Ajauksia 2020. An Articulating and Perceiving Body (in Urban Space). Nordic Summer University. Artistic Circle (7). Performaning Heterotopia: Pleasure and Playfulness in Times of Crisis. 27.07.2020. Helsinki. Finland.


Ajauksia-ryhmä (Heikinaho, Lindy, Martin ja Tella) 2019. Sensory Experiences in Urban Space workshop 12.–15.6.2019. A part of Disruptive Processes -cell: Ajauksia-group, akcg (anna kindgren & carina gunnars), Jaana Kokko, Anni Laakso and Lena Séraphin. Research Pavilion Rp3#.  Uniarts Helsinki. Venice, Italy. ja


Alaimo, Stacy 2010. Bodily Natures: Science, environment, and the material self. Bloomington: Indiana University Press.


Arlander, Annette 2012. Performing Landscape – Notes on Site-Specific Work and Artistic Research (Texts 2001-2011). Theatre Academy Helsinki, Performing Arts Research Centre.


Casey, Edward S 1997. The Fate of Place. Berkeley & Los Angeles & London: University of California Press. 


Cooren, François 2010. Action and Agency in Dialogue: Passion, Incarnation and Ventriloquism. John Benjamins Publishing Company.


Debord Guy 2005. Spektaakkelin yhteiskunta (La société du spectale. 1967). Suom. Tommi Uschanof. Jussi Vähämäki. Helsinki: Summa. 


Hardt, Michael & Negri, Antonio. 2005. Imperium. Suom. Arto Häilä, Mika Ojakangas, Taina Rajanti, Olli Sinivaara, Akseli Virtanen ja Jussi Vähämäki. Helsinki: WSOY.


Heikinaho, Minna 2017. Harjoitus, jossa tekijä vapautuu ja eettinen yhteisöruumis astuu esiin. Ruukku-julkaisu. Linkki julkaisuun:


Heikinaho, Minna 2018. Harjoitus II, jossa kertojaminä asettuu tutkijan rooliin ja löytää tavan tutkia. In the publication: Kuvataideakatemian tohtoriopinnot 20-v. juhlajulkaisu. Toim., Mika Elo & Lea Kantonen & Petri Kaverma. Taideyliopiston Kuvataideakatemia.


Martin, Mari 2020a. Sensory Excursion as a Site of Encounter. In Mika Elo & Henk Slager & Tero Heikkinen (eds.) Ecologies of Practice. Ruukku 14. Taiteellisen tutkimuksen kausijulkaisu.


Martin, Mari 2020b. (Left to peer review) Aina uudesti syntyvä hetkellinen yhteisö. Teoksessa Lea Kantonen & Sari Karttunen (toim.) Yhteisötaiteen etiikka (työnimi). Helsinki: Taideyliopisto.


Martin, Mari 2017. Dialogissa kaupunkiympäristön kanssa. Teoksessa Annette Arlander, Laura Gröndahl & Marja Silde (toim.) Tekijä – teos, esitys ja yhteiskunta. Teatterintutkimuksen seuran verkkojulkaisusarja Näyttämö ja tutkimus 6.


Martin, Mari 2014. Minän esitys. Ohjaajan pohdintaa oman, yksityisen päiväkirjakatkelman työstämisestä näyttämölle. (A Performance of Me/I – A Director’s Reflection on Working a Fragment of a Private Diary onto the Stage) Helsinki: Teatterikorkeakoulu, Esittävien taiteiden tutkimuskeskus. Acta Scenica 35. Doctoral dissertation.

Sensory excursion in Lapinlahti Hospital area in Helsinki 27.07.2020


We welcomed the participants and introduce ourselves by

saying our first names. We mentioned some practical things. We lead the people

to the starting point.


Member (1):

We are going to do a small excursion outside, but before we do that, let's go through some things together. First, we can leave our belongings, bags and cellphones (or close it) into the locker. You can also go the bathroom if you wish.


Member (2):

During this excursion we are trying to quiet (or slow) down, these exercises give you the opportunity to disengage from speech. You can give yourself time and space to sense the surroundings.


Member (1): The exercises during the trip are proposals. You can stop the exercise if you feel so, and you can move a side. If there is a situation that you want to stop excursion, please let us know that. 


Member (2):

You control the intensity of the experience and to be aware your surroundings and other people around you. 


Member (1):

In the end of the trip we will have an opportunity to share experiences in a common conversation. We can take a few minutes to ask, reply, talk or just listen. Do you have any questions?


Member (2):

We have an exercise where we stand and pay attention to the soles of our feet

and their contact with the ground. This works as a preparation for walking. I will give a sign then we end this exercise so do to be aware the distance to see each other.

Ajauksia group explores and delivers experiential knowledge with artistic tools. Our working methods are based on equal decision making and anonymity, bodily and sensory exercises. Art can interrupt, suspend and penetrate to the everyday life, the experience of consumer. Together we can deconstruct and liberate the construct of art and discover a polyphony of voices.

Pleasure and Playfulness in Times of Crisis.


Sensory Experiences by Ajauksia-group:

An Articulating and Perceiving Body (in Urban Space)


The conversation of Heterotopia


Member (1):

Sensory exercises and art together form a contradiction. Doing an exercise aims for some goal, while art is an open process, its outcome is not known in advance. I examine what this contradiction means in this particular research setup. What is noteworthy in my research is that I approach environments as co-actors.

The environment is then not an object to which different things are done or which is viewed and evaluated, but a party that acts and influences and speaks to me, in their own way[1].


Member (2):

In the biopolitical processes of society, the economic power directed at the individual is embodied. The obedient and consuming bodies are the megasubjects of the global society of this time - body mass in a world where location itself is no longer relevant.

In Debord’s spectacle, social and collective skills will disappear and in same time our actions harmonize (Hardt & Negri 2005, 314).

Through language and communication, however, we can produce new spaces from place to place that are no longer connected to the original place in which we are born, but rather are spaces that are in constant motion and redefinable.

A new kind of economy is emerging in social production processes, where the working body of today should be understood not only as a productive factor of language and communication but also as an opportunity for collective action and production that knows and recognizes many contradictions (Hard & Negri 2005, 45–46).



A member (1) has researched the thing before (Martin 2020a; 2017). The topic has been theorized from their own perspectives, for example

Arlander (mm. 2012), Alaimo 2010 ja Cooren 2010.

Member (1):

You are free to speak about your thoughts and experiences during the

excursion. You can comment, ask, give feedback or just listen.


Center yourself, and feel how your

body is standing on the ground.

Open your senses to see and feel the

whole surroundings. Feel the

pressure on the bottoms of your feet

and the other natural sensations of



Let yourself be present.


Here are the three steps on this walk

a) lift your foot off the ground

b) move your foot forward

c) let your foot touch the ground,

(heel first)


During the walk keep your attention

on bottom of your feet. Feel your feet

touching the ground. Feel how the

ground feels underneath your feet.

(Be aware of the beginning, the

middle, and the end of your stepping.)

Relax. Let your walking to be easy, natural and slow.

© Ajauksia.

Member (1): 


Choose one plant.

Go to it, look at it, touch it.

If possible, place your weight a little on it.

Breathe with it in the same rhythm.

And finally, smell it or the scent it leaves in you.

You can take at least 8-10 min to the exercise.

© Ajauksia