Acknowledgements

 

My doctoral research project has come to an end in the form of this commentary. This commentary is one way to frame and expose the process that will continue in my artistic works after this academic project. It has been  slow, complex, challenging, but above all rewarding and rejoicing process, with many contributors, influences, and critical support coming from various directions, all of which have helped deepening my own understanding of my artistic practice.

 

I would like to begin by thanking the artists-colleagues with whom I have worked during this intense research process. During the first examined artistic part, I was happy to work with visual artist Sari Palosaari and performer and choreographer Mikko Hyvönen. Thank you for supporting the early phases of my project and being curious about what I was developing. Thank you Heikki Paasonen for helping me in the first examined artistic part. The second artistic part was realized with my colleagues Outi Condit, Paula Kramer, and Vincent Roumagnac. Thank you for your attention, willingness for profound discussions, and for your time to engage with the practice and perform with me. Those exciting shared moments in the Research Pavilion in Venice are unforgettable.

 

There are other influential artists who I had a chance to meet, discuss and work with, and whom I would like to mention. Thank you, manga artist Nao Yazawa, for teaching me a lot about Japanese manga while working at the residency in Tokyo. Thank you artist Leena Valkeapää for sharing your everyday choreographic life stories from Kilpisjärvi, Lapland. Your everyday viewpoints and thoughts from different cultural circumstances have been important for my project.

 

My supervisors. Thank you, Kirsi Monni, for helping me find the artistic research platform in the first place. You encouraged me to apply to this doctoral program and you gave me an important impulse towards this process. Thank you for starting the project with me with a very profound and generous critical engagement. I think that the dialogue with you set a fertile ground for my project. Thank you, Jan Kaila, for discussing with me in various unexpected places about art and artistic research and continuously asking me to explain what I mean by choreography and choreographic thinking. Thank you, Michael Kliën, for encouraging me to continue developing my perspective of the choreoreading practice during the research when I was most strongly doubting it. The feedback and critical perspectives you all have offered my project is invaluable.

 

Other collegiate support, for which I am grateful, comes from Kirsi Heimonen and Anne Makkonen. Thank you for your continued interest and supportive comments and willingness to try things with me in the studio. I also want to thank the students with whom I have had a chance to discuss my research process, especially Ida Louis Leclerc Larsen for the collegiate curiosity about the choreo-orientated thinking I was developing.

 

Then the doctoral platform, the Performing Arts Research Centre, Tutke. Thank you, Leena Rouhiainen, Esa Kirkkopelto, Hanna Järvinen, Laura Gröndahl, Annette Arlander, Pilvi Porkola, Tuija Kokkonen, Annika Fredriksson, Elina Raitasalo, Laura Viertola, Siiri-Maija Heino, Kirsi Rinne, Susann Vainisalo and Riitta Pasanen-Willberg, all of whom have been leading, planning, realizing and facilitating Tutke’s challenging platform during my research process. Thank you Tutke!

 

Thank you as well, Fine Art Academy’s doctoral programme. It has been important to study and practice beyond disciplinary borders. Thank you, University of the Arts Research Pavilion in Venice for twice accepting my research process as part of its program. Thank you, Anita Seppä, Henk Slager, and Seppo Salminen. Thank you also, the Summer Academy for Artistic Research, which made it possible to connect with colleagues in other Nordic platforms.

 

Thank you, staff of the Theatre Academy Training Theatre and of the Theatre Academy library. Your work is invaluable.

 

I also want to thank Uniarts Stockholm professors Ellen J. Røed, Juliette Mapp, and Rebecca Hilton for your interest in my project and for finding time to discuss my project at several artistic research events. Thank you also professors Per Roar Thorsnes from Oslo National Academy of Arts and Emilyn Claid from University of Roehampton and artist-researcher Efva Lilja for your curiousity towards my work.  

 

I want to thank my external examiners, Victoria Pérez-Royo and Alex Arteaga, for working as critical dialogue partners for my project. Your feedback has taken me further, and with your comments I have been able to clarify the operative concepts in my practice.

 

It is difficult to think of doing this kind of research without collegiate support. Thank you, doctoral colleagues Mireia c. Saladriquez, Joa Hug, André Alves, Stacey Sacks, Lisa Torell, Edvine Larssen, Saara Hannula and Tuuja Jänicke for your curiosity and feedback. Thank you, every Tutke and Kuva doctoral candidate with whom I have had a chance to discuss and learn from. Thank you, my colleagues who participated the research workshops.

 

There are many people I have met during these years who have given their attention to this process. Thank you, astronomer Esko Valtaoja for taking time to discuss the notion of space and outer space in the beginning of my process. It seems that after examining planetary choreographic conditions in my doctorate, I am on my way to working with the interplanetary scale. Thank you, philosophers Erin Manning and Brian Massumi for giving your time to think about my research questions together. Thank you, Claire Hicks for giving me a chance to begin to develop choreography as reading practice in the residency at Critical Path in Sydney. Thank you, all the artists who participated in the first blurry workshop there. Thank you, Daniela Hahn for inviting me to process my questions in Berlin with your writing group. And thank you Christopher Ryan for proofreading my texts and giving helpful feedback for my writing.


Thank you, Tokyo Arts and Space, O Espaço do Tempo residency, Cité International des arts residency, German Society for Dance Research, Performing Studies International, Nordic Forum for Dance Research, Liikekieli.com, Reykjavik Dance Festival, University of the Arts Stockholm, SAR conference, Carpa4 colloquium, Ehkä-production in Turku, the Saari Residence, Ars Bio Arctica residency, AARK residency, Mad House Helsinki, HZT Berlin, and Dansehallerne Copenhagen for inviting me to develop and share my work as workshops, presentations, performances, writings, and talks.  I have grown a lot through these exchanges.

 

The research project would be impossible to realize without funding. Thank you Finnish Cultural Foundation, Helander Foundation, Arts Promotion Centre Finland, and Wihuri Foundation for generously supporting my project. It is invaluable to have the possibility to apply for resources for doctoral artistic research projects. Through this support, I have developed expertise, which I in turn am happy to contribute to the domestic and international cultural field.

 

Lastly, I want to especially thank you, Outi, for your endless curiosity in discussing the artistic research and art-making matters and for sharing the collegiate viewpoints that have encouraged me to further explore my topic, deep down to its core. 

 

In the process of transformations in art and life, I want to thank you, Vincent, for continuing our collaborative work, working with me within my research project, and taking care and responsibility for the photo- and videographic visuality of my experiments and artworks. Thank you for helping me to find my way by being always ready to listen, and supporting me in and through the difficult times during the doctoral process. Thank you for bringing joy. This would not have been possible without you. 

 

I think this research process, as many others, can be dedicated to the long and slow transformations and development in life as an artist. Art has been a way for me to find my place under many toxic pressures, and I hope that this research project also brings joy, celebrates the value of generative imagination, playful plurality, and excited art-making.

 



 

 

 

 

Contextual frameworks: Artistic Research and Theatre Academy Helsinki


I am dealing with something very simple and fundamental for myself. At the moment, I am looking out from researcher room number 218 to the entrance hall of the Theatre Academy. Materials, sets, carts, a woman pumping a trolley in order to move heavy material, people walking, rendezvous meetings, routes through, sideways, diagonally, away and closer, all happening randomly. A woman coming out from the elevator lifts her hand and makes a triumphal V-sign. One walks, lurches, moves difficultly with her socks. What in this view and its random motional character is so interesting? A contextual mystery and conundrum, which opens through my window and is invited in. I (am) behind my desk and computer, legs crossed, aching a bit in my shoulder, and I have nothing here but transient words. (Notes, October 2014.)

 

The Theatre Academy Helsinki is a building where the textual writing of this commentary has mainly taken place. As a place, it is not only a social or choreographic apparatus itself but also a discursive entity that has influenced this commentary by the fact that the body of the artist-researcher has been inside its walls and corridors. This body has been imbued with the discursive realm of the doctoral program of the Performing Arts Research Centre at the Theatre Academy during 2013-2019. Prior to this process, I studied at the Theatre Academy from 1998–2003 for a BA in Dance and MA in Choreography.

 

 

How to become an artist-researcher

 

The first studying period was fulfilled with great enthusiasm in studying to become a choreographer. I do not have any specific working diary documents from this period about the Theatre Academy but more like project and working plans sketched in notebooks. MA studies in Choreography from 2001-2003 were emphasized by studying how to make dance pieces. The projects varied from solo to the group works, including music- and movement-based starting points. I really enjoyed these studies. One of the reasons was that I gave the study plan and curriculum lots of space to find the way I wanted to approach choreography, without problematizing the way through historical or theoretical inputs. Even if this kind of open space felt great, I remember that I was missing philosophical approaches to movement, choreography, and contemporary art in order to have some stimulus or conceptual help from the field of critical theory to build understanding about the choreographic practice and the operative notions in it. During that time, I learned how to make dance pieces and how to run a production, which are valuable skills for a choreographer. I accepted all this without emphasizing the lack of critical discourses about artistic practice, art, and choreography.

 

The second period, 2013–2019, has been based on the collapse of my previous practice, and it has been open to intense critical questions about the practice and the notion of choreography. I have been alert about the process, which happens through the doctorate program in a different way than when I was in my MA studies. This is, of course, understandable after having a professional experience through which the research questions developed. In this way the alertness has manifested itself as a state of openness to the personal and professional change and transformation that happens within the institutional curriculum when digging into personally fundamental level of art-making, and then sharing it with the public and colleagues. Professor of artistic research Leena Rouhiainen writes: Artistic research interrogates already established approaches and practices belonging to art. It does this by, in various ways, developing accepted conventions further, or by even attempting to renounce them altogether.’ (Rouhiainen 2017, p. 145, eds. Kaila, Seppä, Slager)

 

The quote matches well my process in the sense that during the doctoral studies I have built an understanding of why my previous practice became meaningless, and through that process I have developed another kind of approach to choreography. In other words, this has happened through artistic research to the point in which I have renounced basic relationships that constitute my choreo-orientated thinking and practice. In a way, this process can also be understood as updating the operational tools of choreographic thinking and practice in order to meet the contemporary challenges I faced as an artist after graduating from the MA program, and in one way this updating resists the previous incorporated productional model of making dance pieces. Because of this motive to apply to the doctoral program, I think that my rerouting process simultaneously looks closely at the history of choreography and – because of that opening – serves as an introduction to the choreographic potential that has not yet been explored in depth, namely reading.  

 

One important material fact, which has affected the process of becoming an artist-researcher, is that I have had my workroom at the Theatre Academy. During the research process, I have worked with this spatial condition while preparing the installation of the project Seasons as Choreographers: Where Over the World is Astronaut Scott Kelly?. This project entails background questions such as: What is happening to my practice in the doctoral process? How are the learned discourses transforming my choreographic thinking?

 

In order to move about in the Theatre Academy, you need a badge that opens the locked doors. The badge is small, grey, and it feels quite nice in one’s hand. Effortlessly opening doors with it has been a privileged act. In these years of research, I have waited many times for a lift downstairs to take me to upper floors by swiping the badge in front of the lift’s control system. I have wandered around on the administrational level and in the entrance hall, I have danced in a research lobby by myself, and I have become very familiar with the copy machines, printers, and machines with which one lends books from the library. I have had access to my room 24/7 with a specific code.

 

As a building, the Theatre Academy is big and the resources and possibilities offered for students are exceptional. It has a large glass door at the entrance, which leads to a big glass-roofed square with a beautiful wooden floor. A flow of students, staff, and other professionals is continuous during daily hours, within the rules and regulations of sustainable use of this space.

 

Studying artistic research has changed my practice vocabulary by multiplying it and making it more precise in relation to my practice. After learning the various discourses in my commentary, I have aimed to drop the unnecessary academic jargon and focus on finding the words coming from and through the practice.

 

In the beginning of my journey in the Performing Arts Research Centre, my understanding about artistic research deepened and changed radically. I understood the abundant complexity and challenges to be reconciled for example, between the artistic practice and writing. Many personal questions were active in the beginning of the doctoral studies: Was I escaping to academia as an artist in order to save the practice? Or did I seek time to resolve the problematic aspects of the practice? Or was I institutionalizing myself in order to earn the substance to apply for jobs in academia? Maybe I was doing all these things at the same time. What to do next?

 


Building knowledge, building understanding

 

As a field of knowledge production, artistic research aims to find the qualities of knowledge that can fulfil the gaps the traditional academic research methods leave behind. I prefer using the words ‘producing understanding’ or ‘comprehension’ of artistic practice and broader cultural phenomena entangled with the artist’s practices. I can relate to what professor Henk Borgdorff says of knowledge production as a place for ‘unfinished thinking’, which happens through, with, and in art and artistic practice (Borgdorff 2011, p. 44). Artistic research has opened up space for choreographic practice to go beyond its presumptive limits and welcome the academic discourses as dialogue partners, which affect the materiality of the artistic practice. In my artistic practice, this has meant an expansion from the field of dance to the realm of movement. In this research project, I articulate what this shift produces. Through bringing many various materials together, I have developed an introduction to one understanding of choreography, namely as reading practice.

 

Professor Leena Rouhiainen aptly writes about the relation between rational and sensible in art-making: Art-making deals with the configuration of compositional elements and materials that come together as forms of aesthetic or material thinking. The process of generative interplay between artist and the materials is thinking ingrained in the making. Whilst the artist employs a sensibility informed by artistic and aesthetic experiences, the materials too have agency and both tacitly and explicitly inform what the artist does, to the extent that it can be difficult to discern exactly who or what is producing a work. While involving an interplay of the sensible and the rational, artworks can be understood as articulations or concatenations of miscellaneous elements.’ (Rouhiainen 2017, p. 148)


I have not followed one specific theorist or philosopher, nor one kind of strategy to make art, but many, in order to develop my contribution to the field of choreography and performing arts. In my understanding, the relation between practice and theory is reciprocal and dynamically operates in both directions. In other words, the relation between theory and practice has been consistently mutually stimulating. This welcoming has not happened without tensions. It has been more like opening up space for the deep paradoxes, contradictions, frictions, and conflicts through which another kind of art-making and artistic methodology has been formed during the research-process compared to my previous artistic practice. During the research process, art-making has clearly become thinking-in-practice, without the economic pressures of production, and this is one of the most valuable things that I have experienced within the artistic research doctorate program at the Performing Arts Research Centre of the Theatre Academy Helsinki. This process also changed the way how I share the art. Instead of making staged or performed productions, the choreographic artistic practice has multiplied to various forms, staged production being just one option.

 


Briefly about the project within Artistic Research

 

My artistic research project is one continuation of the history of Artistic Research at the Theatre Academy (Arlander 2012, pp. 289-291), so I have had access to several previous projects done in order to develop the methodology based on models and theoretical groundings in these works. However, as Tuula Närhinen and Per Roar Thorsnes also put it (Närhinen 2016, p. 11; Thorsnes 2015, p. 90) like Rouhiainen (Rouhiainen 2017, p.150), in Artistic Research there are no ready methodological paths to take, which also means that this work has offered a chance to find unexpected ways to practice and develop choreographic art and choreographic thinking. 

 

I hope that the questions that have been pertinent to me as a choreographer in this artistic research project function as one dialogue partner within the genealogy of artistic research and choreography studies in order to broaden the knowledge and understanding of choreographic-being-in-the-world. I have aimed to build understanding about how the choreographic practical thinking on which the artistic work is based is formed in my practice, and how the practice develops the choreographic thinking. One of the aims of this research has been to produce artistic works that can contribute to the discussions of how to take (a) place in a regenerative way in the science-fictional and speculative imaginaries, and examine how choreography in this process turns into choreoreading.



Project overview

 

My doctoral artistic research project examines choreography as reading practice. In the research, the notion of choreography operates simultaneously as an analytical device, problem to be examined, and an artistic outcome. The primary method for the research is choreographic experimental practice that delves into the process of dynamic place-taking in which the human body couples with surrounding movements, from microscopic to telescopic and beyond, without the aim of mastering the movement.

 

This experimental process examines and develops understanding of how choreographic practice can be understood as an embodied (hyper-)reading practice, which materializes, de- and recodes movements of the situated and contextual transformative circumstances that choreograph my body. Here, choreographic practice processes simultaneous, incoherent multiplicity, which is formed by the relations, interconnectedness, and reciprocity of movement, surrounding material and kinetic condition, human corporeality and embodiment, place, space, and context.


The research practice delves into the conditions of movement and choreography through the following transformations:

 

from choreographer to choreoreader

 

from choreographing to choreoreading

 

from grounded embodied choreographic construction to astroembodied choreostruction

 

from human vessel to human atmospheric organism

 

In the framework of choreography studies, the research contributes to the shift and expansion from the historical notion of choreography as writing practice, in which the human body masters the movements to a choreoreading practice. Choreoreading explores the reciprocal lived and conceptual relations, inter-dependencies, transactions, and critical perspectives of the movements of a performance environment. This research project also contributes to the genealogies of site-specific and context-responsive practices, extending the notion of site to outer space. In order to bring out choreography as reading practice as art for the viewer, there are various means at hand, which are processed and developed from the fields of performing and visual arts.

 



 



 

 

How to read the commentary

 

This commentary consists of 18 different pages that can be explored in any order. Please note that there are two texts you can read on this page only: Contextual frameworks; an essay, and Meteor (hyperlink).

I encourage the reader to start with this page, as an invitation to enter the research sphere, to browse and slide on and through it, and to experiment with the hyper-reading in this form.


Here are some useful tips to access my work:

1) zoom in and out with ‘cmd +’ and ‘cmd -’

2) slid on the surface with two fingers simultaneously on the mouse pad

3) after clicking the link, you can return to the same spot where you opened the link by clicking <<<  which is beneath the image of each page

4) the glossary is exposed when the browser arrow is hovering over the word, no need to click

5) following the content option from the upper left corner is more linear way to go through my work, but also a possibility

6) the videos on the pages can be played by clicking on the images

 

 

 

 

 

During the doctoral research years, I have worked with my questions in several artist residencies. I have experienced these spaces enabling the artistic experimentation without a pressure for the final instant outcome, but at the same time, each residency period has generated traces that I have sometimes considered as artistic works, or surely potentials to develop further. Sometimes the time in the residency has been used to just be quietly with the deep process, and let things happen and sink in to the unfinished understanding.

As part of this commentary I have chosen to expose two residency periods, which are very different from each other.

The other one took me far from the urban environment, and the other functioned as a platform in which I learned to bear the uncertainity of sharing unfinished thinking and nascent practice with colleagues. These examples expose how very different residency periods and environments have served my research, and how through working in various circumstances and conditions have been an important part of my research process.

 

 

In dialogue with: 

 

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Anderson, B. and Harrison, P.: The promise of non-representational theories in Taking place: non-representational theories and geography (pp. 1-36), London, Ashgate 2010.

 

Arlander, Annette: Esitys tilana, Acta Scenica 2, Teatterikorkeakoulu 1998.

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Arteaga, Alex: Sensuous Knowledge: Making Sense Through Skin, Senses of Embodiment: Art Technics, Media, Mika Elo, Miika Luoto (eds.), Peter Lang AG, International Academic Publishers, Bern 2014.

 

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Barad, Karen: “ Posthumanist Peformativity: Toward an Understanding of How Matter Comes to Matter”, Journal of Women in Culture and Society, vol. 28, no. 3, The University of Chicago 2003.

 

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Borgdorff, Henk:  "The Production of Knowledge  in Artistic Research", Michael Biggs & Henrik Karlsson (eds.) The Routledge Companion to Research in the Arts, (p.44-63). Routledge 2011.

 

Bourriaud, Nicolas: Relational Aesthetics, translated by Simo Pleasance & Fronza Woods with the participation of Mathieu Copeland, Les presses du réel, 2002.

 

Bolt, Barbara: Art beyond representation: The Performative Power of the Image, I.B. Tauris & Co Ltd, London, New York 2004.

 

Bolton, Christopher, Csicery-Ronay Jr. Istvan, Tatsumi Takayuki(eds.): Robot Ghosts and Wired Dreams, Japanese Science Fiction from Origins to Anime, University of Minnesota Press, Minneapolis, London, 2007. 

 

Braidotti, Rosi: The Posthuman, Polity Press, Cambridge 2013.

 

Brandstetter, Gabriele / Klein, Gabrielle: Dance [and] Theory, transcript Verlag, Bielefeld 2013.

 

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Butler, Judith: Gender Trouble, Feminism and the Subversion of Identity,Routledge New York and London, 1999.


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Cresswell, Tim and Merriman, Peter (ed.): Geographies of Mobilities: Practices, Spaces, Subjects, Ashgate 2011.

 

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De Souza e Silva, Adriana, Gordon, Eric: Net Locality, The Routledge Handbook of Mobilities (pp. 134–142), Routledge, London and New York, 2014.

 

Dickens, Peter, Ormrod, James S. (eds): The Palgrave Handbook of Society, Culture and Outer Space, Palgrave Macmillan, 2016.

 

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Eddy, Martha: A brief history of somatic practices and dance: historical development of the field of somatic education and its relationship to dance, Journal of Dance and Somatic Practices Volume 1 Number 1, Intellect Ltd. 2009.

 

Edensor, Tim: Walking in rhythms: place, regulation, style and the flow of experience, Visual Studies vol. 25, No.1, (pp. 69-79), April 2010, Routledge.

 

Elkins, James: The Three Configurations of Studio-Art PhDs, Artists with PhDs – On the New Doctoral Degree in Studio Art, (pp. 145 -165), New Academia Publishing 2009.

 

Elo, Mika: Ineffable dispositions in Transpositions. Aesthetico-Epistemic Operators in Artistic Research 1. Michael Schwab (Ed.). Ghent: Orpheus Institute, 2017.

 

Elo, Mika: What calls for thinking?, Research Catalogue –internet julkaisu, (04/12/2013) http://www.researchcatalogue.net/view/59435/59436/0/0 (accessed 30/09/2015).

 

Farman, Jason: Locative Media, The Routledge Handbook of Mobilities (pp. 233-242), Routledge, London and New York, 2014.

 

Fischer-Lichte, Erika: The Transformative Power of Performance, A new aesthetics, (transl. By Saskya Iris Jain), Routledge London and New York 2008

 

Fleishman, Mark: The Difference of Performance as Research, Theatre Research International, Volume 37 / Issue 01 (pp. 28 – 37), 2012.

 

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-------------------: Choreographing Empathy - Kinesthesia in Performance, Routledge, London and New York 2011.


Foster, Thomas: Virtuality in The Routledge Companion to Science Fiction, (eds. Mark Bould, Andrew M. Butler, Adam Roberts, and Sherryl Vint) (pp. 317 – 329), Routledge, London and New York 2009.

 

Foucault, Michel: Tiedon arkeologia, suom. Tapani Kilpeläinen, Osuuskunta Vastapaino 2005.

--------------------- : Seksuaalisuuden historia, suom. Kaisa Sivenius, Gaudeamus 2013.

--------------------: The Utopian body, in Sensorium, Embodied Experience, Technology, and Contemporary art, (ed.) Jones, Caroline A., MIT press 2006.

 

Gallagher, Shaun: How the body shapes the mind, Oxford University Press Inc., New York 2005.

 

Gil, José, The Paradoxical body,  TDR Vol. 50, No. 4 (T192), (pp. 21-35) MIT Press Journals 2006.

 

Godfrey, Tony: Conceptual Art, Art&Ideas, Phaidon Press Limited, 1998.

 

Grant, Stuart: Performing an Aesthetics of Atmospheres, 2013 https://openjournals.library.sydney.edu.au/index.php/LA/article/view/7794/7950 (accessed 8.3.2017)

 

Griffero, Tonino: Atmospheres: Aesthetics of Emotional Spaces (transl. Sarah de Sanctis), Ashgate Publishing Limited, 2014.

 

Grosz, Elisabeth: Cyberspace, Virtuality, and the Real: Some Architectural ReflectionsArchitecture from the Outside, Essays on Virtual and Real Space, (pp. 75-91) The MIT Press Cambridge, Massachusetts London, England, 2001.

 

Hannula, Mika: Kaikki tai ei mitään – kriittinen teoria, nykytaide ja visuaalinen kulttuuri, Cosmoprint, Kuvataideakatemia 2003 transl. Snellman, Toni: Everything or Nothing – Critical Theory, Contemporary Art and Visual Culture, Academy of Fine Arts 2005.

 

Haraway, Donna: A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century, in Simians, Cyborgs and Women: The Reinvention of Nature, (pp.149-181), New York; Routledge, 1991.

 

Haseman, Brad: "A Manifesto for Performative Research", Media International Australia Incorporating Culture and Policy, theme-issue: ”Practice-led research (no 118), (pp 98 – 106) Quarterly Journal of Media Research and Resources, 2006.

 

Hayles, Katherine N.: Toward Embodied Virtuality, How We Became Posthuman, Virtual Bodies in Cybernetics, Literature and Informatics (pp. 1 -25), The University of Chicago Press, 1999.

-------------------: How We Read: Close, Hyper, Machine, ADE Bulletin, Number 150, 2010.

 

Heidegger, Martin: Oleminen ja aika, suom. Reijo Kupiainen, Vastapaino 2007.

------------------------ : Taideteoksen alkuperä, suom. Hannu Sivenius, Kustannusosakeyhtiö Taide 1995.

 

Heikkilä, Martta & Johansson, Hanna (toim.): Viivan filosofia, Kuvataideakatemia 2014.

 

Hewitt, Andrew: Social Choreography Ideology as Performance in Dance and Everyday Movement. Duke University Press 2005.

 

Hollinger, Veronica: Posthumanism and Cyborg Theory, The Routledge Companion to Science Fiction (eds. Mark Bould, Andrew M.Butler, Adam Roberts, and Sherryl Vint) (pp. 267-279), Routledge London & New York 2009.

 

Hunter, Victoria (ed.): Moving Sites: Investigating Site-Specific Dance Performance, Routledge, London and New York, 2015.

 

Ingold, Tim: Being alive, Essays on movement, knowledge and description, Routledge, Taylor and Francis e-Library, 2011.

--------------: The Perception of the Environment: Essays on livelihood, dwelling and skill, Routledge, London and New York, 2000.

 

Iser, Wolfgang: The Reading Process: A Phenomenological Approach, New Literary History, Vol. 3, No. 2, On Interpretation: I (Winter, 1972), pp. 279- 299
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Johansson, Hanna: Maataidetta jäljittämässä: Luonnon ja läsnäolon kirjoitusta suomalaisessa nykytaiteessa 1970 – 1995, Like-kustannus, Otavan Kirjapaino, Keuruu 2005.


Johnson, Mark: The Meaning of the Body, Aesthetics of Human Understanding, The university of Chicago Press, 1999

 

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Joy, Jenn: The Choreographic, The MIT Press 2014.

 

Kaye, Nick: Site Specific Art – Performance, Place and Documentation, Routledge, London and New York, 2000. 

                                                                                           

Klein, Gabriele, Noeth Sandra (eds): Emerging Bodies, The Performance of Worldmaking in Dance and Choreography, part Introduction, Social Realms (pp. 7 – 59) transcript Verlag, Bielefeld, 2011.

 

Kliën, Michael: Choreography as an Aesthetics of Change, Edinburgh College of Art 2008.

 

Knuuttila, Tarja & Lehtinen, Aki Petteri: Representaatio, Tiedon kivijalasta tieteiden työkaluksi, Gaudeamus, Helsinki University Press 2010 

 

Kontturi, Katve-Kaisa: Moving Matters of Contemporary Art: Three New Materialist Propositions, Art + Media Journal of Art and Media Studies, Issue No. 5/2014, Belgrade, April 2014. 

 

Kotef, Hagar: Movement and the Ordering of the Freedom, On Liberal Governances of Mobility, Duke University Press, Durham and London 2015.

 

Kovala, Urpo: Anchorages of Meaning: The Consequences of Contextualist Approaches to Literary Meaning Production, Vol. 21, Peter Lang GmbH, Europäischer Verlag der Wissenschaften, Frankfurt am Main 2001.

 

Kozel, Susan: Saturated by the Virtual in Closer: Performance, Technologies, Phenomenology (pp. 78 -85), The MIT Press, Massachusetts Institute of Technology, 2007.

 

Krukowski, Lucian: Contextualism and Autonomy in Aesthetics, Journal of Aesthetic Education, Vol. 24, No. 1, Special Issue: Cultural Literacy and Arts Education (Spring, 1990), pp. 123-134.

 

Kwon, Miwon: One Place After Another: Site-Specific Art and Locational Identity, The MIT Press, Cambridge Massachusetts, London, England, 2004.

--------------------: The Wrong Place, Art Journal, Vol. 59, No. 1 (Spring, 2000), College Art Association, pp. 32-43.

 

Lahdenperä, Soile: Muutoksen tilassa – Alexander –tekniikka koreografisen prosessin osana, Teatterikorkeakoulu,, Acta Scenica 2013. http://www.actascenica.teak.fi/lahdenpera_soile/

 

Laitinen, Riitta (toim.): Tilan kokemisen kulttuurihistoriaa, Cultural History – Kultturihistoria 4 Turun yliopisto, 2004.

 

Lange-Berndt, Petra: Introduction // How to Be Complicit with Materials in Materiality, Documents of Contemporary Art, Whitechapel Gallery and MIT Press, 2015.

 

Lavery, Carl: Mourning Walk and Pedestrian Performance: History, Aesthetics and Ethics. In Mock, Roberta (ed.): Walking, Writing and Performance: Autobiographical Texts by Deidre

----------------: Introduction: performance and ecology – what can theatre do?, Green Letters Studies in Ecocriticism, Vol. 20 No. 3, pp. 229-236, Routledge Taylor & Francis Group, 2016.

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Lavery, Carl: Mourning Walk and Pedestrian Performance: History, Aesthetics and Ethics. In Mock, Roberta (ed.) 2009.Walking, Writing and Performance: Autobiographical Texts by Deidre Heddon, Carl Lavery and Phil Smith. Bristol: Intellect Books. P. 41–56.

 

Lefebvre, Henri: The Production of Space, engl. Nicholson-Smith, Donald, Blackwell Publishing 1991.

 

Lehtonen. Mikko: Merkitysten maailma, Vastapaino, Tampere 2000.

----------------------: Merkityksen merkitys: Huomioita kulttuurintutkimuksen lähtökohdista ja nykytilasta, Tiedotustutkimus 20 (1997) :1, p. 10-19. 

 

Lehtonen, Turo-Kimmo: Aineellinen yhteisö, Juvenes Print, Tampere Tutkijaliitto, Helsinki. 2008

 

Lepecki, André: Exhausting Dance: Performance and the Politics of Movement. Routledge. 2006, suom. Järvinen, Hanna : Tanssitaide ja liikkeen politiikka. Like‐ kustannus 2012.  

                                                               ------------------:  Moving as Thing: Choreographic Critiques of the Object, October Magazine Ltd. And Massachusettes Institute of Technology, pp. 75 – 90, MIT Press,  2012.

-------------------: Choreography as Apparatus of Capture, TDR: The Drama Review, Volume 51 number 2 (T194), pp. 119-123, MIT Press 2007.

 

Lepecki, André, Joy Jenn: Planes of Composition: Dance, Theory and The Global, Seagull 2009.

 

Makkonen, Anne: One Past, Many Histories, Loitsu (1933) in the Context of Dance Art in Finland, Department of Dance Studies  School of Arts, Communication and Humanities University of Surrey April 2007.


Malpas,J.E.: Place and Experience, A Philosophical Topography, Cambridge University Press, 1999.

 

Manning, Erin: Relationscapes: Movement, Art, Philosophy,  The MIT Press, Massachusetts, London England 2009. 

--------------------: Always More than One, Individuation’s Dance, Duke University Press, Durham and London, 2013.                                                                                                                                 

Massey, Doreen: Samanaikainen tila, suom. Janne Rovio, Vastapaino Tampere 2008.

--------------------- : For Space, Sage Publications, 2005.

--------------------- : For Space: Reflections on an Engagement with Dance, Spacing Dance(s) – dancing Space(s), edited by Susanne Ravn, NOFOD and University of Southern Denmark, 2011, ss.35 – 45.

 

Massumi, Brian: The Autonomy of Affect in Parables for Virtual – Movement, Affect, Sensation, Duke University Press, Durham&London 2002.

 

McCormack, Derek P.: Refrains for Moving Bodies: Experience and Experiment in Affective Spaces, Duke University Press, Durham and London, 2013.

--------------------: Atmospheric choreographies and air-conditioned bodies, in Moving Sites - investigating site-specific dance performance, ed. Victoria Hunter, Routledge 2015, (pp.79-94)

 

Meyer, James: The Functional Site; or The Transformation of Site-Specificity, Space, Site, Intervention, Situating Installation Art, ed. Suderberg, Erika, University of Minnesota Press, 2000, (pp.23-37).

 

Monni, Kirsi: Olemisen poeettinen liike – Tanssin uuden paradigman taidefilosofisia tulkintoja Martin Heideggerin ajattelun valossa sekä taiteellinen työ vuosilta 1996 – 1999, Acta Scenica 15, Teatterikorkeakoulu, Yliopistopaino, Helsinki 2004.

----------------------: Deborah Hayn radikaali taide – ontologisen eron pohdintaa, Liikkeitä näyttämöllä (ss. 36 – 62), Teatterintutkimuksen seura, Helsinki University Press 2006.

 

Morton, Timothy: Ecological Thought. Cambridge, MA, USA: Harvard University Press, 2010.

----------------------: Ecology without Nature, Rethinking Environmental Aesthetics, Cambridge, MA, London, England, Harvard University Press 2007.

----------------------: Hyperobjects, Philosophy and Ecology after the End of the World, University of Minnesota Press 2013.

 

Murphy, Patrick D. Environmentalism, The Routledge Companion to Science Fiction (eds. Mark Bould, Andrew M.Butler, Adam Roberts, and Sherryl Vint) (pp. 373-382), Routledge London & New York 2009.

 

Määttänen, Pentti: Tila, liike ja tulkinta – liikkuvan lihan filosofiaa, Mobiiliestetiika – kirjoituksia liikkeen ja liikkumisen kulttuurista, toim. Haapala, Arto & Naukkarinen, Ossi, Erikoispaino Oy, Helsinki 2006, ss. 86 – 102.


Nail, Thomas: The Ontology of Motion, Qui Parle, No.1, June 2018:

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Nancy, Jean Luc & Barrau, Aurélien: What’s These Worlds Coming To?, transl. by Travis Holloway and Flor Méchain, Fordham University Press, New York 2015.

 

Nathan, Ron: An emerging movement ecology paradigm, Proceedings of the National Academy of Sciences of the United States of America, PNAS vol. 105, no 49, 2008. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2614713/ accessed 12.10.2016

--------------: A movement ecology paradigm for unifying organismal movement research,

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-------------: Trends and missing parts in the study of movement ecology

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Nicely, Megan:  “On Chorographic Thinking,” dancersgroup.org, March 1, 2014 http://dancersgroup.org/2014/03/on-choreographic-thinking/, accessed 8.8.2016

 

Noë, Alva: Action in Perception, The MIT Press, Cambridge, Massachusettes, London, England 2004.

 

Nurmio,Harri: Ihmisen olemisen sisäinen suhteisuus tilakäsityksen lähtökohtana, Alue ja Ympäristö –lehti 30:2 2001, ss. 35 – 49.

 

O’Doherty, Brian: Inside the White Cube – The Ideology of the Gallery Space (1976), University of California Press, Berkeley, Los Angeles, London, 1999.

 

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----------------------: Bodies moving and moved – A Phenomenological Analysis of Dancing Subject and the Cognitive and Ethical Values of Dance Art, Tampere University Press, 1998.

----------------------: Meduusan like: Mobiiliajan tiedonmuodostuksen filosofiaa, Gaudeamus, Hakapaino Helsinki 2006.

 

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-----------------------  : Kaupunki ja ihmisen kodittomuus, 23°45 Tampere 2002.

 

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Portanova, Stamatia: Moving Without a Body, Digital Philosophy and Choreographic Thoughts
, The MIT Press, Massachusetts Institute of Technology 2013.

 

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-----------------------: A Mono-Trilogy on a Spatial and Performative Process, Ways of Knowing in Dance and Art; Editor-in-Chief Leena Rouhiainen, Acta Scenica 19, Theatre Academy, Yliopistopaino 2007.

----------------------------: Dancing Emplacement in an Installation Entitled Passage, Norsk danseforskring, Sidsel Pape (red.), Tapir Akademisk Forlag, Trondheim 2010.

---------------------------- :Matka paikantuneeseen tilaan: tanssijan, arkkitehdin ja äänisuunnittelijan performativiisen työn aineksia, Taide ja liike, toim. Mäkinen, Olli ja Mäntymäki, Tiina, Vaasan

yliopiston julkaisuja 2007.

---------------------------: Living Transformative Lives – Finnish Freelance Dance Artists Brought into Dialogue with Merleau-Ponty’s Phenomenology, Act Scenica 13, Theatre Academy, Helsinki 2003.

--------------------------: Mitä somatiikka on ? Huomioita somaattisen liikkeen historiasta ja luonteesta. Liikkeitä näyttämöllä (ss. 10 -36), Teatterintutkimuksen seura, Helsinki University Press 2006.

 

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Sheller, Mimi, Urry, John: The New Mobilities Paradigm, Environment and Planning A, vol. 38, (pp. 207-226), 2006. 

 

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Thorsnes, Per Roar: Docudancing Griefscapes: Choreographic strategies for embodying traumatic contexts in the trilogy Life & Death, Acta Scenica, University of the Arts Helsinki, Performing Arts Research Centre, Theatre Academy, 2015.  

 

Thrift, Nigel: Non-representational Theory – Space, Politics, Affect, London and New York, Routledge 2008.

 

Valkeapää. Leena: Luonnossa: vuoropuhelua Nils-Aslak Valkeapään tuotannon kanssa, Aalto-yliopiston julkaisusarja 3/2011, Maahenki 2011.

 

Varto, Juha: Tanssi maailman kanssa - Yksittäisen ontologiaa, Eurooppalaisen filosofian seura ry / niin & näin, Tampere 2008.

 

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Wilkie, Fiona: Site-specific Performance and the Mobility Turn, Contemporary Theatre Review, Vol 22(2), 203-212, Routledge, 2012.


Artworks

Ader, Bas Jan: Bike Fall, 1970

Alÿs, Francis: When Faith Moves Mountains, 2002   

Amundason, Örn Alexander: I Will Tell You What I mean, 2012

Bel, Jérôme, Veronique Doisneau, 2002

Bochner, Mel: Measurement Room, 1968

Brown, Trisha: Roof Piece, 1971

Cage, John: 4’33, 1952

Cardiff, Janet & Miller, George Bures: The Ghost Machine, 2005

Chamberlain, John; Myers, Forrest; Novros David; Oldenburg Claes; Rauschenberg, Robert; Warhol, Andy: Moon Museum, 1969

Childs, Lucinda: Dance, 1979

Colomer, Jordi: Anarchitekton 2002-2004

Dong, Song: Stamping the Water, 1996

Duchamp, Marcel: Sixteen Miles of String, 1942

---------------------:  Twelve Hundred Coal Sacks Suspended from the Ceiling over a Stove, 1938

Export, Valie:”Aufprägung”, 1972

Faithfull, Simon: Escape Vehicle No.6, 2004 

Forsythe, William: White Bouncy Castle, 1997

Forti, Simone: Hangers, 1961

Glazer, Jonathan: Under the Skin,2014

Gündüz, Erdem: Standing man, 2013

Halprin, Anna: Planetary Dance, 1981

Hsieh, Tehching: Outdoor, 1981/82

Kabakov, Ilya: The Man Who Flew To Space From His Apartment, 1984

Kahiu, Wanuri: Pumzi, 2009

Kela, Reijo: Cityman, 1989

Kjartansson, Ragnar: Der Klang der Offenbarung des Göttlichen, 2014

Klein, Yves: Leap Into the Void, 1960

Kubrick, Stanley: 2001 Space Odyssey, 1968

Laderman Ukeles, Mierle: Hartford Wash: Washing Tracks, Maintenance Outside 1973

Long, Richard: Walking a Line in Peru, 1972  

Lucas, Renata: Kunst-Werke, 2010

Manzoni, Piero: Base of the World: Hommage to Galielo, 1961

Meyer-Brandis, Agnes: Moon Goose Colony, 2011/12

Mehretu, Julie: Congress, 2003

Mir, Alexandra: The First Woman on the Moon,1999

Monni, Kirsi: Saattamus, 1999

Ondák, Roman: Measuring the Universe, 2007

Palosaari, Sari:You’re Not A Thing, The Thing Is Not You, 2015

Pope, William L.: Crawl, 2001

Ray, Charles: Plank Piece, 1973

Schlemmer, Oskar: Slat Dance, 1926

Serra, Richard: Tilted Arc, 1981

Stumpf, Sebastian: Puddles, 2013

Takalo-Eskola, Ilkka Juhani: Yritys ylittää suo, 1972

Takis: The Impossible – A Man in Space, 1960

Walter, Franz Erhard: Sehkanal, 1968

Waldvogel, Christian: The Earth Turns Without Me, 2010

Woods, Arthur: Cosmic Dancer, 1993

 

 

 


Meteor -essay


By clicking this link you will be re-directed to the University of the Art Helsinki's Nivel publication 08 Poetics of Form in which my essay was published.

Twitter account


For the Meteor-project, I created a Twitter account Planetary Movements. You can access the account through the Meteor essay, or directly by clicking here.

 

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