The first part of my thesis (the videowork Tango Lesson and essay “Tango Lesson – Study on the encounter of empirical science and art”) was shown in the Project space at the Finnish Museum of Photography 10.6–30.8.2009. The second part (“What does silence sound like?”) was published in the launch issue of Journal for Artistic Research (JAR 0) in spring 2011. The videowork Room that goes with the article was also shown in the Studio at Kunsthalle Helsinki 6.–31.3.2010. The third part of my thesis is formed by the works Two rooms and a kitchen and Reflections in a window pane plus the essay “Delicate wash 40 degrees”. The essay appeared in the artistic-research issue of Lähikuva magazine (3/2013), and the videos were once again shown in the Studio at Kunsthalle Helsinki (28.4–3.6.2012). The last two parts of the study (“Videowork as a genre picture” and “An archive of consolation”) have been published in their entirety in the online artistic-research journal Ruukku (issues 2 and 4). The videowork Morning contained in the fourth article has also been shown at the Aboa Vetus & Ars Nova museum in Turku (Turku Biennial 2013/ Idyll).
 The picture shows Hammershøi’s painting Open Doors, Strandgade 30, from 1905.
 The term “genre painting” comes from the French word genre (kind, type, sort) and has been used since the 18th century. Initially, artists specializing in painting flowers and animals were also called genre painters, but in the 19th century genre painting was limited to paintings of everyday life. At the same time, the comic depictions of ordinary people and middle-class home interiors of the 17th century Netherlands began to be thought of as the basic types of genre paintings. Genre painting was popular until the end of the 19th century and also spread to Finland via the Düsseldorf Academy. (Taiteen pikkujättiläinen 1995, 362–363.)
 Taiteellinen kokeellisuus/ kokeellinen taiteellisuus tutkimuksena (Sibelius Academy 5.5.2012). The theme of the event was experiment in art and research.
 The comment was made by artist-researcher Piia Rossi.
 The stage for this was Nordic Summer University’s winter symposium in Aarhus 31.1–2.2.2011.
 Elo 2013. Mika Elo was the pre-examiner for my research in 2009–2013.
 Katajavuori, Riina (2013) “The Secret of Breakfast”. In the exhibition catalogue Silja Lehtonen (ed.) Turku Biennial 2013/ Idyll, 90–93. Turku: Aboa Vetus & Ars Nova.
 The Nordic Summer University (Nordisk sommaruniversitet, NSU) is a Nordic network founded in 1950, consisting of study circles in different disciplines. I have belonged to the artistic-research study circle since 2010.
 I use the term “lab work” as I have heard it used in everyday speech, as a synonym for experimenting together. In theatre history the term takes our thoughts to the Laboratory Theatre of the Pole Jerzy Grotowski (1933–1999) and to other experimental groups whose primary aim was not to produce performances, but to explore the actor’s work (Schino 2009, 7–11).
 Kantonen 2017, 13.
 My pen-friend is the English Myna Trustram, whose voice can be heard in Reflections in a window pane. The essay based on our correspondence, “Windows – a correspondence between Elina Saloranta and Myna Trustram”, will be published in the anthology edited by Trustram, Luisa Greenfield and Eduardo Abrantes, Being There: Exploring the local through artistic research, in winter 2018 (NSU Press).
 Scientific publications had their beginnings in the correspondence between scholars in the 17th century (Bazerman 2000, 24). In artistic research the letter form has been used, for instance, by the Israeli Itay Ziv in his doctoral thesis Disabled Art – Escapism as Artistic Tactic (University of the Arts Helsinki, Academy of Fine Arts 2016).
 Autoethnography is an approach in which social phenomena are investigated through the life of the researcher (Latvala, Peltonen & Saresma 2004, 25–26). To get an idea of autoethnographers’ literary experiments, see, e.g. the collection of articles edited by Arthur Bochner and Carolyn Ellis Ethnographically Speaking: Autoethnography, Literature and Aesthetics (Altamira Press 2002).
 Scott-Hoy, Karen (2003) Form Carries Experience: A Story of the Art and Form of Knowledge. Qualitative Inquiry 9:2, 268–280.
 The book’s title Tutkija kertojana – tunteet, tutkimusprosessi ja kirjoittaminen could be translated as “The researcher as narrator – emotions, the research process and writing”.
 Latvala, Peltonen & Saresma 2004, 13–16.
 The word “essay” comes from the French essai, which means an attempt, experiment or test. At the start of the 20th century the word koelma [a structured trial or test] was suggested as a Finnish counterpart to “essay”. (Riikonen 1990, 17.)
 Mazzarella 1992, 173.
 Bärtås 2010, 7.
 Bärtås 2010, 12–13.
 The word ekphrasis comes from the Greek ek (out) and frazein (to tell, declare or utter). The classic example of ekphrasis is Homer’s description of Achilles’s shield in the Iliad. In the 18th century, ekphrasis was limited to verbal descriptions of visual art, but, recently, the concept has again been expanded so that we can talk, for instance, about an ekphrastic rendering of a film or dance. (Mikkonen 2005, 262–266.)
 Bärtås 2010, 14. Bärtås borrows the idea from the German Harun Farocki (1944–2014), who in his videowork Schnittstelle (1995) relates how he learned to write voice-overs: “I spoke to the images and heard things from them.” (Bärtås 2010, 77–78.)
 Feminist Writings, University of Helsinki 26.–27.5.2017.
 The text was anonymous. The original Finnish said: "Katoavasta, poispyyhitystä naisesta transformatiiviseksi naiseksi/ Tämä on historiallista tietoa/ Välittyvää, välittävää, ruumiillista tietoa."
 The layout for the English version of “Lohdutusten arkisto” (“An archive of consolation”) has, nevertheless, been done later on, since the text was only published in Finnish in Ruukku. For the same reason, the Finnish article does not have an “English” link, which all the other pages have.
 Lähikuva (close-up) is an academic journal focussing on film and media culture. My essay was published in issue 3/2013, which took as its theme artistic research.
 See the section “Snow in an hourglass” in the essay “Delicate wash 40 degrees” (in the Lähikuva magazine layout, page 66).
 Here “village photographer” means someone who lived in the countryside and practised photography as a sideline, photographing their own home district, mostly people and buildings. The first village photographers appeared in Finland in the 1890s, but their golden age was the 1920s and 1930s. (Sinisalo 1995, 62–64.) Frans Viljamaa was a farmer from Mäntsälä, who began taking photographs in the 1910s and carried on until the end of the 1920s (Kuka kuvasi? Suomalaiset valokuvaajat 1842–1950). After Viljamaa’s death his relatives donated his negatives to Mäntsälä museum, which digitized the pictures and published them in the Finna (www.finna.fi) and Muistaja (www.muistaja.fi) databases. I got onto Viljamaa’s trail when I did a search with the word tuplavalottunut (double-exposed) in Finna.
 I think Osmo Viljanen used the reel-to-reel tape recorder in the same way as village photographers used the camera, recording the life of their own home regions. Viljanen’s tapes are now in the possession of the Mäntsälä Society (Mäntsälä-Seura).
 Chion borrows the word chiaroscuro from painting, and by verbal chiaroscuro he means “an image of human speech, in which at one moment we understand what is said, and at another we understand less, and at times nothing at all” (Chion 1992, 106).
 October 12, 2016, Kallio Church in Helsinki began playing funeral bells for the victims of the bombing of Aleppo every day at 17:00. The campaign got the name Bells For Aleppo, spread around the world, and carried on until UN Day, October 24. Tatu Virtamo recorded the bells October 20 in the tower of the Church of The Cross in Lahti.
 Huhtamo 2000, 28.
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Translation: Michael Garner