This is not a blog, only an electric island referencing various places in the real world of spirit and soul and body. I'm not against digital streams of media, but would like to encourage all of you to keep your handwriting Beautiful, Good and Truthful. Some of these texts have been changed along the way, many others were deleted. There is also an acoustic / ascetic "band" called Thirst, playing on a broken-hearted flagship (half-broken Landola Maestro) named after St. Anne.
(San Marco, Venice, in the winter light of January 2016. They say it's the best time to go to Venice. Now who would believe? I do believe, for I've seen it with my own eyes. Photo by AF.)
And peace be with you, too, Marcello Mastroianni (1924-1996). At the Venice Film Festival a year after his death there was a controversial scene acted out between his close ones. Around the same time I heard about the great actor himself. Mastroianni has helped me in a whole lot of difficult situations with his "Latin Lover" Italian humour. I thank you from the bottom (of my heart), Marcello. Whenever I go to Italy, I drink my one-euro-espresso standing, not like the tourists who pay too much for a seat they don't really need. And the coffee is good, my God, it is all so damn good.
It seems we have used various and popular cult(ure) forms such as "bands" etc in a way and with a content that is perhaps more related to the philosophy and history of the so-called high, contemporary or even performance art. Pop culture is less than 100 years old, and its time has already gone. The high culture began to lose its kingship in the sixties as is well documented (there are many quotations for that, but I'll just refer to my old favourite, Leonard Cohen, who sang about the sixties and the changing of poetry into pop songs - now, in the 21st century, it has begun to change into something else, once again). It is common knowledege that the "high" and "pop" cultures have lost their border lines long ago and the world is full
of various crossover works having characteristics from both. But in our work(s) we have been dealing with some of the underlining themes behind a common thread that is found everywhere.
What I am referring to is very simple and extremely complicated at the same time. And no, we don't have a copyright to these things, no one does. For lack of a better word and to honour performance artists like Joseph Beuys, Roi Vaara and Erkki Pirtola, I have decided to call these works of art, simply, THE MOVES, in no particular order:
IV) THE FOURTH MOVE:
YE COLD HANDS: THE HOMECOMING
No Document or Site available,
except in booklet form (see Vaaka)
V) THE FIFTH MOVE:
VIRTA ZINE (Alternative journalism since 2004)
Document / Site "Virta-lehti"
VI) THE SIXTH MOVE:
SHRINES (Educational ambient)
Document / Site "Akritas 2007"
VII) THE SEVENTH MOVE:
LYRICS / FLOR & BLANCHEFLOR
Document / Site "Mythic poetry"
So, the MOVES have been social in one way or another, and this is only my point of view. It may not concern the whole "project" or "band" itself (as is all too obvious in the THIRD MOVE). By the same token, it does not prevent me from stating this. The "social sculpture" of Beuys is very much and always a part of it, we are individual artists and we are social beings in everything. I still owe my gratitude to the people responsible. You have made it real for me to make these themes real for you. And please forgive me, if this doesn't sound right. But it's the truth, and nothing.......
To conclude, I have to confess the traditional forms of "performance art" have never appealed to me that much, I have been more interested in the hidden meanings and spirit (or structural side). And these MOVES have needed years or even decades to be formed. They have taken place in a historical way, not so much as a performance that happens in a certain place at a certain time. In a sense, this is what makes them new? THE SECOND MOVE has needed over 20 years (with only a handful of events / gigs and three or four "records" to be heard, but it has been an ongoing process with quite visible results, too). Some other MOVES have been done in 5-7 years. They have needed a series of points or events to unfold "historically", and this unfolding may have happened through single "performances" that resemble contemporary art / popular culture. THE FIRST MOVE is a bit like that. Then there are more literal MOVES that have been made in and for the literary circles. With these words, I am merely stating what has actually happened (and everyone could see for themselves what has been said before in interviews etc - like these apologies, everything moves in the same flow, at least, well, more or less).
I MOVE: Where does "live performance" change into something else, or the other way around? The questions about (un)officiality, audience / performer etc. (Cf. from a concert played for birds and rabbits to performing on a "real" music festival, and everything in between, as is documented in the FIRST MOVE. The Russian bard culture versus the American pop culture. These are also anthropological questions and problems).
II-IV & VI MOVES: Where is the line in-between "a real band" and a musico-philosophical project, and why? How about the changing of band names, constantly, in order to prevent any kind of success in the material sense of the word? Or, could there be other reasons for doing that? What does it all mean, and where does it lead us? There are also numerous other questions and themes concerning these bands / projects (about staging and music theater forms, disco dancing in death metal etc), as[s] documented in the MOVES II-IV & VI.
V MOVE: This move concerning our Virta culture magazine is debatable and questionable, but it could be mentioned here, nevertheless. There may be different views about the whole project, but the same thing applies to all the bands as well (on many of the MOVES above). So, I have been part of this (together with Mikko Nenonen, Matti Rautaniemi and Tuukka Vartiainen, and many others), and my role has changed during the years. The idea and the name "Virta" came up in a conversation I had with Olli Koski already in 2000 (he is the one who invented it, and yes, he is the legendary SAK economist). Where is the line between a real and a false journalism, and why? Virta does not have a chief-editor, no manifesto either, and its very existence has been on the brink of an abyss most of the time.
VII MOVE: This one is the only quite literally conscious art work, and it has taken a lot of time, even more of strength, and most of whatever little money there ever was. Yes, I am exaggerating now, and purposefully so. Lyrics / Flor & Blancheflor was published in full colour with a real Finnish ISBN code, in 2013/2014, and it is the only Vaaka book officially available through internet (see AdLibris, Amazon etc). The price is close to terrible, and unfortunately I have not been able to decrease it. But the statement is what counts: where is the line between a real (published) book and something else, and why? For there are three different levels in Lyrics: 1) the handwritten original manuscript 2) the traditional printed bookform and 3) the electric, free copy. What is the line to be crossed, where a book becomes "real"? (Cf. in the old times all books were made by hand and they were single copies, and now we are living in a world where the printing machines have become antique - does not this open a new question concerning the origin and the birth of the BOOK itself?). I have also tried to promote handwriting as a therapeutic or pedagogical method. The Finnish Cultural Foundation has supported the making of this MOVE.
On a beautiful Greek island in September 2007. Picture taken by AF, with many kinds of apologies.
It has been said that even in the most obscure instinct or gut feeling there may be a glimpse of intuition, butin its purest form intuitive consciousness is about love, where knowledge and will are serving it (not contrary to what "spiritual thinking" means). Quite a few people have written about the subject, and the views differ of course. I believe there will be no harm done as long as we keep in mind that Intuition has been crowned as "the highest consciousness man could achieve here on earth". I think it is all the more good to know, since intuition is often understood the other way around. But so it is, with things like this. However, "it's nothing too serious that a little spiritual apologia could not undo", as the saying goes. #The Preacher
This collection of lyrics was originally sketched out for Omnium
Gatherum's album "III", but in the end it would become something else
altogether. Meanwhile, I tried for years with different musicians, to
make a little Bon Jovian thrash metal side project. Finally I realized
it was not meant to be like that. So this booklet is a new kind
Rap / Spoken Word stand up COLD HAND
PROGRAM? I still got my black boots, leather
jeans and the Hungarian horse whip. At least it's good / bad olden time
Written Word 19th century Wild West no quality newspaper man style in black and
white, with photographs and a saddle form drawing, too. But if that
doesn't satisfy you, I guess a reference to the dark nineties will make it happen. And if none of this banged
a drum, I'll have to say it's a humble, poor and lonesome collection of
Unlucky Luke's memories of dirty places and times. The age-old work needed a seal. Nothing more.
Kuvan maalasi / otti Laura Vilva. Täydellinen Steiner-vaikutelma syntyi vahingossa, sillä kuvan värit muuttuivat ikkunan ja kameran yhteisvalotuksen ansiosta. Alunperin hieman persikan sävyjä muistuttava kirjan kantta varten tehty taustamaalaus muuntui hetkessä persikankukan väriseksi, joka soveltuu ehkä vielä paremmin ilmentämään niitä pyrkimyksiä, joita minulla oli teosta kirjoitettaessa. Seitsemän ja kahdentoista vuoden takaiset muistikirjarunot asettuivat paikoilleen hitaasti ja (epä)varmasti. En ole halunnut tai uskaltanut tuoda niitä aiemmin julki, mutta kesäkuussa 2014 vihdoin ja viimein sain tekstit oikoluettua ja lähetettäväksi eri kustantajille. Kukaan ei halunnut julkaista teosta, mikä on varsin ymmärrettävää. Vanhoja Runoja on erikoinen kirja, jopa siinä määrin, että sitä olisi kuitenkin parasta lukea paperille painetussa muodossa. Ilmaista PDF-versiota viimeistelyn eri vaiheilta on ollut saatavilla, mutta kuten eräs opettajani Snellman-korkeakoulusta totesi, Vanhojen Runojen lukeminen ruudulta käsin jättää tietoisuuden enemmän pintatasolle. Varsinainen ja perinteinen kirjamuoto auttaa ehkä lukijaa pääsemään syvällisempään yhteyteen, aihepiirien vaihtuessa epämukavuusalueesta toiseen (en ole aiemmin kirjoittanut tämän kaltaista tekstiä; olen lähestynyt joitakin teemoja ikään kuin jos ne olisivat totta). Teoksen ensimmäinen versio "julkaistiin" Vaakamerkin kautta Platonin syntymä- ja kuolinpäivänä, toinen versio pyhän Andreaksen päivänä, ja kolmas on..........
Missä vaiheessa kirja ylipäätään "todellistuu"? Olemme astuneet jo uuteen aikaan mitä tulee julkaisemiseen ja kustantamiseen. Siinä on myös jotain vanhaa mukana. Käsinkirjoitetut teokset aloittivat koko "kirjakustannusalan" kauan ennen keskiaikaa. Ala on vain muuttunut vuosisatojen varrella. Nyt näyttää siltä, että se on jälleen perustavanlaatuisen muutoksen keskellä. Olen kiitollinen saadessani todistaa tätä murrosvaihetta omakohtaisesti ja itse siihen osallistuen. Ei niin pahaa, ettei jotain hyvääkin. Kohtalon sanelemat ehdot ovat usein johdattaneet uusille poluille, avaten uusia näköaloja. Haluan painottaa tätä puolta asioista, sillä helposti saattaisi tulla aivan toisenlainen kuva tekemisistäni ja tarkoituksistani. Vanhoja Runoja sisältää viitteitä henkisen tiedon alkeiden (A,B,C...) ymmärtämiseen, sekä niihin keskusteluihin tai kiistelyihin joita vasta sen jälkeen voidaan totuuden nimissä käydä. Valheitahan on maailma täynnä. En kuvittele tietäväni paljoakaan. Tiedän kuitenkin, ettei näistä aiheista puhuminen tai kirjoittaminen ole suositeltavaa, ellei ole ymmärtänyt eräitä lähtökohtia. Olen esittänyt sellaisia "sadun- tai unenomaisen keskustelun" muodossa. En väitä, että teoksessa olisi mitään ihmeellistä tai erityisen tärkeää. Lähinnä viittaan sisäiseen tilaan, jossa henkiset aihepiirit ylipäätään voivat avautua ihmiselle. Ne ovat luonteeltaan senkaltaisia, ettei niitä voida lähestyä kuin hartaalla, kunnioittavalla ja avoimella mielellä. Tänä päivänä sellaisen mielenlaadun saavuttaminen on hyvin vaikeaa (tulematta hölmöläiseksi, mikä estää asioiden ymmärtämisen yhtälailla). Tämän kaiken saarnaamisen jälkeen on muistettava kirjani olevan "fiktiota kehyksissä": se on ennen kaikkea runoutta, joka toteutuu Hölderliniä mukaillen, kun "olemme olleet keskustelu[ssa]".