Bought a book by Michel Serres and started working on an application for the Doctoral Studies Programme in Artistic Research in Performing Arts at the Theatre Academy of the University of the Arts Helsinki. I’ve written a 12 page research proposal called “Horse & Performance” (it’s taken me two-to-three weeks and I’m currently waiting for comments/guidance from friends). The English summary is the last part (I’m having trouble with it). Apparently I want to spy on people, talk to horses and ask them what they think about our perception of them. I can’t read the the summary without giggling – Which has to be a good sign.
The “Horse & Performance” research investigates “what do we talk about, when we talk about horses” at Finnish horse-stables. The research is rooted on an ethnographic study which analyses how horse-hobbyist and professional construct the figure of the contemporary-horse. The ethnographic part of the research will focus on situations were people explain the animals behaviour trough unintentional utterance, murmured while working with them. I will also engage in an “performance architectural” analysis of the sites, where people meet with horses, trough which I will formulate an understanding on how particular sites (and particular technologies presented in them) affect our perception of the animal. The fieldwork will be contrasted to the work of artists and theorists who have contributed to the development of the “animal-turn”.
From these sources I will develop a set of post-humanistically geared exercises and grooming techniques, through which I will direct the question to the horses themselves and ask for their feedback. These exercises will be presented as public performances, organized in urban spaces. The feedback audiences provide will be used to further develop an understanding of the contemporary-horse. Performing publicly with an animals cause conflicts through which we can access views and assumptions people project on them. Techniques developed through this research, can be used to ask animals for feedback on how build environments should be organized. The research aims to advance the wellbeing of animals and to advocate ethical environmental design.
Here is a list of texts I refer in the full proposal:
- Barad, Karen. 2003. Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter
- Butler, Judith. 2015. Notes Toward a Performative Theory of Assembly
- Cull, Laura. 2012. Theatres of Immanence – Deleuze and the Ethics of Performance
- Despret, Vinciane. 2016. What Would Animals Say If We Asked the Right Questions?
- Haraway, Donna J. 2007. When Species Meet
- Haraway, Donna J. 2013. SF: Science Fiction, Speculative Fabulation, String Figures, So Far.
- Haraway, Donna. 2016. Staying with the Trouble: Anthropocene, Capitalocene, Chthulucene
- Hribal, Jason. 2003. “Animals Are Part of the Working Class”: A Challenge to Labor History
- Hribal, Jason. 2012. Animals are Part of the Working Class Reviewed
- Ingold, Tim. 2011. The Perception of the Environment. Essays on Livelihood
- Korhonen, Pauliina. 2014. Ratsastusreitit kaupunkialueella – Suunnitteluesimerkkinä Länsi-Vantaan ratsastusreitit
- Leinonen, Riitta-Marja. 2013. Palvelijasta terapeutiksi – Ihmisen ja hevosen suhteen muuttuvat kulttuuriset mallit Suomessa
- Mbembe, Achille. 2003. Necropolitics
- Mitsuda, Tatsuya. 2007. Horse in European History 1550-1900
- Kaimio, Tuire. 2004. Hevosen kanssa
- Malm, Andreas. 2016. Fossil Capital – The rise of Steam-power and the Roots of Global Warming
- Mejdell, Buvik, Jørgensen & Bøe. 2016. Horses can learn to use symbols to communicate their preferences
- Morton, Timothy. 2017. Humankind
- Ojanen, Karoliina. 2011. Tyttöjen toinen koti – Etnografinen tutkimus tyttökulttuurista ratsastustalleilla
- Salminen, Antti & Vadén, Tere. 2016. Energia ja kokemus: Naftologinen essee
- Serres, Michel. 2010. Malfeasance – Appropriation Through Pollution?
- Schweder, Alex. 2011. Performance Architecture
- Urry, John. 2004. The ‘System’ of Automobility
- Weizman, Eyal. 2015. The Roundabout Revolutions
- Weizman, Eyal. 2017. Hollow Land: Israel’s Architecture of Occupation
- Wright, Stephen. 2014. Toward a Lexicon of Usership
Wearing my spring jacket which I surface treated using a boiled linseed & beewax mixture. Spring rain doesn’t penetrate the cotton cloth but the downside is that the jacket smells faintly like freshly cut grass. The wax-coating made the denim fabric darker and the jacket looks cool. Droplets of water stick to the surface, I feel like a cowboy or sailor. Tuned an old hoodie too, lengthened its sleeves and replaced its backside with a lighter fabric (for better ventilation). The jacket and the hoodie work well together.. Only the front and top of the garment is waterproof and the backsides allows inter-garment climate control.
Collected synths and controllers for our Oodi modular presentation from Pasila library. I received a Make Noise 0-Coast and a Arturia Beat Step Pro. They are the first instruments of the Oodi modular system and I’m the first person to loan them! We will use them with Viktor at Kontula Elektronic to demo services that Central Library Oodi studios will offer for library users. I have week to learn how to use them. I’m now a (fake) synth-expert, demoing instruments which I don’t own. I hope someone will make musicmesse-style awkward interview of us.
Preparing for a live radio interview regarding our work (Neighborizome) at the Kone foundation Lauttasaari mansion.
I’ll have 5min of airtime to introduce people to Performance Architecture (I’ll refer to Alex Schweder if possible). Used the little time I had to build a case for “new mansion culture”.
Burning Man at Google lecture by Fred Turner explains how companies like Google foster (and capitalize) creativity and a sense of community using architecture, mailing lists and other nasty schemes. Turner argues that engineers and coders are the primus motors of social change and culture (like artists and poets were in the past). The talk makes it easier to understand what artist/facilitators like Andrew Gryf Paterson are after with their work- and talkshop activities. Technology (and art) is a tool for social (re)organization. It is made and used to express desires. The talk also discusses the growing role of self-reliance (and how survivalism is related to it). “Vocational ecstasy” (Ideological work) is also an interesting concept. It describes a creative mode people can arrive to when working in teams on creative tasks. Individual egos fade away through joined unpaid labor and participants feel transferred something else (work on modular technology is key in the experience).
I’ve been trying to motivate myself into editing Horse Porsche Show documentations I shot with Hanna. Also contacted the Workhorse hobbyist association in regards of their winter forestering workshops. Trans-Horse activities are progressing slowly and I’m having trouble with setting goals for next years activities. The funding I’ve managed to accumulate is not adequate for building collaboratory schemes together with professionals in the horse-community. Making mere representations (videos, texts etc.) of their work and horses feels boring.. Particularly as the reception of our “Come Together, Leave Together” (2015) movie was so lame (We didn’t get it into any festival screenings in Finland and it’s been rejected from the YLE (Uusi kino) programming too). We got positive reviews from peers and horse culture collaborators but the movie has failed to reach audiences through mainstream channels.
Alex Schweder continuing on Performance Architecture (lecture).
Alex Schweder discusses “Performance Architecture” (.pdf). “In 2009, after a decade in the gallery, I began Its Form Will Follow Your Performance at Magnus Muller Berlin, a project that used the gallery as a point of departure but extended into the homes of ordinary Berliners. As a way of starting a renovation, I would meet interested parties at a desk in the gallery. Here, we talked about their apartment for about an hour. […] Our session would conclude with us agreeing on a new way that they would perform their house. This could be as simple as moving a plant into the hall during winter and not bringing it back in or sitting on the roof thinking about potential”.
He cites Trisha Browns work. I found her dances on youtube and liked Accumulation (1971). Watermotor (1978) is boring but the slow motion effect is inspirational. Schweder presents one of the structures he’s made with Ward Shelly on a video.
Also found the movie on Conical Intersect (1975) by Gordon Matta-Clark.