{"id":6025,"date":"2019-01-11T13:01:23","date_gmt":"2019-01-11T11:01:23","guid":{"rendered":"https:\/\/eero.storijapan.net\/docfolio\/?p=6025"},"modified":"2019-09-03T11:27:58","modified_gmt":"2019-09-03T08:27:58","slug":"201190111-2","status":"publish","type":"post","link":"https:\/\/eero.storijapan.net\/docfolio\/201190111-2\/","title":{"rendered":"201190111"},"content":{"rendered":"<p><a href=\"https:\/\/alkovi.linnake.net\/\">Alkovi gallery<\/a> (Miina Hujala &amp; Arttu Merimaa) is organizing a research-art-process which will take place partially in Vyborg and deal with ruins, tourism &amp; knowledge. It&#8217;s called In Various Stages of Ruins. I&#8217;ll meet with the group of artist invited to join the process next week (our first meeting was in Vyborg <a href=\"https:\/\/eero.storijapan.net\/docfolio\/20180310-2\/\">last spring<\/a>). Hujala send us a text to contemplate, in which she poses various questions on what art can enable and how it differs from other modes of thought. This got me thinking about moods.<\/p>\n<p>Edit: <del>Strikethroughs<\/del> and ?-marks made after the second Vyborg trip.<\/p>\n<p>Art can establish a mood<\/p>\n<ul>\n<li>Mood is knowledge that lasts for a moment (?)<\/li>\n<li>A mood is the best aid for exploring the potential of a site, idea or event<\/li>\n<li>Moods swing and maintaining a mood is a challenge, as a mood is not action (?)<\/li>\n<li>Mood might be the essence (or performativity) of solidarity<\/li>\n<li>Processes which try to deliver a mood are scary<\/li>\n<li>Art is more like a mood then mood is art<\/li>\n<\/ul>\n<p>What is the minimal effort for setting a mood?<\/p>\n<ul>\n<li>A mood requires a comfortable setting (no hunger)<\/li>\n<li><del>Moods require that they are identified (possibly known in advance)<\/del><\/li>\n<li><del>Too much talking spoils the mood<\/del><\/li>\n<li>Setting a mood requires preparation and self-confidence (trust)<\/li>\n<li>Only stopping an action makes changes in moods noticeable<\/li>\n<li>Moods catch on trough subtle hints<\/li>\n<\/ul>\n<p>What can moods do?<\/p>\n<ul>\n<li>Change the appearance of things and events<\/li>\n<li>Provide access to new horizons<\/li>\n<li>Things make more sense in a good mood<\/li>\n<li>A set of different moods is required to establish a baseline for good judgement<\/li>\n<li>Shared moods require mutual consent (no tricks)<\/li>\n<li>Mood can be picked up and possibly stored in art<\/li>\n<\/ul>\n<p>Is there archeology for moods?<\/p>\n<p>I&#8217;ve been trying to frame moods as public art recently&#8230; Trans-Horse (as an example) is as an artwork, best understood as a mood because that&#8217;s how it effected it&#8217;s audiences and what it is leaving behind (there is no monument). I started to think about this after reading a review by Maaria Ylikangas <a href=\"https:\/\/www.dropbox.com\/s\/ke2n5kq8uodvtlk\/20150122_hevoslinjan-avulla-tutkitaan-aikaa-ja-tilaa_kritiikin-uutiset-4-2014_c-maaria-ylikangas_scan_xxx_e-1-a_hevoslinja_doc.pdf?dl=0\">Hevosen avulla tutkitaan tilaa ja aikaa<\/a> (2014). In the text she accounts her experience of the artwork and explains that even if she didn&#8217;t see the work, she got to know what it is like to move in the landscape with a horse. This happened by learning about what we were doing (trough twitter, radio broadcasts, articles) and combining this with with her personal experiences with horses (and other critical texts). I&#8217;ll use her case as an example were an artwork set a mood (and that was all the artwork did).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Alkovi gallery (Miina Hujala &amp; Arttu Merimaa) is organizing a research-art-process which will take place partially in Vyborg and deal with ruins, tourism &amp; knowledge. It&#8217;s called In Various Stages of Ruins. I&#8217;ll meet with the group of artist invited to join the process next week (our first meeting was in Vyborg last spring). Hujala &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/eero.storijapan.net\/docfolio\/201190111-2\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;201190111&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[4],"tags":[1404,1588,1600,15,135,20],"class_list":["post-6025","post","type-post","status-publish","format-standard","hentry","category-log","tag-alkovi-gallery","tag-art-writing","tag-in-various-stages-of-ruins","tag-maaria-ylikangas","tag-miina-hujala","tag-trans-horse"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts\/6025","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/comments?post=6025"}],"version-history":[{"count":0,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts\/6025\/revisions"}],"wp:attachment":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/media?parent=6025"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/categories?post=6025"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/tags?post=6025"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}