TORSO: SENSE 01/2015 by TORSO

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Sense

T OR S

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Editorial staff Evelin Kask Maria Korkeila Auri Mäkelä* Lari Mörö Janne Salo Eetu Sihvonen Saudamini Tambay Pietari Vappula

Writers Amanda Ahola Jennifer Lipkin Lotta Jokinen Joonas Karjalainen Taimi Nevaluoma Michelle Orenius Sera Tolgay Aura Vilkuna

Graphic Design Lari Mörö Eetu Sihvonen

Illustrations Sandra Prami (22,24,25) Eevi Rutanen (8) Samuli Saarinen (92) Eetu Sihvonen (2,36,38,41,98) Erik Solin (30) Otso Teperi (100) Hanna Valle (48)

Typeface ”Tatti” Mikko Varakas

Photos Juha Arvid Helminen (86,91) Jinhyun Jeon (13,14,16,17) Maria Korkeila (19) Saana Kotila (18) Hilla Kurki (20,34,43,40,47,54,68,83) Internet (26,29,42,96) 2015yologroup (74,75) Alina Reimi (69) Emma Sarpaniemi (6,57,58, 60,61,62,65,67,84) Ananya Tanttu (85)

Joonas Karjalainen is a graduate student at the Swiss Federal Institute of Technology (ETH Zürich) studying for a MSc in Energy Science and Technology with primary concentration in green building technology (2014–). Simultaneously works at Siemens Building Technologies Headquarters in Zug, Switzerland. In May 2014, completed undergraduate studies and received a Bachelor of Science in Environmental Engineering with Departmental and General Honors from the Johns Hopkins University, Baltimore, USA. Prior, worked for Resources for the Future (Washington D.C., USA) as an energy policy research assistant and for KONE Elevators and Escalators’ environmental R&D team (Hyvinkää, Finland). Completed high school in the International Baccalaureate programme at Helsingin Suomalainen Yhteiskoulu. Juho Luukkainen on ent. rautakauppiaan apuri ent. tiilenlohkoja ent. trukkikuski ent. muuttomies nyk. äänisuunnittelija nyk. onnellinen mies.

Taimi Nevaluoma is a scriptwriting student & student activist from ELO. She loves red wine, smoking & white bread. Aura Vilkuna on alle 150 000 asukkaan kaupungista kotoisin oleva helsinkiläistynyt taidehistorian opiskelija, joka harrastaa liian kiivaita sanailuja lähinnä itsensä kanssa viinilasillisten jälkeen.

48 3 Suggestions for the 6th Sense

Käsikirjoitus 56

On the Road to a Sustainable Building Stock

A Spoonful Of Synesthesia with Jinhyun Jeon 68 18

Attention* The Hum*

Novaya Zemlya Effect* Synesthesia* 70 20

Photo essay Eläinten ihmeellinen maailma

74 Otoacustic Emissions* Exploading Head Syndrome*

26 What Colors Do You See? 76

Blue by Derek Jarman

30 Kun elokuva tuoksui 84

PSVA* ASMR*

34 Nonesense Poetry 36

86 The City Of Running Water

Rivo Interview 92

42 McCollough Effect* Dysosmia* 44 Museomuutoksia

Hyötyisikö mieskin patriarkaatin kaatumisesta?

Mi Or che en ll iu e s

3 Suggestions for the th 6 Sense

Human beings possess five senses: sound, sight, taste, touch and smell. The sound sense also creates our sense of balance. Senses make our lives meaningful and create feelings. Sometimes, when a sense disappears, other senses tend to grow stronger. Senses are something taken for granted, yet so complex to understand. Everything boils down to evolution in the end but it is still so fricking weird and amazing. What if we could get one extra sense without losing the others? The sixth sense has been under a debate for ages but nothing has been declared so far. Here are three wild suggestions for the new sixth sense.

13 Every second, four babies are born and two people die in the world, according to the CIA. It is an inevitable course in the cycle of life on our overpopulated earth. Basically there is nothing mystical about it. But the idea of everything being so exhaustively explained feels all of a sudden impossibly vain. Even if there wasn’t a bigger force behind these actions, wouldn’t it be amazing if we could be prepared in advance? If we could sense the danger of our own death, and even postpone it: our small death sensors would turn on immediately when an accident is leaping behind us. The grim reaper would never catch us! If the death of a close person would also be known beforehand, then by the time of the funeral people would have already gotten through the actual mourning phase. Or think if we could immediately feel our own pregnancy after intercourse or even during it. The feeling would just be so strong that it wouldn’t leave room for doubt. Nevertheless this sense would help our lives become more predictable. The events would be known in advance, right away. This kind of sense would only be possible if we would rely on the current assumption of ‘death’. Not to forget that this kind of a sense would be nonsensical if we believed that death didn’t really exist to us, but in the form of transformation. Some people claim to sense radiation and electricity fields so sensitively that they prefer avoiding places where they appear. Like in the movie Mean Girls, a character called Karen claims that her breasts can sense when it rains. Sharks and stingrays already have the sense of electricity as it helps them to attack more effectively. It is actually their sixth sense. What if it would be possible to sense different kinds of energy fields? It doesn’t sound that impossible if we imagine humans 1000 years from now. It is impossible to know now which abilities will be developed further in order to keep the human race surviving in the future. For example the effects of radiation weren’t known until Wilhelm Röntgen discovered X-rays towards the end of the 19th century. The sense of energy fields could enable us to sense electricity, radiation as well as different vibes and signals between living organisms. Chakras, astral travels and feelings would be visible to us as well. It could even change human consciousness, make religions useless and change science’s purpose. Throughout time people have tried to predict the future. What if we had a sixth sense to do the opposite? The sense of different layers in time would make it possible to literally feel all of history and the events that have occurred at the very place we are living right now. We would be able to sense and see residues of past events. The idea is hard to grasp, but imagine looking at a landscape and seeing all the past buildings and people that used to exist there as a transparent shadow-like figure of the current view. We would sense all the lost souls and ruins that used to exist. A heavy wholeness would be constantly upon us. This sense would help us understand more about the world and ourselves. Possessing a sense like this would also make it impossible to forget anything. The past would be present everywhere. This sense could also be considered as a burden. Only the ones who would be able to bare the truth would survive.

Sa Ta uda mb mi ay ni

A Spoonful Of Synesthesia with Jinhyun Jeon What I propose is that the tableware we use for eating should not just be a tool for placing food in our mouth, but that it should become a sensory stimuli, teasing our senses in the moment when the food is still on its way to being consumed.

Eating is a multi sensory experience. What we call taste of food, refers to a complex phenomenon that is flavour, which is a combination of other sensory factors like smell, texture and temperature. As a food lover I have often tried engaging with the way each bite feels on the tongue, the sound it produces inside the mouth, the secretions that are a result of complex flavours and the after taste it leaves. Recently, Jinhyun Jeon’s graduation project (of 2012) at Design Academy Eindhoven, allowed me to visualize this experience as well. Jinhyun Jeon an industrial, spatial and social designer plays with the idea of Synesthesia to create innovative tableware that lead to a multi sensory dining experience. Unlike anything you’ve heard before, Jeon visualizes taste! Her work, a combination of industrial design and neuroscience extends the experience of consuming food to all five senses.

ABOUT YOU: Can you tell us a bit about yourself and your passions? I am a designer. I was born in South Korea. I am working and based in Eindhoven, the Netherlands. My major in BA was Product Design and I completed MA in Spatial Design at Hongik University, Seoul, Korea in 2008.

I moved to the Netherlands, gained an MD in Social Design from Design Academy Eindhoven in 2012 and established Studio Jinhyun Jeon. I hold an interest in joint perception, which is when one of the senses carries the ability of other senses. On the project ‘Tableware as Sensorial Stimuli’, the experimental research explores by engaging with synesthetic effects as a source of design insight, which impacts on latent sensory ability and challenges social thought pattern. To create a path to new ways of perceiving in the process of design one has to cross over genres in the fields of design, food and art, science and neurology and so forth.

ABOUT THE PROJECT: What inspired you to work with food and this particular concept? I began my thesis with the subject of ‘syneshtesia’ due to my keen senses. Moreover, synesthsia is still a highly controversial topic and there are divergent opinions about the classification of this neurological condition. This bottomless state triggered me to dive into this particular concept from a design point of view with new angles. Eating is the only moment when we use more than five senses simultaneously, in a more unconscious manner. To work with the food stage is an inevitable sequence for my sensory project.

Which sense of yours could you not live without? When one loses a sense, the rest of the senses are rather heightened to replace as much of the ability of sense you lost. This phenomenon is defined as ‘Acquired-synesthesia’. During research toward this aspect, I had to play the role of the disabled in order to empathize and sympathize. For instance, wrapping my face up in order to restrict the sense of seeing, smelling and feeling. Also painting and making an object using tools, with eyes closed. By doing so I might smell with colours, I might taste with texture, or I might hear with motion, even though these are all through associational stimulation. However, I am cravenly afraid of losing my sight and the vivid/ turbid/ glittering/ glossy/ pale/ waterish/ dense/ chewy/ fudgy shapes, textures, weights, smells, temperatures, and colours I perceive via the sense of sight. Do you think your designs are received differently in Europe? Do cultural differences in food change the way people respond to the project? Rather than being designed from a cultural point of view, or in regards to function and specific foods, I propose that tableware should be designed to suit our intuitive and mostly subconscious sensorial abilities.

ABOUT WORKING WITH MICHELIN STAR RESTAURANTS: Can you tell us about your most interesting experience, working with Michelin star restaurants? The taste created by Michelin is an ideal level of satisfaction. I was contacted by several Michelin star restaurants to collaborate and was told that they were inspired and motivated by my design. The dining menu I created with Michelin was focused on sense. For instance, the first course was about ‘enhanced sound’ and during the meal guests wore dining earplugs that I had designed. What happened? There was no more conversation between guests; rather they were extremely focused on their own senses. They carefully listened to the different texture of diverse ingredients when bitten inside the mouth such as crunchy, chewy, juicy, creamy, and so on. One of them gave me feedback after ‘course 5’ of sense, saying that she was surprised by the new taste through the enhanced sound of food. Contrary to this someone also commented that she even forgot about the taste because the enhanced sound affected her too strongly. Due to this she experienced the usual, limited taste rather than experiencing an enhanced one. These interesting conflicting feedbacks may be the right answer to your question. My experimental project aims to question the role of the

tools with which we eat and how they should be designed. What I propose is that the tableware we use for eating should not just be a tool for placing food in our mouth, but that it should become a sensory stimuli, teasing our senses in the moment when the food is still on its way to being consumed. Do you engage with the users before, after or while they use your product? What has been the most peculiar reaction you have received? I received some interesting reactions from the gastronomy event by TSS [Tableware as Sensorial Stimuli] users. An elegant lady in a whole black suit came to me and complained that she can only use utensils made of pure white ceramic without any colour, and asked me to design cutlery without colours for her. The reason being that colours interrupt the taste due to extreme stimulation, as specific colours triggers specific kinds of taste. While I had been meeting many synesthetes through opening exhibitions, workshops, events, and lectures relevant to sensory project, I saw that most of them who have this ability in their brain are not aware of the phenomenon of joint perception. However, they have come to realize that they all perceived the world in a slightly different way through this chance. The synesthetes said that they faced diverse symptoms and at various levels.

For example, they felt temperature via colours, taste via letters on signs they saw while driving and some woke up feeling textures of the sounds of alarm.

A LITTLE SOMETHING FOR US:

As an inspiring designer, would you like to give a few tips or a message to the students at Aalto? I could indulgently explore simple ideas from different angles, and deeply empathize with the roles of people as a designer. This is just what I have been aiming for. I question the design process, what is our body, what is processed in the brain can be teased? What if we could design our unconsciousness? What if we could navigate a path to new ways of perceiving in design process? What if we stimulate our latent or dormant senses, manipulating our thought pattern? How can we train our brain, our senses, and our intuition? No longer think, Just Sense!

source: novayazemlya.net

Novaya Zemlya Effect: Polar mirage where the sun seems to be rising earlier than it astronomically does. It can also make the sun appear as a line or even a square to the viewer. Phenomenon was first recorded by Willem Barrentszâ&#x20AC;&#x2122; polar region voyage in 1597.

source: wisegeekhealth.com/what-is-dysosmia.htm

Dysosmia Distortion of the perception of smell, usually an after-effect of an infection, head trauma or exposure to chemicals.

Jo Lot ki ta ne n

Eläinten ihmeellinen aistimaailma

Vesinokkaeläimen nokassa on sähköreseptoreita, jotka paikantavat saaliin lihasten tuottamat sähkökentät.

Jokainen varmasti tietää myöhäiskesän illassa valojen läheisyydessä räpyttelevän yöperhosen. Harva kuitenkaan tietää, että yöperhonen etsii kumppania hajuaistillaan. Yöperhonen liikkuu nimensä mukaan öisin ja hämärässä tai pimeässä parittelukumppanin etsiminen on vaikeaa. Niinpä osa yöperhoslajeista on kehittänyt itselleen näyttävät ja monimutkaiset tuntosarvet, joilla se voi haistaa sopivan tuulen salliessa mahdollisen parittelukumppanin jopa kilometrien säteeltä. Parittelukumppanin houkuttelemiseen yöperhonen käyttää erityisiä hajuaineita, feromoneja.

nä Mo ra kee ni i aa jall se hm llo ine n. in lin np n. To en tu itu Os tuu sa To sek lajei ude a e s o noo elä isi ä lle t i lä n, u h im e sk v n r va ät l kui avin näk mist istä ttä i ova loa inn n i no ö o ä hm ns p s h a y n n . J ut m h e yv py is an tär lvä styy isen asi ru mo äsk sty et, kin keä sti ais nä an ok ne ylä vä mo na a pa tim kö va ak t l n t h n ss is re k s oh uo yli av et a ti, mm aan yky ta k te nn op ai eri ett jot in v on un a et o is tse ty ä a he ssa ton m ise vie ne . Us loje kov ija e tu aa sti sti kä eim n e in sta sii tk n l pä nn yt m ri va ntyv imu ähi ivä äss tävä ille t h ät k ul sa ä. t yv lin sen tra ik in v a UV tuje mu iole an -va n kaa ttia loa n .

Seuraavan kerran kun kärpänen lentää pullallesi, voit ajatella sen olevan maistelumatkalla. Kärpäsen makureseptorit nimittäin sijaitsevat sen suu- ja jalkaosissa. Kärpänen tarkastelee mahdollista ruokaansa laskeutumalla sen päälle. Sillä on neljänlaisia reseptori- eli makusoluja. Kärpäsen reseptorit aistivat ruuasta esimerkiksi suolan ja umamin. Umami on yksi ihmisen luokittelemista perusmauista ja sitä voi maistaa esimerkiksi soijakastikkeessa. Muut kärpäsen makusolut ovat herkkiä sakkaroosille ja hunajalle.

Ääni on mereneläville paljon tärkeämpi väline kuin meille maakravuille. Veden alla ääni näet kantaa paljon pidemmälle kuin ilmassa. Delfiinien ja valaiden maailma on täynnä erilaisia ääniä, jotka kaikki eivät ole ihmiskorvan kuultavissa. Suurimpien valaiden matala ääni saattaa kantaa jopa valtameren laidalta toiselle. Delfiinit käyttävät naksuttelua ikään kuin kaikuluotaimena selvittääkseen esimerkiksi kalaparven sijainnin. Naksuttelu on todellista ilotulitusta, sillä delfiinit päästelevät parhaimmillaan 200 naksahdusta sekunnissa. Eri puolella valtamerta asuvilla saman lajin yksilöillä saattaa olla oma taajutensa, ”murteensa”, jolla se ääntelee. Tutkimukset ovat esimeriksi osoittaneet Walesin ja Irlannin rannikoilla asuvien delfiinien ääntelevän eri tavalla. Uutisissa on kerrottu myös hetulavalaasta Tyynellä valtamerellä, jolla on eri äänentaajuus kuin muilla valailla. Tämä ”maailman yksinäisin valas” ääntelee korkeammalla äänentaajudella kuin muut lajikumppaninsa.

Australiassa ja Tasmaniassa elää vesinokkaeläin, joka on räpylöillä ja nokalla varustettu myrkyllinen muniva nisäkäs. Jos tämä ei kuulosta tarpeeksi oudolta, niin mainittakoon vielä, että vesinokkaeläin saalistaa sähköllä. Tämä tarkoittaa sitä, että vesinokkaeläimen nokassa on sähköreseptoreita, jotka paikantavat saaliin lihasten tuottamat sähkökentät. Ilmeisesti vesinokkaeläin pystyy päättelemään sähkönlähteen suunnan vertailemalla signaalin voimakkuuden eroja. Niinpä vesinokkaeläin liikuttaa päätänsä sivulta toiselle saalistaessaan ruokaansa nilviäisiä ja äyriäisiä.

Lähteet: Itä-Suomen Yliopisto. “Eläinfysiologia ja histologia, Luento XV.” http://www2.uef.fi/documents/1054012/1063816/Luento+XV.pdf/9e2615b8-2769-47b7-a415-a0e36074fb24 Kieran Mulvaney. “The Loneliest Whale in the World?” Discovery News, kesäkuu 2013. http://news.discovery.com/animals/whales-dolphins/loneliest-whale-in-the-world-130715.htm Suomen Akatemia. “Kysy tieteestä: Onko feromonien cis-tras suhteella merkitystä siihen, että kuka viestin saa ja miten se tulkitaan?” Joulukuu 2010. http://www.aka.fi/fi/T/Kysytyt-kysymykset/Onko-feromonien-cis-tras-suhteella-merkitysta-siihen-etta-kuka-viestin-saa-ja-miten-se-tulkitaan--/ Tiede. “Vesinokkaeläimen genomikin on kummallinen.” Toukokuu 2008. http://www.tiede.fi/artikkeli/uutiset/vesinokkaelaimen_genomikin_on_kummallinen Tiede. “Mitä delfiini sanoo?” Joulukuu 2005. http://www.tiede.fi/artikkeli/jutut/artikkelit/mita_delfiini_sanoo_

Li nni pk fe in r

What Colors Do You See?

This is the famous tweet by Kim Kardashian West on the 26th of February 2015. It was official, everyone was talking about it. Some days before, a photo of a striped dress had started to appear in various channels of social media. What seemed to be a normal “crying out for fashion tips” post was suddenly turning into a giant media circus, attracting both newspapers as well as podcasts by its magical dress that would either appear white and gold, or black and blue, depending on the perceiver. “What colors do you see? ...I heard that if you see black and blue you belong to the more intelligent group”, my colleague commented on the phenomena the next day. I couldn’t help but think how stupid and banal she was, or the whole subject for that matter. Was this what people really cared about? Feeling annoyed and pretentiously superior of my idealistic values, I still curiously decided to investigate the phenomena. One by one I devoured all the articles that had been linked on Facebook. I could find how “color experts” explained how we perceive colors differently, depending on the lighting, as well as genetics and perception history. This was something that was already familiar to me from my previous studies, but as I advanced in my investigation, an epiphany was provoked. If a phenomena this ridiculous could start a discussion this big, how big of a damage has already been done just because of the lack of understanding of the power of perception? As a result, I had to revisit my answer to the age-old question of “How do I know that the blue I see is the same blue you see?” In other words, is my reality the same as yours? Of course we all already know the answer to that question: No, but still we so easily seem to forget the impact our senses have on our perception of reality. Throughout the ages it has been debated: senses versus ration-

ality, empiricism versus rationalism. It’s the ultimate philosophical battle, the “did the chicken come before the egg” of perception philosophy. Empiricists have always claimed that sense is the absolute starting point for epistemic knowledge. The senses give us all of our raw data about the world. Without this data we would not have any knowledge at all. Perception starts the process, and from this process comes all of our beliefs. Rationalists, on the other hand, have claimed that the ultimate starting point for knowledge is reason. They claim that without prior categories and principles supplied by reason, we could not organize or interpret our sense experiences. We would just be stuck with one huge, undifferentiated blur, signifying nothing. (This idea has merely stayed alive amongst mathematicians, without being worked on as a practical matter.) What should one believe? I feel it is a wrong question we’ve been asking ourselves. The existence of physical reality is independent, unaware of our perception of it. So the real question is: what then is this physical reality really? Particles? Nothingness distinguished into things? Or just an illusion? Even though there has not been found an absolute answer to this bigger-than-life question, it is important we still try to find a collective perception of things, to be able to live in a community. To perceive life together is to experience it. Alas, we have a tendency not to do this, but to focus more on individual reality. Even so, we forget that we are not the highest authority of our own senses or consciousness. Our minds inflate what they think they are experiencing. If you are looking at an old 17th century painting of a town view, you usually notice when getting closer that the painted crowd is in fact simply a cluster of colored dots, not people painted in detail, even

most important thing after all? When I read various scientific articles for this paper I ended up hoping to be Kim Kardashian, not caring about empiricism or the definition of physical reality, just caring about what the color of a dress is. Then I reminded myself that how ever confusing this might be, what comforts me is to know that all realities exist independently, whether we understand our sense-data, sense-awareness, or sense devices, or not. It’s like my dad always said when I failed to understand something as a kid: Everything is what it is. And for now, the only thing I know for sure is that I really want to eat the sandwich I have in front of me. A sandwich I can experience with all my senses, something that is absolute and sure. Sounds good enough for me.

References: Max Velmans. “Physical, Psychological and Virtual Realities.” http://cogprints.org/4761/1/Physical,_psychological_and_virtual_realities.pdf Michael Huemer. “Sense-Data.” Stanford Encyclopedia of Philosophy. First published May 21, 2004. http://plato.stanford.edu/entries/sense-data/ Beau Lotto. “Optical illusions show how we see.” TEDTalks. http://www.ted.com/talks/beau_lotto_optical_illusions_show_how_we_see Neil Harbisson. “I Listen to Color.” TEDTalks. http://www.ted.com/talks/neil_harbisson_i_listen_to_color Juhani Pallasmaa. “The Eyes of the skin, Architecture and Senses.” First published April 11, 1996.

though your brain has perceived the image as such. Are our senses really that unreliable, even though we have always been relying on them for our survival? The answer is of course: no, they are always correct. Senses are the only true connection we have to the physical word. It is what happens in our brains, our perception of things, that is the untrustworthy part. On the other hand these individual perceptions are just what make us human. So where do we find the balance? And how do we tell the difference between senses and the perceptions they project? When we talk about senses people usually only think about eyesight, forgetting the other four complimenting senses. To maximize the input, our knowledge but mostly the quality of experiences and achieving this collective perception, we should increase the awareness of all our senses. I believe that it will not only make our perceptions more accurate but increase our quality of life. For instance, why do we enjoy sex that much? In addition to the biological reason, we can see that it’s one of the few acts (beside eating, yum!) when all of our senses are being equally used, which is quite a rare thing to say. Think about it. Not even theatre plays can say that of themselves. Then again catalyzing experiences which use all of our senses being simultaneously has become a great trend in the desperate search of the ultimate hedonistic experience. This is why different cultural genres are merging together. Dining with Abba, flying dinner and 4D movie theaters are just the tip of an iceberg in examples of how this theory can be used to a capitalistic victory. How should one live then? Maximizing the use of senses, awareness? Still knowing that you will never reach the same perception in able to truly understand another individual, but simultaneously knowing that an absolute perception maybe is not the

P Va ie pp ta ul ri a

Kun elokuva tuoksui

Vaikka elokuva on mielletty kautta aikojen audiovisuaaliseksi kokemukseksi, oli aika, jolloin nĂ¤kĂśja kuuloaistin lisĂ¤ksi elokuviin liitettiin hajuaisti.

Kuvittele istuvasi pimeässä elokuvateatterisalissa. Kankaalle heijastuvassa kuvassa pääosa poimii meikkipöydältä parfyymipullon ja ruiskauttaa päälleen aimo annoksen tuoksua. Hetken kuluttua hajuveden makea tuoksu täyttää sieraimesi ja koko salin. Absurdi mielikuva on itse asiassa osa elokuvan historiaa. Vaikka elokuva on mielletty kautta aikojen audiovisuaaliseksi kokemukseksi, oli aika, jolloin näkö- ja kuuloaistin lisäksi elokuviin liitettiin hajuaisti. Ensimmäiset tuoksukokeilut tehtiin jo 1920-luvulla. Vuonna 1929 mykän Lilac Time -sotaelokuvan alkutekstien aikana eräässä elokuvateatterissa Bostonissa kaadettiin syreenien tuoksuista hajuvettä ilmanvaihtokanaviin. Samaa temppu toistettiin Detroitissa vuonna 1940 The Sea Hawk ja Boom Town -elokuvien näytöksissä. Tuoksullisten elokuvien kaupallinen tuotanto alkoi vasta 50-luvun lopulla, jolloin kilpailu television äärelle karanneista elokuvateatterikävijöistä kärjistyi. Niiden oli määrä vastata television saavuttamaan suosioon. Ensimmäinen tuoksuineen levitetty elokuva oli Carlo Lizzanin vuonna 1958 julkaistu Behind the Great Wall. Italialainen dokumenttielokuva kertoi tarinaa modernista Kiinasta esitellen länsimaalaisille katsojille ennennäkemättömän puolen paikallisesta elämästä. Elokuvan hajuton versio voitti Italian elokuva-akatemian David di Donatello -palkinnon parhaasta tuotannosta, parhaan

kuvauksen palkinnon Italian elokuvajournalistien liitolta ja useita palkintoja Venetsian elokuvajuhlilla. Yhdysvaltalaisyleisöä varten elokuvaan liitettiin tuoksut. Tuoksujen uskottiin sitovan katsojan paremmin tuntemattomaan miljööseen. Esimerkiksi buddhalaistemppelin kuviin liitettiin suitsukkeiden tuoksu ja hongkongilaisen yökerhon kohtaukseen savun haju. Elokuvan mainoslause kuului “You must breathe it to believe it!” Kaksituntisen elokuvan 72 tuoksua levitettiin teatterisaliin AromaRama-tekniikan avulla. Tekniikka perustui sille, että aerosolipulloihin pakattua tuoksua levitettiin saliin ilmanvaihtokanavien kautta oikeassa kohdassa elokuvaa.

Elokuvien markkinoinnissa AromaRama rinnastettiin yhtä suureksi saavutukseksi kuin värifilmi tai äänielokuva. Hehkutuksesta huolimatta ensimmäinen tuoksuva elokuva ei onnistunut vakuuttamaan yleisöä tai kriitikoita. Elokuvateattereiden ilmanvaihtokanavia hyödynnettäessä vanhat hajut eivät ehtineet kaikota salista ennen uusien tuloa, jolloin elokuvan päätteeksi ilmassa leijaili 72 tuoksun yhteislemu. The New York Timesin kriitikon mukaan muuten

hienoista kohtauksista tuli tuoksuineen raskaita, epäselviä ja latteita. AromaRama-flopin jälkeisenä vuonna julkaistiin Jack Cardiffin Scent of Mystery. Tällä kertaa tuoksuja ei liitetty elokuvaan jälkikäteen, vaan elokuvan juoni rakentui mysteerihahmon varaan, joka oli tunnistettavissa hajuveden perusteella. Elokuvan 30 eri tuoksua levitettiin Smell-O-Vision -tekniikalla. Smell-O-Visionissa koko saliin johdettiin hajuputket, joiden ulostulot ohjattiin jokaisen penkin taakse. Elokuvan pyöriessä valkokankaalla sen soundtrack aktivoi oikeassa kohdassa koneiston syöttämään hajun putkea pitkin saliin. Tuoksun perään syötettiin hajuntappajaa, joka ehti tehota salissa ennen uuden tuoksun syöttöä. Uusi tekniikka toimi kriitikoiden mukaan edeltäjäänsä paremmin, mutta jopa elokuvan ohjaajan mukaan tuoksut haisivat halvalta hajuvedeltä. Halpa tuoksu tuli kalliilla hinnalla – nykyeuroissa mitattuna yhden salin varustaminen Smell-O-Vision -putkistolla maksoi 200 tuhatta euroa. Yhdysvalloissa vain kolmella elokuvateatterilla oli varaa asennuttaa laitteisto saleihinsa. Pian Scent of Mystery julkaistiin tuoksuttomana versiona nimellä Holiday in Spain, ja halpoja kopioita AromaRamasta ja Smell-O-Visionista alkoi pyöriä B-luokan elokuvateattereissa. Näitä elokuvia kutsuttiin mainoksissa ja kansan parissa nimellä smellies. Suurten

tuoksullisten elokuvien aika oli ohi. Kulttiohjaaja John Waters osoitti kunniaa tuoksuelokuville vuoden 1981 Polyesterissä. Elokuvan katsojille jaettiin patentoidut Odorama-kortit, joista tuli raaputtaa tietty osa valkokankaalla vilahtaneiden ohjeiden mukaan.

Korttia nuuhkaisemalla saattoi haistaa ruusujen, pizzan, bensan, likaisten kenkien tai ilmanraikastimen tuoksun. Tällä vuosisadalla hajuelokuvaa on kokeiltu enää Nickelodeonin tuottamassa Rugrats Gone Wild -elokuvassa vuonna 2003. Tällä kertaa tuoksuja haisteltiin elokuvateatterien sijaan kotisohvalla. Piirretyn VHS-kasettien sisään liitettiin vastaavanlainen Odorama-arpa, jota pystyi käyttämään kerran elokuvaa katsoessa. DVD-julkaisuihin siirryttäessä arpaa ei enää tosin tullut elokuvan mukana.

Itâ&#x20AC;&#x2122;s not about the length of the life, but the quality of becoming. Evelin

U betta work Maria, and take a taxi to the pizzeria.

.. 80 gr en ole oikeassa kuitusuunnassa Lari

I ate a big bowl of raw tortellini, It made my tummy rumble like thunder and my hair spark up like lightning, and so i was named Saudamini.

A letter arrived in a candy store for mister Mäkelä, Auri. The person you were before shot your grandpa’s thesauri.

Pietari Vappula juhlisti vappua kaataen skumppaa takilleen ja istuutuen lakilleen. Joka vuosi sama juttu, olihan juhla nimestäänkin tuttu.

. Janne

ilut 2e anisiepoh .aniomalas

To Se lg ra ay

The City of Running Water

“On the shore, these fountain springs are mirrors of the world.” —Sami Bey (ca. 1730)

What distinguishes water from other landscape elements is its unique ability to be molded, sculpted and re-channeled around space. “But life too, is probably round,” writes Van Gogh in one of his letters.1 And life-giving water surrounds. Yet water also has to be surrounded, controlled through hydraulics and infrastructure in order to be supplied to the masses as a basic need. Water has shaped Istanbul’s topography, history, urban form, commercial activity and social life over millennia. Water, invariably, surrounds Istanbul. The city has, however, struggled with the problem of supplying enough running water throughout its history. Because demand could not be met with wells fed by groundwater, water had to be brought in from the hinterlands. When Constantin I inaugurated Constantinople as the new capital of the Roman Empire, the construction of a system of aqueducts began in the first half of the 4th century AD to

bring a steady supply of water to the city. Extending from the southern slopes of the Istranca mountains to Istanbul, this water conveyance system was the longest of the Roman period, with a length of over 200 kilometers.2 From these early stages on, Istanbul’s water supply required a highly developed technology and sophisticated social regulation. With continuous repairs, the Byzantines maintained the city’s water supply but by 1453, when the Ottoman Turks made Istanbul their capital, it needed a complete overhaul. Over the centuries, Istanbul became a city of running water, serviced by a complex system of dams, aqueducts, water towers, water balances and fountains. As opposed to the still waters of Roman baths, the Ottomans also expected that water be constantly running, especially given that ritual purification was required by religion. During the Ottoman era, vakıfs (charitable endowments) commonly pro-

vided communal services, which included also financing of dams, hamams (Turkish baths), and fountains. Islam mandates the donation of a portion of one’s wealth every year to help the poor and needy. While sultans, their immediate family and pasas built mosques, schools and hospitals, ordinary citizens were able to construct fountains as charitable acts. Fountains bearing the name, rank of their founders and a poetic inscription became a visual expression of new and rising aspirations. There was a phenomenal proliferation of fountains in the eighteenth century—from 1703 to 1809, over three hundred and sixty-five fountains were built in Istanbul.3 This general obsession with fountains shows how individuals aspiring to higher social prestige paraded their achievements. The fountain also provided an urban public space for commerce, exchanging of news, and social interactions. Until the 19th century, while only palaces

and houses of the wealthy received flowing water, the rest of Istanbul’s population relied on the neighborhood fountain. Many fountains provided seats for waiting one’s turn in filling jugs, making it a social hub.4 In this cultural framework, fountains and running water were central features of Ottoman urban space. Hamams fulfilled a similar role in providing neighbors a space to socialize. Along with a mosque and a market, a hamam was one of the first buildings erected by Ottomans after the conquest of any urban space. If any neighborhood lacked a hamam, this was something exceptional; Evliya Çelebi, known for his 1tth century travelogues, attributed the absence of a hamam to the backwardness of a town.5 The hamam performed an important religious and social function by providing the population a collective space to wash. Cleanliness, closely associated with running water, was an essential element in Ottoman society, provided

by a highly visible, aesthetic infrastructural system. As cities became more networked later in the 19th century through electrifica-

“Yes, as everyone knows, meditation and water are wedded for ever.” -Herman Melville, Moby-Dick tion, traffic networks and centralized water supply systems, Istanbul underwent a similar transformation—a conscious break with its heritage, as water pipes were laid throughout the growing metropolis. The construction and operation of Istanbul’s first waterworks facilities were delegated to French, Swiss, and German engineers, at a time when these experts regarded traditional Ottoman supply systems as beautiful though inadequate for modern use. While the

Ottoman fountains, founded and often maintained by public endowments and owned communally, provided free water to all, centralized water required fees and was operated by private enterprises. By the 1950s most fountains in Istanbul had became dysfunctional, archaeological relics. Poet Mehmed Akif, who wrote modern Turkey’s national anthem, lamented this radical transformation: “The channels are gone, The bridges ruine, The sebils have dried up and The fountains are shut.” Water has gone from being central to communal, sensory experience to a commodity barely abundant to meet the demand of an ever-growing city in the 21st century. Today, the imbalanced distribution of water resources and demand on the European and Asian sides of the city is addressed by the transportation of water from Asian side to the European side through water transmission pipes under the Bosphorus Strait and a tunnel passing 130

m under the Strait. The engineering feats of the 19th century have begotten even bigger engineering feats today to match the city’s thirst. Additionally, with the multiplication of illegal settlements around reservoir watershed zones due to fast urban growth and migration from rural areas, important water reservoirs of the city are facing pollution.6 Water shortages, watercourse pollution, flooding are all symptoms of the stress facing Istanbul’s current water supply system, where water has almost become a risk or a nuisance. As architect, Christopher Alexander notes in A Pattern Language (1977) however, “Our lives are diminished if we cannot establish rich and abiding contact with water... Our only contact with this water is to turn on the tap. We take the water for granted. But as marvelous as the high technology of water treatment and distribution has become, it does not satisfy the emotional need to make contact

with the local reservoirs, and to understand the cycle of water: its limits and its mystery.”7 It is important to consider, then, how the invisibility of water has caused us to view it solely as a commodity to be consumed, not only devoid of sensory, ritualistic qualities, but also as a valuable resource that is becoming increasingly scarce. Are we making the problem worse by hiding it, in pipes? German philosopher Martin Heidegger, though not concerned with water supply in any fashion, would have said yes. For Heidegger, the appearance of a thing and the thing itself are interconnected, and moreover, are one and the same. But things do not appear on their own, they are uncovered to someone. Unconcealment is a term that first entered Heidegger’s philosophy as a translation for the ancient Greek word alêtheia. The more standard translation of the word is “truth” (Wahrheit), but Heidegger elected to go with a literal

translation: alêtheia means literally “not concealed.” The infrastructure of water, as it exists in the 21st century, has been very successful at concealing water. Similarly, the primary focus of water design has been its utilitarian and symbolic uses, not direct contact. But, the focus has started to shift in recent years. Contemporary designers are becoming more sensitive to the need to connect people with water by establishing “immediacy,” which Architect Charles Moore describes as “establishing the closest possible contact between the observer and the water.”8 Water management is indeed considered too late in the planning and design process of developments. As an alternative, “water sensitive urban design” prioritizes all elements of the water cycle when designing and developing new spaces. One design solution is looking beyond the idea that a pipe in the ground is the best option for managing rainwater. Creating more

city’s inhabitants, or unconcealment, can be a design principle to start re-establishing this age-old contact.

(1) (2) Vince Refer nt e (3) Unal van nces: O Gog (4) Shiri zis, h, ne “ E H Let b ist (5) ru Ham te o B (6) Rober oyar adeh, rical r to Emi t a “ Wa A nd Spl hme Dan (7) K ash ter S le Be t k ate che rna and (8) Chris Mete off, F l A ee tr Sa n Spe mes i rd, 2 Cha c rle opher atci, Otto t, A n T 6 J man Soc tacle s M u u A “ l S i : T rkey, ne 18 oor exa olv Men al h e, ” W n 88. i You der e ng Wa talit Histo e Obs a y. ry ess ter R t a ter hav Th of i e l. e t P Ott on wi sourc o P , A P roble e Wor oma t e l ay a m n I h Fou s Dev for ttern s of d of sta nta elo Evl a M the La n i p Pub nguag etrop iya Ç bul ( ns in ment el C lic V e: o Tow lis,” ebi ( ambri Eight ol. 1 Lif dg ee 2, ns L e: J No. Sel , Bui ourna eiden e Uni nth-C ve e ect 3 ( ldi l o a ed 199 ngs f W nd Bo rsity ntury Ess 6 , C ate s t P on, res Istan ). ays ons r R s bu tru eso 200 , 2 of c urc 4), 010 l,” M Cha tio e ). uqa rle n ( p. and rna s W O Pro 50. s V . M xford ol. oor Uni tecti e 19 v on ers (Th (20 ( ity 201 e M 02) 3). IT Pre . Pre s ss, s USA , 200 1 9 4). 77) .

permeable urban surfaces, for example, can help collect more wastewater for reuse, while taking the pressure off existing infrastructure. Urban design can also take advantage of the sound of water, informing the user of its presence. Water is commonly presented in a high-energy form, by way of large jets and impressive cascading waterfalls. Yet, quiet or low-energy water forms can take more advantage of its calming, meditative qualities. Not surprisingly, jannah (garden), with flowing water and fruit bearing trees, is a metaphor of Paradise in the Qur’an. In a city surrounded by various bodies of water, from the Black Sea to the Marmara Sea through the Bosphorus Strait, ironically, one third of children living in Istanbul’s more impoverished inland districts like Bagcılar, Esenler or Sultangazi have never seen the sea, according to Deniz Temiz Dernegi, an NGO that has initiated school trips to the Bosphorus. Likewise revealing water to the

source: en.wikipedia.org/wiki/McCollough_effect

McCollough Effect A long-lasting phenomenon of visual perception. For example, looking at a horizontal grating with a green background and vertical grating on a red background will result in black-andwhite horizontal grating look greenish and vertical grating look pinkish. Discovered by American psychologist Celeste McCollough in 1965.

source: gocognitive.net/interviews/neural-anatomy-synesthesia 45

Synesthesia: A neurological phenomenon in which stimulation of a sensory pathway causes automatic experiences in another sensory pathway. Synesthete, a person with synesthesia, might see sounds as colors, associate numbers or letters with colors or personalities, or even experience different tastes while hearing certain words.

Vi Au lk ra un a

Museomuutoksia

Museoiden kaivatusta muutoksesta kertoo muun muassa kävijä-termin vaihtuminen käyttäjäksi.

Aikaisemmin museoihin otettiin töihin oppipoika-kisälli-mestari-periaatteella: aloitettiin näyttelyvahdin tehtävistä ja edettiin vuosi vuodelta. Kokemuksen karttuessa päästiin kohti tavoitetta. Nykypäivänä tämä on harvoin mahdollista, ei yksinomaan koulutusuudistusten vaan myös julkisen talouden muutoksen vuoksi. Etenkin pienissä kunnissa julkisten kulttuuripalveluiden rappeutuminen näkyy työntekijöiden vähenemisenä ja vanhenemisena; hedelmällistä vanhan kokeneen ja nuoren tulokkaan kohtaamista ei tapahdu, eikä uusia innovaatioita synny tilanteen pelastamiseksi vaaditulla tahdilla. Tästä kertoo henkilökohtainen kokemukseni. Hain töitä museosta, ja vaikka museon tarpeet ja intressini olisivat kohdanneet – he mitä ilmeisemmin olisivat halunneet palkata minut kesätöihin – oli kaupunki antanut rekrytointikiellon. Olen käynyt keskusteluja maakuntien museoiden työntekijöiden kanssa siitä, kuinka kulttuurisektorin määrärahojen väheneminen näkyy

konkreettisesti museoiden toiminnassa: museoista vieraannutaan. Aihe on jäänyt mietityttämään. Ongelma ei ole siinä, etteivätkö ihmiset arvostaisi kulttuuria – museoita pidetään arvossa. Arvo, arvostus ja sen mittaaminen vain eivät välity kunnallisille päättäjille. Helsingin näkökulmasta ja etenkin täällä asuvan korviin tämä saattaa kuulostaa oudolta, varsinkin jos asiaa tarkastellaan taideopiskelijan kannalta. Kaikille avoimien museoiden ja gallerioiden kävijäkunnan spesifioituneisuutta on murehdittu kautta aikain. Korkeakulttuurin ja massakulttuurin kohtaaminen ei juuri ole muuttanut museoiden tilannetta. Museoiden kaivatusta muutoksesta kertoo muun muassa kävijä-termin vaihtuminen käyttäjäksi. Museoissa kulkeva pyritään näkemään itsenäisenä, ajattelevana subjektina ja miksei myös toimijana, joka ei pelkästään katso sitä, mitä hänelle esitellään, vaan myös tuo ja rakentaa merkityksiä lähtökohdistaan sille pohjalle, jonka museo

hänelle asettaa. Helsinki tarjoaa meille paljon: on m useoita, gallerioiden avajaisia viikoittain, kulttuuritapahtumia ilmaisista maksullisiin, performansseja ja osallistavaa toimintaa. Jokaiselle jotakin. Tämän kesän puhutuin taidetapahtuma ei kuitenkaan sijoitu pääkaupunkiin vaan Mänttään. Mäntän kuvataideviikot ja Mänttä-Vilppulan kaupungin Serlachiusmuseot keräävät kävijöitä paitsi kotimaasta – ennen kaikkea Helsingistä – myös kansainvälisesti. Museo tarjoaa uusissa ja uudistetuissa, monipuolisissa tiloissaan kaikkea historiasta ja vanhemmasta taiteesta ajankohtaisiin nykytaiteilijoihin, tunnetuista tuntemattomampiin. Museo nostaa päätään periferiassa ja osoittaa, että mahdollisuudet eivät rajaudu ratikkayhteyksien päähän. Aino Frilander kirjoitti Helsingin Sanomissa 30.3.2015 Espanjan Málagan kaupungin uusista keinoista kilpailla kulttuurilla. Málaga oli sijoittanut Pompidou-keskuksen pop-up-näyttelyyn ja Venäjän Pietarin museon

sivupisteeseen. Jo aiemmin Málagan taidesuuntautuneisuudesta on pitänyt huolta kaupungin Picassomuseo, mutta tämä rohkea veto nostaa kaupunkia taiteen maailman kartalle.

Málagan ja Mäntän kaltaisten periferia museoiden nousu riitelee maun ja erottau tumisen sosiologi Pierre Bourdieun teorioiden kanssa.

Museot ovat jatkaneet, koska työntekijät ja tutkijat ovat nähneet suurta vaivaa ja taistelleet niiden puolesta. Lisäksi museoiden arvo kulttuurin, historian ja tiedon ylläpitäjinä on taloudellisten resurssien vähenemisestä sekä niukkene-

vista taloudellisista tuista huolimatta säilynyt osana julkisia kulttuuripalveluja. Asennemuutosta tulisi jatkaa vielä museon sisälläkin. Me käymme tapahtumissa, joissa museotila on otettu käyttöön uusin ja erilaisin tavoin. Oiva esimerkki on Designmuseon ilmaispäivän Postmodernismi -näyttelyyn liitetty tanssimusiikkia soiva huone, jossa ihmiset saattoivat museotilassa kuulla nuoruutensa musiikkia, juoda virvokkeita tai vain katsella vanhoja musiikkivideoita. Museotila muuttui hetkeksi multimodaalisemmaksi ja koskettavammaksi kuin vain esineitä esitteleväksi ja historiikkejä kartoittavaksi hahmotelmaksi. Silti tavallisina päivinä Designmuseon kävijäkunta koostuu lähinnä suomimuotoilusta kiinnostuneista turisteista. Miten tilan saisi tuotua lähelle ilman, että se muuttuisi väkinäiseksi ja ahdistavan osallistavaksi? Lappeenrannan Katariinan taideolohuone avattiin viime kesänä. Kaakon taiteen alla toimivassa tilassa on tarjolla kahvia ja taidetta sekä tila

oleskella ja jutella: kuin galleria, mutta enemmän: kuin museo, mutta vapaampi. Miten olisi brunssi museossa? Alppilan kirkko keksi sen jo ennen meitä. Rohkea kokeilee, muuttaa ja muistaa sen mitä ihmiset haluavat, tai mitä ihmiset eivät vielä tiedä haluavansa.

TIKANHEITTÄJÄ Te, olette erotettu.

Se jää ikkunan alla istuvan HERRAN takin pielukseen.

Tikanheittäjä nauraa heleästi ja sihtaa samalla sokkona yhden tikan olkansa yli.

MIES TISKILLÄ Ette te niin voi tehdä.

TIKANHEITTÄJÄ Jaa-a. Erotan teidät vihapuheittenne vuoksi.

MIES TISKILLÄ Huora.

Baaritiskillä istuva mies pui nyrkkiään.

TIKANHEITTÄJÄ Teidät on lomautettu.

Hän heittää yhden tikan BAARIMIKON otsaan. Se uppoaa otsaan varteaan myöten. Haava vuotaa heti. Baarimikko nojaa seinään, huohottaen.

Tikanheittäjä menee tikkataululle ja kahmaisee käteensä TIKAT.

- hän on tippunut muotitalon mallistosta keskelle siivotonta metsämökkiä.

Ne Ta TIKANHEITTÄJÄ astuu paikalliseen räkälään. Hän katselee va im ympärilleen, tutkailee baarin asiakkaita. Kaikki tuntuvat lu i katsovan myös takaisin häneen; hän poikkeaa ulkonäöltään om paljolti baarin muusta väestä. Hänellä on lyhyt, kiiltävän musta kampaus ja napakasti istuva musta mekko a

INT. BAARI METSÄMÖKKI - ILTA - KESÄ 2014

Biljardia pelaava nainen pyörittää etusormeaan ohimollaan, viitaten tikanheittäjän mielenterveyteen.

TIKANHEITTÄJÄ Ylemmällä johtoportaan tasolla ei voi tuolla tavalla suhtautua emotionaalisesti asioihin. Tässä on kyse yksinkertaisesta komentoketjusta.

Tikanheittäjä kohauttaa olkiaan.

BILJARDITINAINEN Eihän tossa ole mitään järkeä!

TIKANHEITTÄJÄ Nyt on kuule niin, että kun minä saan pisteen niin työpaikka lähtee. Ylemmältä on tullut ohjeet minullekin.

Tikanheittäjä kohottaa kätensä ilmaan, kädet pesevään eleeseen.

BILJARDINAINEN Mulla on oma firma. Miten ajattelitte mut siitä erottaa?

TIKANHEITTÄJÄ Mä sain pisteen. Ja te olette valitettavasti erotettu.

BILJARDINAINEN Lasketaan miksi?

TIKANHEITTÄJÄ (CONT’D) Kyllä tuo lasketaan, se osui kuitenkin teihin.

Herra ikkunalla osoittaa itseään kysyvästi. Tikanheittäjä nyökkää hänelle. Herra omaksuu tiedon; hän purskahtaa kyyneliin. Tikanheittäjä sihtaa uuden tikan, toisen, kolmannen - viimeinen tikka tarttuu biljardia pelaavaan NAISEN villatakkiin. Hän hätkähtää, ja katsoo kulmat kysyvästi koholla tikanheittäjää.

TIKANHEITTÄJÄ Kylläpäs maksat. Täällä on istuimet vain maksaville asiakkaille.

MIES TISKILLÄ Et maksa tolle.

Nyrkkiä puinut mies tiskiltä laskee kätensä uuden asiakkaan rinnalle.

UUSI ASIAKAS On hinnat vähän nousseet...

TIKANHEITTÄJÄ (CONT’D) Kuusi euroa!

Nainen marssii tiskin taakse korot kopisten ja kilauttaa tuopin hanan alle. Valuttaa miehelle oluen.

TIKANHEITTÄJÄ Minä kaadan teille oluen.

UUSI ASIAKAS (CONT’D) Onko kaikki hyvin?

Baarimikko istuu jakkaralla tiskin takana, tikka edelleen otsassaan.

UUSI ASIAKAS Saisinko oluen?

Tiskille on saapunut uusi asiakas.

Biljardia pelaava nainen nappaa villatakissaan roikkuvan tikan.

TIKANHEITTÄJÄ (CONT’D) Niin. Tuollainen asenne. Voitte vain itseänne syyttää tästä!

Uusi asiakas, mies tiskillä ja biljardinainen lyövät ylävitosia. Biljardinainen lähettää herralle ikkunalla lentosuukon. Kun kaikkien silmä välttää, Tikanheittäjä livahtaa ulos.

UUSI ASIAKAS Noin! Annoin itselleni vähän alennusta. Kun kuitenkin läikytitte suurimman osan juomasta lattialle.

Uusi asiakas neppaa Tikanheittäjälle 2 euron kolikon.

TIKANHEITTÄJÄ (CONT’D) Tuosta saatte vielä maksaa!

Uusi asiakas kaappaa oluensa hanan alta ja heittää sen Tikanheittäjän rinnuksille. Mies tiskillä nauraa höröttää ja taputtaa uutta joukkuekaveriaan selkään.

TIKANHEITTÄJÄ (CONT’D) Te ette tee töitä enää missään, koskaan!

KOPS - biljardia pelannut nainen kopauttaa Tikanheittäjää mailalla otsaan.

Herra ikkunan alta vilkuttaa tikkansa perään.

Tikka napsahtaa Tikanheittäjän rintaan. Hän katsoo sitä suu auki.

J rj oo al na ai s ne n

On the Road to a Sustainable Building Stock Successfully transforming the current building stock to a truly sustainable, low-carbon building stock is not merely a matter of technology, but rather a puzzle in which many multidimensional pieces need to come together.

60 Energy efficient technologies and renewable energy have received increasing attention in the media and political discussions in the recent years due to glooming climate change, growing environmental awareness and pressures created by dependence on fossil fuels. While both can be utilized in a large variety of small-, medium- and large-scale applications, buildings (1) Nagy, Zoltán, Fah Yik Yong, Mario represent a system in which both can Frei, and Arno Schlueter. “Occupant Centered Lighting Control for Comfort make a crucial impact on their perforand Energy Efficient Building Operation.” Energy Buildings (2015). Web. mance. In fact, as buildings currently <http://www.sciencedirect.com/science/ account for at least one third of the article/pii/S0378778815001759>. world’s energy consumption and, hence, (2) Nicol, Fergus, and Michael A. Humphreys. Adaptive Thermal Comit is clear that, as energy prices rise, fort: Principles and Practice. Lonthe need to reduce energy consumption don: Routledge, 2012. Print. becomes a fundamental driver in both com(3) 1. World Commission on Environmercial and residential building markets.1 ment and Development (WCED). Our Common Future. Oxford: Oxford Uni2 However, successfully transforming the versity Press, 1987, p.43 current building stock to a truly sustainable, low-carbon building stock is not merely a matter of technology, but rather a puzzle in which many multi-dimensional pieces need to come together. This essay will discuss some of these considerations and the extent to which it is necessary and makes sense to increase the energy performance of buildings from the design, resource use and standards perspective.

One way to start thinking about the aspects related to the energy performance of buildings is to revisit the definition of sustainable development, i.e. meeting the needs of the present without compromising the ability of future generations to meet their own.3 While the definition itself is very broad, there are several important implications for buildings

related to economic, environmental and social aspects that can be derived from it. Firstly, the lifetime of a building and the turnover of building stock are very long and, hence, it is likely that once a building is built, it will remain operational for several decades. Under increasing pressure to mitigate carbon emissions it naturally follows that low-energy buildings are a desirable option from the environmental point of view. However, low operational energy consumption also correlates to low operation costs, which also increases the attractiveness of low- or zero-energy buildings from the economic perspective due to the length of their lifetime. In addition, during its lifetime, the building must provide shelter for a large amount of occupants with different needs, which means that the purpose of use of the building might change one or more times along the way. Thus, in order to truly be sustainable, the design should not only allow for flexibility in the interior design and floor layout from design perspective, but also from the perspective of efficient material use, in case changes need to be made, when the tenants change. This pressure to increase the design and construction costs, however, to be able to apply these concepts in a large-scale, the design and construction should be competitive with a ยง building and reproducible in different locations (with similar climates) with minor design changes. Furthermore, to close in on the net-zero energy status, the building should also generate its own energy. In fact, buildings can be run on clean, renewable energy, but only, if they are low-energy buildings. Finally, in order for such buildings to be successfully sold or rented, they must also be comfortable to the occupants, whose perception of comfort is likely to vary in time and from one occupant to the other. It is clear, that meeting these objectives is not straight-forward, and requires many different parties with different background to come together and think outside the box. A natural starting point to low-energy buildings is to resort to technical, high-efficiency solutions. On the operational energy side, one might attempt to add more efficient technology and more sophisticated building controls to the building to better manage the indoor temperature and optimize energy performance. While, in general, energy efficient equipment, smart control of HVAC and other systems are necessary for low-energy buildings, they need to also be operated in the right way. For example, a state-of-art lighting control system in a public library is not of much use, if it is too complicated for the staff to operate. Similarly, the operation of a heating and cooling system will result in overcooling in the summer and overheating in the winter, if its temperature set points are not changed for summer and winter accordingly. This will

If buildings can be turned into small-scale electricity generators, while achieving low operational costs resulting in long-term monetary savings and higher building value, one might wonder, why doesnâ&#x20AC;&#x2122;t all construction reflect sustainable passive design principles and incorporate high efficiency technology, where appropriate?

64 not only result in excess energy consumption, but most likely also in uncomfortable, if not unhealthy, conditions in the building.4 Factoring in potential impacts of the rebound effect (i.e. increase of consumption of an energy service as a result of higher efficiency), that might occur due to human behaviour, can further diminish the potential energy savings.5 (4) Nicol, Fergus, and Michael A. However, it is not only the behavioural Humphreys. Adaptive Thermal Comfort: Principles and Practice. Lonand operational aspects that hinder the don: Routledge, 2012. Print. savings that can be realized; all addi(5) Sorrell, S. (2009), The rebound tional equipment or hardware, efficient effect: definition and estimation, in L. Hunt and J. Evans (eds) Internaor not, that goes into a building, tional Handbook of the Economics of Energy, Edward Elgar, Cheltenham requires a certain amount of energy to operate. For this reason, there is a point at which adding more equipment to a system, say sensors to a building automation system or increasing the sampling rate of measurements, becomes less beneficial from an overall energy performance point of view. Thus, while energy-efficient technology certainly has its place, other considerations, such as correct operation and design aspects, are just as important. When energy efficient technology is combined with sustainable design principles high gains in energy performance can be realized. Sustainable, passive design seeks to minimize energy losses of the building envelope, maximizing solar gains in the winter, considering social and economic aspects with care, avoiding risks for human health and carefully designing the aesthetics of a building.6 Examples of passive solutions in buildings include the use of natural ventilation for cooling instead of mechanical ventila(6) Kämpfen, Beat. “Wood Buildings: Modern, Energy Efficient, Sustainable.” ETH tion as well as utilization of heavily Zürich, Zürich. 4 Mar. 2015. Lecture. insulated walls to increase the thermal mass of the building in order to reduce the response of the indoor temperature to outside air temperature fluctuations. Simplicity in the design of passive buildings is also of high importance in order to provide reductions in construction costs, high flexibility in purpose of building use, and to increase the potential for mass production of such buildings. An advantage of passive, low-energy buildings is that they often meet the requirements for different

sustainable building certification labels, such as Minergie, BREEAM or LEED. This is an important selling point, as it has been shown by several studies that such labels increase the value of the building relative to a conventional building.7 8 Furthermore, it has been shown that in Switzerland energy saving measures in residential buildings increase the consumers’ (7) Fuerst, F. and P. McAllister, “An willingness-to-pay relative to a convenInvestigation of the Effect of Eco-Labeling on Office Occupancy Rates.” Journal tional building.9 This is highly beneficial of Sustainable Real Estate, Vol. 1, No. 1, 2009. http://www.costar.com/josre/ not only from the point of view individuJournalPdfs/03-Effect-Eco-Labeling.pdf al, but potentially also from the perspec(8) Fuerst, F. and P. McAllister, tive of the whole building stock, as the “New Evidence on the Green Building Rent and Price Premium.” Univerrequirements for sustainable building cersity of Reading, 2009. http://www. tification labels are often well stricter henley.ac.uk/rep/fulltxt/0709.pdf than the building codes of respective (9) Banfi, Silvia, Mehdi Farsi, Massimo countries. If the interest on pursuing Filippini, and Martin Jakob. “Willingness To Pay For Energy-saving Meassuch labels increases significantly, this ures In Residential Buildings.” Energy Economics 30.2 (2008): 503-16. Print. can contribute to increased efficiency of the building stock. Simultaneously, a wider application of sustainable building certification labels can in the ideal case apply pressure on tightening countries’ building codes for energy performance. However, very strict requirements on energy performance can in some instances create contradictory situations, when it comes to low-energy and net-zero buildings. For example, the Swiss building code specifies a certain value for energy performance in kWh per m2 per year, which is required to be met by a building in order to be built.10 This makes a lot of sense, if a building is heated by oil boiler or if it obtains all or a majority of its energy from the power (10) Gugerli, Heinrich. “Energy Efficient Buildings: The Swiss Experigrid, as it reduces the harmful environence.” Green Building Congress. Stadt mental impacts from satisfying its energy Zürich, Amt für Hochbauten. , Chennai. 7 Oct. 2010. Lecture. <https://www. demand. However, controversy arises, stadt-zuerich.ch/hbd/de/index/hochbau/nachhaltiges_bauen/english.html> when a net-zero building that generates more energy by integrated photovoltaics and other sources than it uses and supplies the power grid with the excess energy, but consumes more energy per square meter of floor area than specified on the standard. In order to be built, the building still must meet the energy performance standard even though it produces clean, carbon-free energy in excess. In this case, the standard works to increase the construction costs and, in the worst case, results in the need for redesigning parts of the building, which further escalates investment costs. From this perspective, the standard does not make a lot of sense in every situation. It is clear that in order to promote low energy buildings, the building codes and standards will need to stay up to date to avoid inflicting unnecessary barriers on sustainable construction. If buildings can be turned into small-scale electricity generators, while achieving low operational costs resulting in long-term monetary savings and higher

66 building value, one might wonder, why doesn’t all construction reflect sustainable passive design principles and incorporate high efficiency technology, where appropriate? The reasons for suboptimal level of application in buildings are many and are not only limited to consumers’ lack of knowledge on availability of and operational savings from energy-efficient (11) International Energy Agency, Techproducts and passive design techniques, nology Roadmap: Energy Efficient Building Envelopes, International Energy Agenthat oftentimes offset the higher initial cy – IEA, Paris, France, 2013, http:// www. iea.org/publications/freepublicainvestment cost in the long-term, asymtions/publication/TechnologyRoadmapEnmetric information as well as split-inergy EfficientBuildingEnvelopes.pdf centive issues between building owner and renter. This is true even though most of the technologies to make buildings efficient are already commercially available.11 In order to achieve higher penetration of low energy buildings in the newly built building stock, long-term thinking about the benefits of low operational energy over the whole lifetime of the building is required in the initial investment phase. This can be problematic especially in tough economic situations, when funding for projects is scarce and investors are risk-averse. However, from the seller point of view the benefits of accepting a higher initial investment can be promoted for instance through thorough life-cycle assessments detailing the total energy consumption over the lifetime and showing credible figures on potential lifetime savings. The mention of life-cycle energy consumption brings up another important aspect to the discussion of sustainable buildings; the share of operational energy and embodied energy of building materials (12) Prof. Dr. Habert, Guillaume. “Sustainable Buildings: The Apand the actual construction of the total plied View Point.” ETH Zürich, energy consumption of the building. For Zürich. 18 Feb. 2015. Lecture. conventional buildings, the operational (13) Rovers, Ronald. “Can We Build a 100% Bio-Based House?.” ETH Zürich, energy significantly exceeds its embodied Zürich. 11 Mar. 2015. Lecture. energy use. However, as the operational energy of a building decreases, the share of the embodied energy of building materials and energy used in construction become increasingly important in the analysis of the total lifetime energy consumption of a building.12 A building might achieve a low operational energy, but if it is offset by relatively larger increases in overall material use and embodied energy. Similarly, new green materials and coatings might be applied to a building, but might lack adequate durability to withstand normal operation.13 One might wonder; how sustainable is this? Not very, and in fact quite counter-productive from the perspective of sustainable resource use. Hence, for a building to be truly sustainable, it should minimize both operational energy and embodied energy of its construction materials. In order to achieve a favorable result, materials with high durability and high share of recycled materials that are produced close to the building site should be

favoured. Durability is especially important as the buildingâ&#x20AC;&#x2122;s most basic function is to provide shelter and to withstand different weather events as well as normal operation without excess wear and tear. It is clear that the road to a sustainable building stock is not free of obstacles. In order to drastically reduce the carbon emissions and energy consumption of the current building stock and sustainable construction to emerge in large-scale there are many economic, environmental, regulative and social considerations involved as discussed. The importance of long-term thinking and collaboration of different parties with different background towards a common goal cannot be emphasized more. While the current global energy use of buildings might paint a gloomy picture, there are some positive signs in

68 the horizon; it is estimated that this year 40-48% of new non-residential construction will be green and that the green & sustainable building construction industry in the US will grow from 103 billion USD in 2012 to 287 billion USD by 2017.14 15 In addition, the current market trends suggest that over 960 billion USD will be invested in green retrofits (14) McGraw Hill Construcof existing buildings between today tion (2010). Green Outlook 2011: Green Trends Driving Growth. and 2023, which is crucial due to long (15) “Revenue Forecast for Fastturnover of the existing building stock.16 est-growing U.S. Industries 2012-2017 Climate change mitigation through sus| Statistic.” Statista. Web. 28 Mar. 2015. <http://www.statista.com/statistainable construction, green design tics/224657/revenue-forecast-for-10-fastest-growing-us-industries/>. and energy-efficient building technology present a future market with huge (16) Heather Clancy, “In California, At Least, The Case For Energy Efficiency growing potential. Yet, there certainly Is Building,” Forbes, December 30 2014. http://www.forbes.com/sites/heatherclanremains a significant amount of addicy/2014/12/30/intional work to do. Nevertheless, the california-at-leastthe-case-for-energy-effitrends point in the right direction on ciency-is-building/ the road to a more sustainable future.

source: en.wikipedia.org/wiki/Attention

Attention The cognitive process of selectively emphasising and/or ignoring sensory stimuli.

source: thehum.info

The Hum A widely reported low-frequency sound only heard by some people. Occurs mostly in urban areas. Often a disturbing phenomenon for those who can hear it.

Lu uk Juh ka o in e

source: en.wikipedia.org/wiki/Otoacoustic_emission

Otoacoustic Emissions: Sounds generated within oneâ&#x20AC;&#x2122;s own inner ear. Can be evoked or spontaneous. Measurable with sensitive microphones in the external ear canal.

source: sleepassociation.org/patients-general-public/exploding-head-syndrome 77

Exploding Head Syndrome: An auditory hallucination: loud sound experienced by a person right before falling asleep. Arises from the transition between different dream stages. May also be accompanied with visual hallucinations of flashes of light. Thought to be connected with extreme fatigue.

BLUE

Ko Jo rh nn on i en

by Derek Jarman

* of sense and sensibility the Gautama Buddha instructs me to walk away from illness but he wasn’t attached to a drip

**look left; look down look up; look right blue flashes in my eyes

* a laboratory, that’s what he called himself, that what his body had become. A living, breathing laboratory, pills slushing against potions in his bloodstream, turning intestines into artificial compounds with names longer than he can remember, or even care to. he had lost his eyesight. first to give in was the left eye, followed soon after by the right one, both now without capability. as his condition deteriorated, that what remained of his vision became filtered through a dense blue veil: his own frail existence would, until its terminus, be reflected through a highly specific wavelength. dihydroxyphenylglycine. try and say it out loud, dihydroxyphenylglycine. that is one of the things what they prescribed him with to postpone the inevitable. a monster attached into an arm, every morning and every evening, a monster in a drip, a tube in his vein pushing in an endless list of maladies and side-effects. night sweats, nausea, kidney failure, rash, fever, coma, anorexia, death. there was no living with AIDS in the 90’s. so far have we come and so long have we mourned the ones lost. ** to know you are dying, to fall under the auspices of illness you know you are lost in and to keep on breathing. to paint images and meaning in the wilful, heroic gestures of a dying artist. we are so easily filled terror and awe towards such sacrifices, towards such reminders of our own mortality, left too often blind, searching for a way to balance the demands for that what is sooften hard to come by in the face of art mirroring our own thanatos; to experience, to value a piece with both true observational clarity and true, genuine empathy. release of Blue in 1993, the final feature-length film of the English film director, stage designer, diarist, artist, gardener and author extraordinaire Derek Jarman presents us with what many can not, a freestaning, thought-provoking, visually stunning aesthetic construction that all the while still stands as a last courageous act of a dying man, as a last will and testament of creation. with a career springing towards from his early experimental super 8 mm shorts of the late 60’s, in the

time period between his diagnosis as HIV-positive in 1986 to his death to AIDS-related illness in 1994, aged 52, Derek Jarman kept on producing and embodying the postmodern cupio dissolve of the spirit of punk and of art, the vehement desire to burn to ashes in a true blaze of glory. creating a vast cinematography containing a grand total of 11 feature-length films, 37 short films, and 27 music videos for the likes of The Smiths, Pet Shop Boys, Suede,The Sex Pistols and Patti Smith, throughout his life Jarman was know for his mastery of raw avantgarde film-making, his ability to wield striking visuals and the transgressive themes of punk and homosexuality as antiestablishment and non-conformist to a truly beautiful extent. this is the man who brought us the gut-wrenchingly ravaging The Last of England, the powerful and wildly erotic Caravaggio, and Jubilee, “Britain’s only decent punk film”. but to speak of his last work, to understand the revolutionary imagery of Blue, first we need to understand what the colour of blue truly is. *** the divine colour, blue, look around how it blankets us from everywhere. look left, look down, look up, look right. it is the sky, the water. it is melancholy, the milk cartons, it is the skin of Krishna and the blue of your jeans. but still, despite its never-ending and all consuming presence and popularity, the colour blue is surprisingly uncommon sight in the natural world, with the rare blue eyes, only a handful of birds, insects, semi-precious minerals and mostly man-cultivated flowers able to produce it. the blue which we see in abundance in our heavens and oceans is not a tangible one, a colour we can wrap our hands around, but instead it is almost purely a physical phenomenon hav-

ing more to do with the scattering of light, more a mirage than reality. in its intangibility, until rather recently in human history no blue did exist, not in the way we in modernity think of it. it was the colour early mankind had no access to, as our ability to harness the spectrum was dependant on our ability to turn the soil into a hue - into the reds, the blacks, the browns and yellows of dirt, of ash. no ancient language sprang forth with the vocabulary for blue — not Greek, not Chinese, not Japanese, not Hebrew. instead, every language first developed words of description for black and for white, for dark and light. the next word for a colour to come into existence in every single language studied around the world — was red, the colour of blood and of wine, followed by green or yellow. it is only after these does the word to distinguish blue evolve into the language. the first ancient culture to develop a specific word for blue were in fact the Egyptians - and as it happens, they were also the only culture that had a way to produce a true artificial blue dye. in a way it can be said that blue is entirely a human invention. in one of her songs Regina Spektor calls it the most human colour. the indigo plant of India became one of the main reasons why the British empire wanted to keep the subcontinent in its possession, it and even rarer lapis lazuli used throughout the ancient world for its blue hue both being often worth more than their weight in gold to artists and architects. **** no blue came before the hue, a rhyme. but is it really so? did we truly create the colour for ourselves, was Homer right in calling the sea wine-dark? but what about the sky, the bluest blue to ever have blued, is even it the colour of itself? the Hindu Vedic hymns,

*** in the pandemonium of image i present to you the universal blue blue an open door to soul an infinite possibility becoming tangible

**** the dog barks, the caravan passes Marco Polo stumbles across the blue mountain Marco Polo stops and sits on a lapis throne by the river Oxus while he is ministered to by the descendants of Alexander the Great the caravan approaches, blue canvases fluttering in the wind blue people from over the sea ultramarine have come to collect the lapis with its flecks of gold

one of the oldest written scriptures still in use, have more than ten thousand lines for description of the heavens above. the golds of the sun and the reddening shades of dawn, days and nights, “cloud and lightning, the air and ether, all these are unfolded before us, again and again ... but there is one thing no one would ever learn from these ancient songs ... and that is that the sky is blue.” this what the German philologist Lazarus Geiger of 18th century poetically vexed when going through the writings to find the true origins of colours, a subject that has been the focus of hundreds of psychological, physiological and semiotic studies. still, another, more casual way of battling the question perhaps answers it the most fluently. it is said that the first question a child asks is “what colour is the sky?” a Israeli-born linguist, Guy Deutscher conducted a short playful experiment with his then 18 months old daughter Alma as he was just learning to speak. he carefully made it so that she was never described to what the colour of the sky was, and then one day asked what was the colour she saw when looking up. Alma, understandably, could not find the answer. to her the sky was just without colour. eventually she decided that it was indeed white, and only later on did she see that the sky was of the common blue. still it was not the first colour that she saw or gravitated towards. is it so that before the word was the word, we did not naturally see blue? ***** to Homer the sea was wine-coloured, iron and sheep a shade of violet, the sky bronze and honey green. but as we do know that ancient Greeks and others in the ancient world had the same bodies and therefore same capabilities as we do, the question becomes, how much language dominates what we can separate and define? when speaking in Japanese, in Chinese, in Korean, in Lakota Sioux, you can describe the fresh green leaves of a tree and the clear blue sky peaking through them with the same word, ao, qing, pureu-da, thó.

***** blue walks into the labyrinth absolute silence is demanded to all its visitors so their presence does not disturb the poets who are directing the excavations digging can only proceed on the calmest of days, as rain and wind destroy the finds the archaeology of sound has only just been perfected and the systematic cataloguing of words has until recently been undertaken in a haphazard way blue watched as a word or phrase materialised in scintillating sparks a poetry of fire which casts everything into darkness with the brightness of its reflections

****** look left; look down look up; look right blue flashes in my eyes

it is only after the Second World War did the educational materials of Japan start to distinguish the blue and green from each other as separate, not as hues of each other. as so many others in the English vocabulary, the word for blue also comes from the French, being a derivative from the Old French word blo, meaning pale, it in turn having come from the proto-Germanic *blæwaz, going back to the proto-Indoeuropean word *bhle-was, light-colored, meaning both blue and yellow, and going even further back in time, from root word of bhel, to shine, flash or bright. bhel is also the root of many European words meaning white, blanc in French, blanco in Spanish, bán in Irish, bialy in Polish and also, strangely, black in English, quite likely from the interpretation of shine or flash as the colour of burned things. bhel has also borrowed its meaning of brightness to many other words in English - a bright fire, blaze, bright hair, blonde, a bright head, bald and the act of making something brighter, bleach. it is also the word behind the thing you see after the brightest flash imaginable, the one which is the reason behind Jarmans’ Blue, blind. ****** Blue can be called a moving picture only by a technicality - as it has both opening and closing credits. Jarman’s piece consists of one hour and seventeen minutes of single luminous blue screen of 35mm glowing, unchanging, forever calming, irritating and numbing the participant with its soundtrack of etherial sounds and snippets of Jarman’s meditations on his onwards encroaching blindness and oncoming death, as the oft collaborators and personal friends of his, Tilda Swinton, Nigel Terry, John Quentin and Jarman himself serve as narrators against the colour field. together they recite a loose, poetic narrative of Jarman’s shortening life, descriptions of the bodily ravages the HIV epidemic had caused upon himself and to those near and dear, combined with slices of hospital wards, of memories of sweet summer days in London, of elegies and mystical rituals.

******* i am a cock-sucking straight acting lesbian man he is a cock-sucking straight acting lesbian man

Jarman, the illustrious crafter of images and visuals, whose films are quite literally “moving pictures,” or paintings, as done in his Caravaggio, is coming to grips with the disappearance of that what has been the most valuable part of his desire to create, all the images from his field of vision, his own self-image fading into a literal all transcending blue screen of death. he is realising that on the ever-moving picture that the world and its culture is, he is the one without image; he is the queer, the outsider, one coming from below, the one without value and a footmark of his own worth. known for his use of powerful scenes of gay intercourse and for his leading of the campaign against Section 28, which sought to ban the “promotion” of homosexuality in schools, Blue contains prices of prose working as his final rebellion, a one without care and nothing to loose, as he has greek choruses chant out twisted descriptions of anal sex, scatological fetishism, and sadomasochistic foreplay, as a final middle finger exposing the intensely paranoid and hysterical social commentary wielded against the HIV and LGBT community in the 80’. he stood as proudly queer monolith in the limelight. for his acts the Sisters of Perpetual Indulgence, a legendary order of queer and genderfuck nuns in drag canonised him as St. Derek of Dungeness of the Order of Celluloid Knights. ******* the thought behind the monochrome visuals of Blue is not and was not in any way a new one. Jarman himself was deeply inspired by the works of Yves Klein, his fields of single rich, electric shade of blue. and even Klein was not the first one to work with such ideas, the Russian Suprematist movement experimented with the beauty of solid colour and simple geometrical shapes well over fifty years before the works of Klein or other artists of the post-painterly abstraction movement, endorsed by the art critic de jure of the New York of 1940s’ and 1950s’, Clement Greenberg, painters such Mark Rothko and Barnett Newman. for Klein his patented International

******** from the bottom of your heart pray to be released from image

********** the image is a prison of the soul, your heredity, your education your vices and aspirations your qualities, your psychological world i have walked behind the sky for what are you seeking? the fathomless blue of bliss

Klein Blue, or IKB for short, was a way of expressing something infinite, pure ultramarine of the medieval divine, something that he describes as “the coloured space that cannot be seen but that which we impregnate ourselves with”. for both Klein and forJarman blue was quite literally a way into the infinity. by openly embracing the pure, intangible blue of the heavens, Jarman gives us visuals that directly forces the viewer to not see. in his departure and rejection of image Jarman is taking on the idea of aniconism, from the Greek ‘without image’, the belief of avoiding or shunning representational art. in many religions aspects of this belief can be found, but its strictest and most famous use is in Islam, in which the most devout sects deny the depictions of any living being of any kind in its art, the logic being that to make a piece of art that depicts a part of Gods creation, man is projecting his soul outside himself, placing the will of his own over that of divinity and thusly, diminishing eternal creation by making something finite out of infinite. therefore in Islamic religious art no image depicts humans, or animals or plants, instead replacing such with intricate shapes and patters, and by creating an image that is a non-image, by seeing nothing, you are therefore seeing everything, the true image of infinity that is God. ******** in a body of works as extensive as his, Blue is one of Jarman’s cleverest and most risqué visual ideas. even with the inevitability of blindness and death, Jarman is not crying out for pity or mercy, for that would be too easy. with the film as a representation of Jarman’s shrinking experience of his existence, Blue is more than that, is is the visuals of a world that he wants to see, how he wants to see it. he is dismantling the use of image by choice and seeing the true infinite of that what he is and what he will be. Jarman is creating a hymn, a last meditation of a dying man, whose blindness has opened his eyes for the eternity. *********

source: seeingwithsound.com

PSVA A head-mounted camera with realtime translation of visual patterns into sound, enabling blind people to perceive their surroundings.

source: en.wikipedia.org/wiki/Autonomous_sensory_meridian_response 87

ASMR Autonomous sensory meridian response, a pleasurable sensation experienced as tingling in any part of body such as scalp, limbs or back, as a response to various stimuli â&#x20AC;&#x201C; be it visual, auditory, tactile, olfactory or cognitive.

Ko Ma rk ri ei a la

Rivo Interview

Remember those good old days when you could pop by the newsstand and slip a kinky magazine between your morning newspaper, taking a few rushed, hot, daydreamy peeks in between metro stops on your daily commute to work? Or that time as a preteen when you found your dad’s secret magazines stashed away in the darkest corner of the closet? It’s OK, me neither! Not to worry. You might have missed the warm and fuzzy preInternet-inflated porn industry, but as it turns out, you didn’t quite miss the bandwagon altogether after all! Just as spring is about to begin and all of nature is on the verge of, ahem… getting down to business, an all-new kinky art magazine has popped straight out of the oven. For all of you with a both visual and physical yearning for that special something that has been, by and large, lacking from the current market of printed publications, behold ’RIVO’ (i.e. ’raunchy’ or ’dirty’), a sexually charged art magazine, created and curated by both current and former art and design students. We asked founder and photographer Juha Arvid Helminen a few questions to see what is really going on.

How does one end up founding a porn magazine? I’m a big fan of books and printed magazines – the more out of mainstream and rare the material, the better. It felt somehow fascinating to have a porn themed magazine as the ones made now are not really interesting. But, if we’re honest, there’s very little hard core porn in RIVO. Is RIVO simply a bunch of art students getting the kinky on? Or would you say it is truly a porn magazine? The idea with RIVO is that people can try out something completely different from what they are used to. I don’t want to put words in other people’s mouths, but I think that not that many on our team are interested in making sexually oriented material outside of this project. A part of our magazine is what you would call wanking material but other parts are very hard social criticism. Has it been easy finding contributors for RIVO? Sadly many abandoned the project after the first excitement had vanished and we had to find more people to finish the magazine. Because of this

my role as a content creator grew. All in all, we gathered a great and diligent group and I think you can see it in the final product. What are your favorite porn publications? I have to say there is none. Richardson and Secret Behavior are both magazines with nudity and even porn but I don’t see them as porn publications. Same goes with RIVO. What sets RIVO apart from other peer publications? That is for you to say. Who is your audience? Liberal and young people who appreciate quality publications outside of mainstream. I think that our fandom is going to be quite small. What has been your favorite thing about making RIVO? I have never before made a magazine from the very start to the finished product. It was great when things got going and the magazine started to get ready for publishing. And the feeling when I opened the package from the printing office and held the magazine for the first time! At that moment it was worth all of the trouble. Our magazine.

Has the way you approach your own personal work changed since you started working with RIVO? If so, how? This project has strengthened my belief in that if you want to see something a bit different, you have to do it yourself. I have also learnt to appreciate people who jump head first even more – we artists find too many excuses to stay in our comfort zone. Do you think RIVO will remain solely as a print publication or will you branch out to other formats (video)? One reason why we wanted to make precisely a printed magazine was some sort of nostalgia towards old porn magazines that we used to gather when studying in Lahti Institute of Design. The Internet is full of pictures but a magazine are always more organic: the smell of ink and the way the paper feels in your hands. I don’t see how videos would be a part of RIVO but, then again, you never know. Sexually charged imagery/artistic porn often tends to have a political undercurrent, if not a direct statement. Do you intend to use RIVO as a platform to address issues related to e.g. gender, gender equality, feminism

and/or sexual orientation? Are you the next ’genderqueer hero’? Naturally we are dependent on the material people on our team send us, but I hope we are bringing out enough different points of view to human life. The idea of the magazine was to make it diverse, equalty-driven and politically motivated, to somehow take a stand for liberal values and criticize the neo-conservatism of our time. I don’t believe in ‘real’ heroes, that’s why all of my heroes are fictional. What is your opinion on the ethicality of porn in general? Naturally, this is a very complex issue with its pros and cons. Small publications are, of course, far from industrial products. The same applies to everything. I guess I see this project as a more humane approach to this theme. I want to keep this project between my friends so that people who are making the stuff and modeling know why we are making this magazine. This is important for us. What do you hope to achieve with RIVO? I hope that RIVO will speak up for printed magazines and that it encourages young

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people to make daring projects. If you believe in yourself and in what you are doing, you can make anything happen. Where would you draw the line between porn and art? I see porn as merely something aimed to turn you on sexually. Art needs to have opinions and thoughts, a meaning – why you are creating it. I think anyone who reads RIVO can’t see it just as a porn magazine. It’s an art magazine.

Am Ah an ol da a

Hyötyisikö mieskin patriarkaatin kaatumisesta?

Feminismiä henkeen ja vereen vastustavat ihmiset rakastavat ajatusta siitä, että tasa-arvon suhteen asiat ovat jo nyt tarpeeksi hyvin ja niiden muuttaminen veisi yhteiskuntaa vain huonompaan suuntaan.

Länsimaisessa mediassa nousee tasaisin väliajoin keskustelua siitä, onko feminismi epäonnistunut tavoitteessaan tuoda tasa-arvoa kaikille elämän osa-alueille. Viimeksi tämänvuotisessa Oscar-gaalassa Patricia Arquetten kiitospuhe aloitti sen taas: kuinka valkoinen, menestynyt nainen kehtaa pyytää vetoapua maailman muilta naisilta, vaikka on itse saanut jo kaiken? Tulva-lehdessä (1/2015) amerikkalaisen mustien nationalistipuolueen Mustien Panttereiden pioneeri Charlotte Hill O’Neal muistelee 1960-luvun Yhdysvaltojen feministisen liikehdinnän olleen ennemmin hyväosaisten valkoisten kotirouvien aseman kohentamiseen pyrkivä aate kuin kaikenrotuisten naisten keskinäistä solidaarisuutta edistävä liike. Feminismi on vastaväittäjistä huolimatta pitänyt kunniatehtävänään eri elämänpoluilta tulevien ihmisten välisen tasa-arvon edistämistä – sukupuoleen, seksuaaliseen identiteettiin, rotuun tai vammaisuuteen katsomatta. Yksi ryhmä kuitenkin uhkaa jäädä dialogin ulkopuolelle. Länsimaiset miehet joitakin poikkeuksia lukuunottamatta eivät osallistu feministisiin talkoisiin. Suomi on muiden länsimaiden tavoin edelleen patriarkaalinen yhteiskunta. Patriarkaatilla puhutaan karkeasti yhteiskuntajärjestyksestä, jossa miehillä on naisia parempi asema. Tästä asetelmasta kuitenkin hyötyy vain pieni osa miehistä. Patriarkaatti perustuu hegemoniselle maskuliinisuudelle, tietyn miesideaalin ylivallalle, joka vahingoittaa niin miesten kuin naistenkin hyvinvointia ja mahdollisuutta elää omana itsenään. Tämä kulttuurisesti tuotettu mielikuva miehen

roolista sisältää voimakkuuden, rohkeuden, itsenäisyyden ja loogisuuden kaltaisia arvoja. Tähän ihanteeseen vain harva mies yltää. Kuulostaako tutulta? Kyseessä on yhtä hankalasti toteutettava ideaali kuin muotilehtien rankasti käsitelty naisrooli. Ongelma on tämä: me kaikki, lukuunottamatta pientä ja hegemonisen maskuliinisuuden piirteitä täydellisesti ilmentävää ryhmää miehiä, kärsimme patriarkaatista. Sekä miesten että naisten pahoinvointi maailmassa johtuu pitkälti siitä, että ylläpidämme tiedostamattamme ideaa hallitsevasta, tunnekylmästä ja kovasta maskuliinisesta miehestä. Ahtaita sukupuolirooleja ei ole kirjoitettu geeneihimme. Pääsisimme helpommalla, jos ymmärtäisimme tämän. Kärjistettynä voisi sanoa, että patriarkaatin kaataminen on niin haastavaa siksi, että sen sisällä elävät ryhmät ovat joko tyytyneet osaansa tai kykenemättömiä muuttamaan järjestystä. Nykyaikaisessa länsimaisessa patriarkaatissa ylintä valtaa käyttävä, “miehisten miesten” ryhmä ei luonnollisesti halua luopua valta-asemastaan. Naiset edustavat länsimaissa keskiluokkaa, jonka asiat ovat juuri tarpeeksi hyvin, jotta niistä ei jakseta enää tapella. Tämän vuoksi suurin osa suomalaisnaisista ei tunnustaudu feministeiksi ja pelkää aidosti, että feministinen vallankumous veisi mukanaan vähätkin saavutetut edut. Hegemonisen maskuliinisuuden piirteitä kaikkein huonoiten ilmentävä suuri ryhmä miehiä on yhteiskunnallisessa keskustelussa niin alakynnessä, ettei voi puhua omasta puolestaan. Tälle ryhmälle kertyy suurin

osa niistä ongelmista, jotka ovat seurausta miehekkään miehen ideaalin hellimisestä: alkoholismia, itsemurhia, kodittomuutta, rikollisuutta ja seksuaalisuutta loukkaavaa väkivaltaa. Luit oikein: tilastollisesti merkittävä osa nuoristakin miehistä on kokenut seksuaalisuutta loukkaava väkivaltaa. Patriarkaatissa väärällä tavalla miehen roolia näyttelevä mies joutuu muiden miesten häpäisyn kohteeksi, ja häpäisyn tehokkain muoto on seksuaalinen häirintä. Kulttuurissamme elää vahvana myytti siitä, ettei miestä voi raiskata, ja tämä myytti omalta osaltaan pitää huolen siitä, ettei miesten kokemasta seksuaalisuutta loukkaavasta väkivallasta puhuta. Jälleen pidetään yllä myyttiä siitä, että tosimies ei puhu tunteistaan ja tyytyy osaansa. Ei ole vaikeaa kuvitella, mitä tällainen aiheuttaa pitkällä aikavälillä. Myös miesten itsensä tekemät väkivalta- ja seksuaalirikokset ovat seurausta pahoinvoinnista, jota ahtaat sukupuoliroolit epäsuorasti aiheuttavat. Kulttuurissamme on vaikea hyväksyä sitä, että mies olisi lapsirakas. Miehelle pedofilian epäilyn taakka on suurempi kuin naisen, vaikka tilastollisesti pedofiliaa esiintyy melko tasaisesti miesten ja naisten keskuudessa. Tämä ajatusharha aiheuttaa sen, että valtaosa suomalaisista lastenhoitajista ja lastentarhanopettajista on naisia. Arvokonservatiivit peräänkuuluttavat lapsiperheisiin lainsäädännöllä sekä miehen että naisen mallia, mutta eivät ole huolissaan siitä, että lapsiamme kasvattaa sukupuolen perusteella täysin homogeeninen ryhmä ammattilaisia. Palkkakeskusteluissa mainitaan

naisen euron olevan 80 senttiä, mutta unohdetaan ilmiön vastapuoli. Kun heteroparisuhteessa mies tienaa keskimäärin naista enemmän, taloudellinen vastuu jää miehen harteille. Tällä tavoin odotamme mieheltä niitä hegemonisen maskuliinisuuden ideaalin piirteitä, joiden eteen ponnistelu tuo pahoinvointia ja painetta pärjätä itsenäisesti. Feminismillä ei siis tavoitella naisten ylivaltaa tai niskaotetta miehistä. Patriarkaatin kaataminen lisäisi mahdollisimman monen kansalaisen hyvinvointia välittömästi ja välillisesti. Tasa-arvo ei ole nollasummapeliä, ja onnellisten naisten miehet ja pojatkin voivat paremmin kuin epätasa-arvosta kärsivien naisten. Feminismiä henkeen ja vereen vastustavat ihmiset rakastavat ajatusta siitä, että tasa-arvon suhteen asiat ovat jo nyt tarpeeksi hyvin ja niiden muuttaminen veisi yhteiskuntaa vain huonompaan suuntaan.

Jos todella kysyttäisiin, olisiko kukaan valmis vaihtamaan elämäänsä nykyisestä 50 vuoden takaiseen, harva suostuisi. Tasa-arvon tavoittelu on siis tuonut paljon hyvää, mutta työ on yhä kesken.

Hukassa? MaMalaisten etuja: Kurssit ja koulutuspäivät. Voita osallistua MaMan ja ERTOn järjestämiin koulutuksiin, joissa voit kehittää ammatillista osaamistasi ja joista saat hyödyllistä työelämätietoa. Ansiosidonnainen työttömyyspäiväraha. Jos joudut työttömäksi, et putoa pelkän peruspäivärahan varaan, vaan saat ansioihisi suhteutettua työttömyyskorvausta. Työsuhdeneuvonta. Saat henkilökohtaista palvelua työsuhdeneuvonnasta kaikissa työsuhteeseen liittyvissä asioissa. Ilmainen vapaa-ajan matkavakuutus. Alennuksia useista opstopaikoista. ERTOn ja MaMan jäsenlehdet.

Ilmainen opiskelijajäsenyys, liity jo tänään.

ad copy ad-assistentti graafinen suunnittelija medianomi mediasuunnittelija multimedia designer tuotanto-ad tutkimushaastattelija uusmediasuunnittelija kuvittaja peligraafikko peliohjelmoija tuotemuotoilija teollinen muotoilija www.mamary.fi/jaseneksi/opiskelijajasenyys Markkinointiviestinnän, -tutkimuksen ja digimedia-alan ammattilaiset MaMa ry. ERTOn jäsenyhdistys. Lisätietoja ja liittymisohjeet: www.mamary.fi

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