Posted on

Päivät 8.-16. Picasso näyttelyvalvojapäiväkirjat

8. Paljon uusia työntekijöitä. | Olemme AV tekniikan kokouksessa, suunnattu uusille työntekijöille. Asiakaspalvelun pomo kokee että olis tärkeää että kaukosäätimessä on tarra jossa lukee “videoprojektorin kaukosäädin”. AV tekniikan pomo sanoo “Selvä, teen tarran”. Ilme ei värähdä. Totteleminen on halveksunnan muoto. Pääsin tähän kokoukseen koska olen nuori mies, vanhat naiset eli vakkarit on suljettu pois. Jutellaan pitkään muiden työntekijöiden kanssa. Monet on samassa tilanteessa. Jutellaan mutta keskustelu on jotenkin maanista koska sitä ei voi rytmittää, pakko seistä salissa kokoajan. Ei pääse pois. Picasson maalaukset on kaikki lattioilla odottamassa ripustustusta. Yksi sanoo että tää on paras tapa katsoa niitä. Nimet ja vuosiluvut ei haittaa luentaa.

9. Katson veistosta. Päätän koskea sitä. Mietin että kaikki tekisi samassa hetkessä samoin. Tuntuu jotenkin suurelta ja elämänjanoiselta. Päätän olla sittenkin koskematta, joka kaduttaa heti ja kosken sitä sormella. Tuntuu huumaavalta, rikon tabun! Jännä tunne ei kestä ollenkaan. | Hajamielisyys on vastarinnan muoto.

10. Johdantopäivä uusille työntekijöille. Talon historia ja tavoitteet Picasso -näyttelylle. “Pikasso on nero, on nero on nero”. Lyhennelmä museopedagogin luennosta. Ne sanoo “Eikö ole hienoa kun voitte katsoa Picassoa joka päivä?” “Enks olis hauskaa mennä töihin uudella autolla joka päivä?” vois vastata. Varmaan olis mutta jos joutuis menee töihin joka päivä ei sillä olis väliä. Tauolla meille annetaan kahvia ja teetä. Ne on tuotu aulaan samalla kun oltiin salissa luennolla. Me ei nähty kuka ne on tuonut, näkymättömien käsien tuomaa taikapullaa. Paahtoleivistä on leikattu reunat pois. Kaikki merkit työstä on poistettu. Paras palvelija on näkymätön, jos se ei onnistu niin persoonaton. Työ kuvataan roolileikkinä “Älkää ottako tätä henkilökohtaisesti, ajatelkaa että olette vain työntekijöitä. Älkää provisoituko”. Harjoittakaa mieli-judoa: “Kuunnelkaa niin pitkään kunnes toinen kyllästyy valittamaan”. Hyvä asiakaspalvelu on huonoa ihmisyyttä.

11. Vapaapäivä, töissä friikkuna. Päivä menee hyvin mutta suutun helposti. Teen jotain naamaria ja puuhailen kehysten kanssa. Juolahtaa mieleen että voin nitoa naamarin kokiin. Innostuin ja hain nitojan, mutta kuitenkin kysyin taiteilijalta, jolle olen ollut töissä viisi vuotta, voinko tehdä silleen.. Mutta samalla tajuun attä oon ainoa joka voin päättää asiasta ja mulla on tähän paras ote. Ratkaisu on hyvä ja näyttää hienolta. Mun intuitio menee pilalle kun olen töissä laitoksessa. Ehkä jengillä pitää olla spesialistiharrastuksia jotta ne voi olla töissä menettämättä terää.

12. Olen vapaalla. Olen darrassa ja menossa freelancer töihin. Kaikissa lehdissä, medioissa ja keskusteluissa museo johto- ja esimiestason kanssa hehkutetaan tulevaa näyttelyä. Kritiikitöntä hehkutusta. Samaa tarinaa fantastisesta näyttelystä toistetaan kaikissa lähteissä joihin törmään. Mun tulkinta on: Näyttely perustuu Picasson perikunnan perintöverojen kattamiseksi Ranskan valtiolle luovuttamiin teoksiin (jos mä olisin Picasson perikuntaa antaisin varmasti kaikkein paskimmat työt ja pari hyvää ettei kusetus paljastuisi). Juttu on varmaan sovittu hyvässä yhteydessä perikunnan kanssa. Muutenhan se olisi skandaali. Jokatapauksessa merkittävimmät pitäisin perikunnan pesässä. Valtion saamista kappaleista tehtiin museo. Museo joutuu aina tekemään itsestään kritiikittömästi tärkeän koska sen rahat tulee valtiolta ja se on osa valtiota eikä siten voi olla itsekriittineni sen jälkeen kun päätös jostakin on tehty. Kokoelman saaminen Suomeen on tavattoman kallista. Todellista summaa ei ole edes kerrottu. Se että näyttely tulee tähän museoon on jonkun kuraattorin haksahdus ja uran kohokohta. Selitellessään lautakunnille miksi tämä näyttely on saatava Suomeen hän siteeraa suoraan Picasso museon tekemää kritiikitöntä ylistystekstiä. Näyttely kuvaillaan erityisimpänä tapahtumana ikinä ja samalla perustellaan Picasson asemaa taiteessa koskemattomana ja korvaamattomana. Rahat saadaan valtiolta. Sitten käydään sponsoreiden kimppuun ja kritiikitön ylistysteksti tuo heidän rahansa näyttelykassaan. Palkinnoksi yritykset voivat osallistua suuren neron tarinaan ja näyttäytyä kuten liittyisivät siihen jotenkin. Yritysten toimihenkilöt näkevät näyttelyn ensimmäisenä. Se joka näkee näyttelyn ensimmäisenä voittaa suurimman palkinnon kun näkee teokset ennen kuin rahvas on ehtinyt pilata niitä katseillaan. Osa yrityksistä on lehti ja muita medioita. Heidän etunsa on esittää näyttely kritiikittömän tärkeänä ja Picasso merkittävimpänä taiteilijana maailmassa. Näin he voivat perustella omaa asemaansa tukijoina ja sponsoreina jotka kantavat syvällisen yhteiskunta ja kulttuurivastuuta. Yksityiset toimittajat eivät voi esittää kritiikkiä näyttelyä kohtaan sillä johto on luovuttanut satoja tuhansia euroja ja palstatilaa näyttelylle.. Kritiikki ja koko ilmiön analyysi saisi johtajien päätökset näyttämään hölmöiltä. Picasso tekee ympärilleen konsensuksen. Joka kerta kun sitä sanotaan neroksi tehdään kritiikki turhaksi. Picasson nerous tallaa jalkoihinsa muut. Lehtien lööpeissä ylistetään Picasson munaa. Miten paljon se on pannut ketäkin. Kaikki konservatiiviset tahot saavat sanoa ääneen mitä mieltä ovat naisista ja siitä miten maailmaa olisi yksittäisten vahvojen miesten toimesta johdettava. Picasso palvelee patriarkkaaistä miestä joka pitää naiset kuuliaisina. Picasso on luontaisesti lahjakas kuten suvereeni johtaja. Taidoillaan hän tekee rahaa kuten donald trump.. Picassoa on jopa sanottu köyhäksi taiteilijaksi (jonka isä oli akatemian professori) joka nousi sosiaalisessa ja taloudellisessa luokassaan ahkeruudella ja itseluottamuksellaan (niinkuin meidän museovalvojienkin olisi ahkeruudella mahdollista). Picasso tekee liberaalin kapitalismin oikeutetuksi koska sen myötä jyvät valikoituu akanoista, nerot tavallisista.

13. Suuri sponsori tulee vierailulle. He ovat ensimmäisiä jotka näkevät näyttelyn. Luin netistä eri korruptio skandaaleista ja veronkierto viritelmistä mihin ne on sekaantuneet. KPMG on syntynyt samoihin aikoihin kun Picasso. | Muistan hauskan jutun: Hämärä veikko tuli kahvilaan ja löi käsillään tiskillä oleviin leivoksiin. Myyjä tyrmistyi ja komensi veikon pois. Veikko vastasi ilkikurisesti: “Nähdään kymmenen minuutin päästä.” ja lähti. Kun myyjä meni heittämään turmeltuneet leivokset kierrätysastiaan oli veikko odottamassa takapihalla. “Mähän sanoi että pian nähdään” veikko sanoi ja otti kierrätysastiaan heitetyt leivokset mennessään. Käytävillä on mainoksia tilapäisiä banderolleja joissa lukee että “KPMG avaa ovet Picasson maailmaan.” Mun väitteet on todistettu. Työntekijät on idiootteja mutta minä olen hullu.

14. Olin aamulla pystyttämässä friikkuna näyttelyä. Menen illaksi museoon. Väsyttää. Olen mustasilmäinen. Olo on kuin darrassa. Oppaat puhuu Picassosta esimerkkien kautta eivätkä analysoi teoksia tai suuntauksia. Niitä tulkitaan symbolien avulla mutta symboleja ei edes avata: “Picasso kuvasi paljon matadoreja. Ehkä kyse on elämän ja kuoleman ja intohimon suhteesta.” Joissain tapauksissa esimerkki on tyhjänpäiväisiä: “Tämä nainen on blabla Picasso kuvasi hänet usein itkevänä naisena. Tämä nainen oli todellisuudessakin ailahteleva. Mutta ei kuulemma itkenyt Picasson seurassa. Hän oli frigidi.” Ensikädessä kuvia tulkitaan niiden tunnistettavien esineiden kautta: “Tässä on miekka ja sikari ja hattu.” tai elämänvaiheiden kautta: “Hän oli tätä maalatessään 72 v. Ja asui sielläjasiellä.”. Teosten nimikylteissä pitäisi olla maalarin ikä merkittynä; monet vieraat laskee kokoajan mikä ikäinen se on ollut maalatessaan mitäkin. Tämä oli älytön: “Ensimmäisen maailmansodan aikana taiteilijat vakavoituivat ja hakeutuivat takaisin klassiseen esittävyyteen”. Kaikki tulkinta tapahtuu vieläkin suhteessa esittävyyteen jos ei siihen niin henkilökuvaan. On myös pötypuhetta että Picasso “jatkuvasti uudisti ilmaisuaan”: Vaikka se on vaihtanut tyyliä on se aina maalannut samoja aiheitaan. Esimerkkinä nämä alastomat naiset joita se on tutkinut tarkasti. Vaikka eri tekniikoin niin tarkasti samaa aihetta. | Eräs vieraana ollut yritys mies sanoi olleensa kesälomansa töissä siivousfirmassa “ihan kokeilumielessä kun ooppera on niin ikuisesti samanlainen työpaikka” ja sanoi työkaveriensa olleen “tosi kiinnostavia tyyppejä”, “me tehtiin 16 h päiviä, oli kyllä hienoa”, “sit heti loman jälkeen järkkäämään ooppera festivaalia”, “ei kato pääse kyllästymään.”. En viitsinut kuitata: “Tuskin sä siellä kokemuksen vuoksi olit. Tais olla rahat rehellisesti loppu.” Johtajan kulttuurikokemus on 2kk alemman sosiaaliluokan seurassa. Hullu mies!

15. Olen narikassa. Hienoja mauttomia takkeja. Naisilla on valtavia kasseja. En saanut laittaa yhtä lattialle sillä se oli valkoinen. Nahka tahriintuisi.

16. Sävelsin radiopuhelimella biisin Picassolle. Vartioimme hetken aikaa neljän voimin neljää tyhjää salia. Sitten itse organisoiduimme. Kaksi lähti pois. Olin harjoittelemassa kassakoneen käyttöä viereisessä nykytaiteenmuseossa siltä varalta että tulee ruuhka. Kun Picasso huomenna aukeaa yleisölle. Puhuimme pitkään eri etukorteista ja hankalista tapauksista joissa henkilö ei ole oikeutettu etuun vaikka luulee niin. Kävimme kaikki eturyhmät; vammaiset, näiden avustaja, turistit, opiskelijat ja kaikki eri opiskelijakortti muodot läpi. Sitten puhuimme sponsoreista ja vaativista sponsori tapauksista: “Nyrkkisääntönä voi sanoa, että jos joskus joku asiallisen oloinen tulee ja sanoo että hänelle on sanottu että sejase on sanonut että tämä pääsee näyttelyyn ilmaiseksi on parempi antaa lippu kuin ryhtyä soittelemaan jollekin johtajalle että pitääkö tämä paikkansa.”

Posted on

Päivät 1.-7. Picasso näyttelyvalvojapäiväkirjat

1. Naisella oli vahva kättely. Me istuttiin ja kuultiin työehdoista. “Kaikki ehdot löytyy tästä…” Pomo osoitti 400 sivuista valtiontyöntekijöiden työehtokirjaa. Kaikki repesi nauramaan. “Meillä tehdään kaikki kuten kirja määrää”. Otettiin valokuvia kulkukortteihin. Hymyilin kuvassa. Nainen jolla oli vahva kättely, se oli kuvassa 20 vuotta nuorempi.

2. Vaihdoin kännykän bluetoothin nimeksi “I prefer Beuys. Fuck Picasso.” ja laitoin sen näkyväksi kaikille. Porukka etsii nakkisuojia, ihan niinkuin olis jotain työtä. Me ollaan alhaalla hierarkiassa. Näyttelyvieraat luulee että oon vasikka. Mun työ on spottaa virheitä niiden käytöksessä. Jos ne tekee virheen mun pitää näyttää mikä on oikein: Olla hiljaa, viisaannäköinen ja hidas. Jos ne reagoi teoksiin väärin mun pitää katsoa niitä toruen. Tää toimii aikuisille muttei lapsille. Tekonauruja. Osa näyttää syrjäytyviltä. Amerikkalainen pariskunta kiitti mua näyttelyn kuratoinnista. Kiitin takas kauniisti. Picasson -näyttely ei ole valmis joten täällä on vaan vanhaa kokoelmataidetta. Väsyttää. Jalkoihin sattuu. Joku asiakaspalvelupäälikkö kysyin miksi tulin tänne töihin “Rahan takia” sanoin. “Aivan. Selvä, tästä ei siis tarvitse puhua enempää”. “No… Tää oli multa vähän turhan suoraan sanottu…” jatkoin ja selittelin että olen taiteilija ja freelanceri jne. Taiteilija-statuksella saa anteeksi kämmejä mutta siihen pitää uskoa itse jotta se toimii.

3. Tää on tehdas. Tee ja kahvi on aina samaan aikaan. Monet kollegat on kanssa taiteilijoita tai käsityöläisiä. Ne poseeraa fiksunoloisesti katsoessaan maalauksia. Kun oli 15 min tauko seisoin samassa asennossa kuin salissa. Nolotti. Jalkoihin sattuu. Nuoremmat työntekijät on häkänneet vuororotaation ja ottaa pidempiä taukoja. Vanhat tekee samaa mutta vielä pidemmillä tauoilla.

4. “Kerran yksi lapsi löi teosta kädellä… Toruin äitiä mutta hän oli ulkomaalainen”. Oon oudossa hajoamisen tilassa. Tuntuu oudolta. Niinkun nukkuisin. Oon koomassa. Päivä menee nopeasti. Ajalla ei ole merkitystä, se johtuu teosten vuosiluvuista. Seison 8 tuntia päivässä menneisyydessä. Vanhemmat työntekijät puhuu “iltapisu” ajasta.

5. Kaksi tuntia myöhässä. En tajuu miksi. Noloa. Luulin olevani hyvä tässä. Olin matkalla kun ne soitti ja teeskentelin etten tiennyt myöhästyneeni. Parasta tässä päivässä on että vahdin tyhjää huonetta, jossa on yksi lukittu ovi.

6. Vahdin samaa tyhjää huonetta kuin eilen mutta meitä on viisi! Me vahdittiin lukittua ovea 8:00 alkaen. 15 yli kuusi Picasso museon kuraattorin saapuminen ilmoitetaan radiolla. Me mentiin portaiden alle piiloon kun se meni ohi. Kun se tuli oven kautta se kysyi “ça va?” ja mä mutisin “bien”. Se ei varmaan kuullut. Nyt alkoi iltalisät juosta.

7. Eka vapaapäivä menee darrassa.

Posted on

[En] GIMPOS: ”’G”’estures as ”’I”’nput ”’M”’ethod to ”’P”’erform ”’O”’perations ”’I”’n ”’S”’oftware

Originally written in Keosto.org wiki. Posted here for safe keeping and cleaned in light of “Patent Pending” text published in Rhizome 2013.

”’SIMPLE”’ (Monologue of a web-video): Hi. My name is … and I am here to share with you a way you can protect human gestures from being patented. If you don’t know about this subject, search online for “patented human gestures”. In short software companies are patenting movements a user makes when interacting with computers such as smart-phones. Technically they are not patenting these movements but the ways computers read specific “gestures”. This however means, that some “gestures” are not permitted in relation to some computers and software! This is mostly discussed when talking of touchscreens but also applications which read the users facial expressions and body-movement are being developed.

This means that some expressions of the human body in the presense of specific devices will be effected by patent laws. I think it just plain ”’WRONG”’. For one: This makes it impossible to create free software which would be used by the same movements. For two: In the future all of the expressions of the human body might be effected by patents owned by corporations! Thirdly: A new language of interacting with computers is developing. Think what would have happened if some one had patented the letter ”’A”’ when we begun writing our languages. This would have killed the development of written word.

Fortunately there is a feature in patent laws which will help us protect “human gestures” from being patented. An invention has to be original to be patented. So, I urge you to do the following: Think of a movement and something you´d like software to when it reads this movement. Make a video showing this movement and describe what this movement would do in a software. This way your video will serve as a “prior art case” which means that it cannot be patented and it will belong to the commons.

=”’AIMS OF THE PROJECT”’=
In addition to what is mentioned in the ”’SIMPLE”’ introduction, the GIMPOS project is tapping into – and researching questions of human-computer relationships and the politics of touch and movement based user interfaces. The project is motivated with the idea that if gestures made in the presence of a computer would be understood a dance, then these choreographies would be the intellectual property of their inventor. Besides making it impossible for certain companies to patent these gestures, this would develop micro-businesses for choreographers and other creative live-artist as they could be able to develop gestures for the use of software developers (and licensing them as they see fit).

During this project a video library of such choreographies will be created, business models studied and the concepts of cybernetic space researched. If you or your friends are interested in contributing feel free to use this this wiki. (keosto.org)

The project suggests that a computer creates a (on- or offline) cybernetic space around it which is comparable to any other performance space or venue. For making video of these “gestures” each creator may licence their choreography the way s/he sees fit. The choreographies are to be documented with a single camera. Gestures are to be show in front of a “neutral” background. If the maker sees fit a BW ruler (marking 5 centimetre blocks) may be placed behind the “dancer” so that the gestures may be measured. Spoken word describing the actions of the dancers is heard in the video. Thorwad the end of these videos some ideas on what this dance would enable in the computers is presented.

This project is written in [[SLP]]. (Socio linguistic programming – It had an article in keosto.org back in the day.)

=”’SOME EARLY SYNOPSES”’=
==This text is the tech introduction to the project.==
This is a video introduction to the project “Interacting with a computer using specific movement combinations (referred here as “CHOREOGRAPHS”) and gestures (referred here as “DANCE”) as input method to perform operations in software” or shortly “Choreographed Dances for Interacting with a Computer”. This project produces a collection of choreographies which a user may exercise when interacting with computers such as laptops, smart-phones or other computer powered devices. The movements and gestures of the user, referred and presented here as dance, are read by a software in the device as inputs and used to control its behaviour and interaction with the user. These choreographies are presented in video episodes and are to be considered as dance- or live- artworks documenting choreographies. Thus they protected by international copyright laws and are the creators intellectual property.

The reason these choreographies are protected by copyright is to prevent companies, which are not carrying social and ecological responsibility from patenting these gestures for use in device interfaces of their proprietary or open source software. If a license which forces such companies to carry social and ecological repressibility, is found it will be used to share these innovations to the commons. An other motivation for making these videos showing “human gestures for controlling computers” is to claim these gestures into to commons and thus preventing anyone from patenting these gestures in the future.

===Donald Duck as prior art===
As an example of this method of protecting “human gestures” from falling under patent laws is the “Donald Duck as prior art” case. A Danish inventor by the name Karl Krøyer came up with a method for raising a sunken ships by pumping buoyant bodies (such as plastic balls inflated which air) into the ship to achieve upward lift to bring the ship back to the surface. He received patents from many countries for this invention. According to the story, the Dutch Patent Office found a 1949 issue of a Donald Duck magazine which featured a story, titled “The Sunken Yacht”. In this story a ship is raised by stuffing it full of ping-pong balls. Since an invention has to be new to be patentable, Karl Krøyers application was refused in by the Dutch Patent Office. A Donald Duck episode discloses the same technique as that which is claimed in the patents.

Claiming “Choreographed Dances for interacting with a Computer” as artworks these movements and gestures will be protected by copyright. After the copyright expires these choreographies will belong to the commons. For the time being this will permit any developer from producing software which utilises these gestures to control a computer. The reasoning is that dance- and other live-art works are planned and constructed in relation to the space and site they are performed in. A number of post-structuralist theorists have pointed out that space is socially constructed. Space is a concept underpinned, simultaneously, by historical, geographical, social, political, cultural and technological significations. We argue that computers equipped with sensors working as gateways to online or offline cybernetic space produce a sense of space.

Computers equipped with sensors, such as cameras and motion sensors, enabling software to track for example the facial expressions and recognising walking patterns of the user effect her/s consciousness of cybernetic space. A computers quipped with such sensors produces a “device specific microscopic cybernetic space” around it, inside of which people are aware that they might be tracked. This phenomenon could be understood as the “presence of the computer” and is comparable to the gaze of the camera.

An example serves this argument best. As people become aware that there is a camera present they alter their behaviour. The direction where this camera is looking is not the only scope affecting people. People behind the camera are aware that they are not in the picture frame and know that their decision of “not being in the picture frame” is understood by the watcher as a deliberate sign. This sign is given non-verbally. A camera might be automated and people might not be aware if it is on or off. Nevertheless they alter their behaviour in it´s presence. The same goes for any sensor available of gathering information.

In her classic book, On Photography Susan Sontag referred to several aspects of ‘photographic seeing’ which are relevant in the current context. A quoute from this book goes as follows:

“To photograph is to appropriate the thing photographed”

A derived quote from the book goes as follows “To identify is to appropriate the thing identified”.

All of these dances are performed in this cybernetic space. And software which creates “device specific microscopic cybernetic spaces” inside of which users interact with the computer in similar manner as shown in these videos is in direct violation of international copyright laws. Whether or not, gestures to control computers should be able to be patented in the first place is open for debate. Despite controversies many software and hardware companies do this. An analogy to the world of art would be that a cartoon characters may be intellectual property of the creator. But the style in which this character is drawn cannot be. In comparison, what a software does can, for arguments sake, be patented but the way a person interacts with it ought not be.

===Visual guidelines===
For these presentations it is not important to show how software tracks and reads the gestures of the user or what kind of sensors the software uses to track and read the gestures of the user. The computer is represented by a sheet of paper displaying following symbols: They eye – symbol represents the camera and luminosity sensor of the device. The arrows represent GPRS, compass and other position sensors of the device. The ear symbol represents the microphone, mouth is for the speaker, and the hair represents both touch and motion sensors of the device.

These choreographies will remain the sole intellectual property of the creator for time covered by international copyright laws. If the owner of these works sees fit s/he may license these artworks to interested parties. For documenting choreographies used in dance or other performances there is a method called Labanotation. Labanotation is a complicated movement notation system invented by Rudolf Laban.

Unlike music, where there is a limited range of notes an instrument can play, the human body can make an unlimited number of different movements or shapes. Labanotation is a complex system and using this method is expensive and time consuming. Like most performances these choreographies are not recorded using Labanotation. Instead of this these artworks are documented using video. Each gesture is recorded form two sides. This material is enhanced with absolute best method for passing choreography down from generation to generation: word of mouth.

==This is the extro shown after choreographed gestures==
This episode was a part or “Interacting with a computer using specific movement combinations (referred here as “CHOREOGRAPHS”) and gestures (referred here as “DANCE”) as input method to perform operations in software” – Project which produces a collection of choreographies which a user may exercise when interacting with computers such as laptops, smart-phones or other computer powered devices. These choreographies are presented as video episodes and are to be considered as dance- or live- artworks documenting choreographies. Thus these movements are protected by international copyright laws and are the creators intellectual property.

(The license might be different for each work. A better license (by the name of [[THL]]) for these works is being developed.)

You are allowed to share and creative derivative works of this video if copies or derivative works are made and shared for free and in free file formats. No copies or representation (screen-shots or other) of this video are allowed in other then free file formats. You are allowed to show this video, and representations of it in private. You are allowed to show this video, and representations of in public if these events promote anti-copyright/patent policies. Such events may produce revenue for either you personally or an organisation. Profit is to be used to promote anti-copyright/patent policies or to make your personal of organisations “free culture activities” sustainable.

Copies of this work are to be tagget in the following manner: In the name of this clip you´ll find a number. When you make a copy of this clip you must replace this number with an accenting number. The material Dicknson Modelling shares are referred as 0, first copies of this with the number 1, copies of 1 as 2 and so forth. You must state the original name of this work and the tag used to index it if you use it in derivative works. If you do not understand these rights you may write to ?@storijapan.net

=Help needed=
#Validating that dances and choreographs “in the presence of a computer” are protected by copyright.
#Verifying theoretical notes (found in -This text is the introduction to the project-) on the “extended on- or offline device specific microscopic cybernetic spaces”
#Fixing terminology of the theory.
#General proof-reading
#Making a video library of gestures

=Stuff already underway=
#Finding researcher or other interested in preserving human gestures to the commons (and helping with the theoretical parts of the project) :)
#Finding person involved with such software patents to validate the text on a technical level.

=Links=
Design policy of intelligent space

http://ieeexplore.ieee.org/Xplore/login.jsp?url=http%3A%2F%2Fieeexplore.ieee.org%2Fiel5%2F6569%2F17812%2F00823378.pdf%3Farnumber%3D823378&authDecision=-203

An artwork on the matter

http://www.laramalvacias.org/

Learn to dance Ballet! (Torrent) http://www.darelease.com/dl/Learning+To+Dance+Ballet.html

Exploring what Here and Presence means using tele-immersive

http://itknowledgeexchange.techtarget.com/whatis/video-exploring-presence-technology-with-tele-immersive-dance-in-cyberspace/

Same on youtub:

http://www.youtube.com/watch?v=C2HqMAtQMsY e]

Sensing and Immersed Environments (Youtube -lecture)

Great list of resources on dance and technology (made 1995)

http://alumni.cse.ucsc.edu/~michelle/dance.html

From Cyber Space to Cybernetic Space: Rethinking the Relationship between Real and Virtual Spaces (Some useful stuff

http://jcmc.indiana.edu/vol7/issue1/mitra.html

Cybernetic Space: Bringing the Virtual and Real Together (Some useful stuff)

http://www.jiad.org/

Dan Graham – Time Delay Room

==Organisations etc.==

http://mutamorphosis.wordpress.com/

http://www.ne.jp/asahi/tokyo/sd/index.html

Posted on

[En] I leaned on all the male guests of the Perf08.. (30.-31.May -08)

The text below was written 2008 some two weeks after the Perf08 festival, organised by Tehdas Ry.

I leaned on all the male guests of the Perf08 festival but the women carried me. I wanted to leave the festival guests physical impression of myself. This gesture provoked the audience and placed the male spectators in the focus. The piece lasted for two days. Day one was for leaning and day two for a indoor performance. The piece was also an attempt to pinpoint the moment where a performance takes place.

The piece was called “Artist Supported by Other Artist (and some Audience)” (Or “Supported” for short). Each leaning act involved two participants. I introduced myself to small groups and selected a person to lean on while instructing an other person to take a picture. The picture was to be taken “on the specific moment the cameraman felt that the act was completed”. This motivated the participants to look for a solution to end my interference. The person I was leaning on needed to use strength to support me and the photographer was was agonised by their ambitions to take “a good picture” of the act.

The pictures where taken with a fully automated retro-film-camera which only had a hole to look trough and a trigger to take the shot. There was no possibility to confirm if a picture was actually taken. In retrospect I think the camera should have been an professional model with a 6×6 frame. So that the importance of the picture would have been emphasised.

I also had the opportunity present the work as a part of the schedule. I worked in the attic. First I chased all the persons with cameras out of the room. With this I wanted to make a statement on the documentation of performance art works. In such events the act of documenting takes focus away from the uniqueness of the moment. Then I chased all the male participants out. This was done in a humorous way so that the opportunity to stay even if a male remained (none did).

I was left with the women in to an attic. I asked them if they felt comfortable with this sex based division and if any of them would like to excuse them self´s (none did). Then I asked if there was a skilled photographer present. One presented herself. I instructed her to document the act. I laid on a bench and asked if the women would raise me to the ceiling. I was lifted and pictures where taken. The women lowered me and gave them self´s spontaneous applauds. The mood was joyful.

I asked them not to tell the men what we had done. Then we returned to the rest of the group.

A girl with a camera (who was chased out in the beginning) told me that after the men were chased out they started acting oddly. The courtyard of the gallery was suddenly packed with bewilders men, boyfriends, husbands who where trying to solve the situation. I asked another girl, if she had been questioned on what happened in the attic. She told me that her boyfriend, (a producer of the event) had not done so.. Because “he is too proud”.

The men kept on asking me what had happened. They tried to be humorous about it. More then once the men stated that, as I made this devision based on gender: I am the generator of a chauvinistic processes. The women where not (to my understanding) feeling offended by the gender based separatism.

The separation of the audience based on gender was an experiment based on a friends encounters in cuban-religions. He had taken part in a ritual during which a man (in a state of trance) took the women (including his girlfriend) from the crowds to a nearby jungle. So that they would take part in a ritual. He and all the other spouses where left outside.. The only opportunity was to wait. This division created great tensions in the men. I wanted to see how this process would work in another cultural surrounding.

Posted on

[En] THE PERIPHERIES OFFENSIVE – Sonance Nordic Expansion

The text below was published in the “Resonance Catalogue” produced 2008 by the late http://www.sonance.net network. NARP is sort of happening but it’s only based on my personal relations and the “TML” was “too late when it was born”. Today (2012) the need for such is replaced with social-medias.  All remaining plans to execute ideas formulated here, where shattered after the tragic passing of Simon “BINSH” Häfele the primus motor of Sonance.net.

The writer is a performance and community artist working in Finland and Estonia. When in Estonia, 2006, he met Simon Heafele at the Estonian Academy of Arts and was introduced to the Sonance.Artist.Network. Since the spring of 2007 we have been working hard with the aim of getting a system similar to the sonance artistic network up and running here in the Nordic area, specifically in the Baltic sea region and Finland. We have deep demand for a collaborative online system for independent artists, as the distances between cities and their artist communities are big due to sparse settlement. The density of population in Finland is 16 persons/km2, as against 99/km2 in Austria, and the distance between Rovaniemi (FI), the northernmost university city of the EU and Helsinki is as much as 831 km. This is part of the reason why local artist groups usually have only their personal friendships and the benevolence of the main galleries to rely on when they are setting up nation-wide or international shows.

The result of this is that productions are unevenly noticed as the capital area, due to the high density of art organisations which have control over information and so possesses the most influence in the press and general discussion. Our aim is to built an independent art production tool-kit which will flatten the differences that the unequal distribution of wealth and political capital have created. For this we are currently using the services of the sonance server in Vienna but are working towards the opportunity to build up our own local server to the Nordic region. This server will be closely linked with the sonance structures and will in time help sonances development as a cross-national collaboration tool. Ultimately the services created for the Nordic artists can be used on an international scale with the same ends, to provide tools for independent artists and communities regardless of their location or cultural and economical backgrounds.

We are currently setting up two structures which will enable independent artists to collaborate, with each other and with galleries, organisations, the media and local communities around the Nordic region. This development will hopefully enable artists to promote their work without the compromising influences of commercial service providers such as the Saatchis STUART online gallery, which because of the lack of alternatives has become somewhat popular with young artists in the north.

The first system, currently being built with the help of the sonance team, is the “Transparent Mail List” (TML). TML is a database of e-mail and other addresses of Artists, Galleries, Curators and the Press organised so that independent art producers will have tools to create their personal mailing-list in order to publish press-releases and announcements of events. The e-mail address data will be organised by regions -> cities and city areas -> individuals by profession, so that when producing an event or an exhibition in an unfamiliar location, an artist will have the same possibilities as locals do, and be able to send out press-releases and announcements to a selected audience of curators, fellow artist and members of the press. TML will also be used to inform members about competitions for public works and other institutional events on a local, national and Baltic area scale.

It is open to all but monitored to filter out unwelcome material. Typically information such as e-mail addresses are collected by galleries, organisations and by the press, and are kept firmly in their control. Not surprisingly in a sparsely settled country, most government-funded galleries, organisations and museums are located in the capital area. Often, these firmly established institutions have few if any ambitions to inform their subscribers about art event by outsiders. TML will also develop the channels of information between artists across the Baltic sea, another area where the press neglects to inform the public of art events. This situation is highlighted by the fact that even though Helsinki and Tallinn are the two closest capital cities in the world, being only 80 km apart, Finnish press and art audiences alike have trouble finding their way to openings and other events across the border.

Another arrangement under development is NARP (Not an Artist Residency Program) which will help independent artist communities to import and export intellectual capital. It is being developed for the needs of small artist communities which work at the borderline of government funding and have little if any possibilities to provide their community with outside know-how. Luckily, many young artists are more then willing to visit new cities and faraway places, to meet their peers, up to and including at their own expense. NARP aims to link communities with special needs such as programming, art management skills, carpentry, etc, with artists who have abilities in such areas. Once introduced, they can work out a solution together which will cover the travelling artist for some or all of their expenses (travel, accommodation, meals) in exchange for work-shops, lectures or other technical assistance.

NARP brings the aids of virtual networking tools to fleshy territories. It is a concept motivated by the argument that if an idea is not implemented socially it is worthless to spread it. NARP works such that the know-how of an individual in the program is directly utilised by the community providing for the artist. This way, the program both fortifies the communities and establishes solid “platform independent” social networks between individuals. In contrast, residency programs are typically provided for established artists merely as interesting locations within which to develop their own work. By working outside of the established channels of the large institutions, the program is a good platform for artists working on a grassroots level, critically and non-commercially. NARP is in a early stage and as such it is open for development. It remains to be seen which kind of interface it will have and how the program will be illustrated on a server.

Transparent-Mailing List and Not an Artist Residency Program work well together, as NARP sites and artists can be announced in the TML framework, and the artist benefiting from NARP within a community can also be introduced to TML services.We have presented some of the motivations behind why we want an independent artistic network in the Nordic region, why we believe it will fill a hole in the market for art and information, and some strategies and services we have developed for its launching. TML is at a near beta-stage and will be announced for full beta testing in early 2008. Our usage of networking tools will equip independent artists with alternative and more appropriate services then those provided by government or commercial interests. By this strategy, we intend to bypass the barriers facing the independent artist, constructed on the basis of location and wealth, and open up the field of art to be accessible to many more.

On behalf of sonance.north team.

Eero Yli-Vakkuri