revealing the invisible landscapes of Europe.
With chapters by Giacomo Bottà, Thomas Burkhalter, Christina M. Heinen, Fernand Hörner, Meri Kytö, Carlo Nardi, Leonard Nevarez, E. Şirin Özgün, Philipp Rhensius, Daniel Tödt, David-Emil Wickström
Sample from Google Books: https://books.google.fi/books?id=NQ7dCwAAQBAJ&lpg=PA1&pg=PA1#v=onepage&q&f=false
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Le présent ouvrage interroge les liens entre spatialité et création à travers la dialectique du visible et de l’invisible urbains. Il explore de manière interdisciplinaire les différentes dimensions de l’invisibilité de / dans la ville et... more
Le présent ouvrage interroge les liens entre spatialité et création à travers la dialectique du visible et de l’invisible urbains. Il explore de manière interdisciplinaire les différentes dimensions de l’invisibilité de / dans la ville et présente une pluralité d’écritures, de stratégies et d’expressions artistiques permettant de les rendre visibles et lisibles. Dues à des spécialistes de littérature et d’études culturelles, d’historiens, d’architectes et d’artistes, les contributions ici réunies soulignent la dynamique créative de l’invisibilité et montrent comment cette perception et cette expérience doubles de l’espace urbain sont constitutives des écritures modernistes et postmodernistes, qu’elles soient littéraires, architecturales, théâtrales, filmiques ou picturales.