Matka serkamolaiseen teatteriin : kohti sanatonta kerrontaa

A travelogue to serkamoan theater deals, just like its name implies, with the molding process of one theater opinion. It has been influenced by both Aristotle's poetry and Bertold Brecht's epic theater. Side by side with theater goes dance, whose development the thesis also considers briefly. Of today's theater makers, Päivi Ketonen (playback theater), Juha Hurme and Nigel Charnock (dance theater) have had a definitive impact on the Serkamoan theater view. Their relation to theater and dance is clarified in the interviews conducted by the writer, which can be found in their entirety among the appendices of this thesis. Serkamoan theater has also been influenced by the writer's studies in Portuguese theater school in 2004. In Portugal the writer had a chance to work a theater piece in a new cultural environment where, for example, a novel and paintings were used as inspiration. The strongest legacy from Portugal however was the desire to do theater that can be understood without words. Serkamoan theater considers the combinations of theater and dance in performing arts, agreeing with, among others, Pina Bausch's footsteps. Serkamoan theater ladles its inspiration from theater, dance, human being, human body and movement. It is theater that cannot be understood through intellect but through the heart.

Etnoarkeologian suomalainen avaus

Kirjallisuusarvostelu

Supersaturation-controlled crystallization

Identification of product requirements and quality, together with the management of production are key issues in chemical engineering. Quality control of crystalline products is part of the quality of many industrially manufactured products like paper, paintings, medicines and fertilizers. In most crystallization cases, quality is described with the size, polymorph, shape and purity of the crystal. The chemical composition, hydrodynamics and driving force, together with the operating temperature are in a key position when the properties of a crystalline product are controlled with the crystallization process. This study concentrates on managing the identified properties of a crystalline product with the control of a driving force. The controlling of the driving force can be based on the change of solubility or the change of concentration. Solubility can be changed with temperature, pressure and an antisolvent. The concentration of crystallizing compound, the solute can be changed with the evaporation of the solvent and with the addition of a reagent. The present study focuses on reagent addition and temperature change as methods of changing the level of the driving force. Three control structures for direct control of supersaturation are built, one for cooling crystallization and two for reactive crystallization. Closed loop feedback control structures are based on the measurement of the solute concentration with attenuated total reflection - Fourier transform infrared spectrometer. The details of the reagent feed are analyzed with experimental studies and with results of computational fluid dynamic simulations of the inert particle pulse in the premixer and inert particle injection to the mixing tank. Nucleation in conditions of controlled reactive crystallization is analyzed with Nielsen’s equation of homogeneous nucleation. The resulting control systems, based on regulation of supersaturation, can be used to produce the desired polymorph of an organic product. The polymorph composition of product crystals is controlled repeatably with the decision of a set value of supersaturation level.

Målarpoeten Ellen Thesleff : teknik och konstnärligt uttryck

The aim of this thesis has been to illustrate the multifaceted talent in Ellen Thesleff's (1869 - 1954) work with particular emphasis on her technique and artistic expression. Why did Ellen Thesleff work withso many techniques? How did the technique affect the expression and what characterizes it? It would also be of interest to gather some idea of Ellen Thesleff's position among other artists. The investigation covers a representative selection of about 60 pictures, using nine different techniques, primarily as oils, woodcuts and monumental painting. The pictures illustrate three periods of time, the natural (1890 - 1905), the colourful (1906 - 1927) and the free period (1928 -1950). I describe the pictures in regard to their conception and subject matter and scrutinize their formal creation. Thereafter, I investigate the painting technique and artistic expression of each picture and position it, where applicable, in relation to other art. Ellen Thesleff's artistic quality is discussed in relation to her techniques and expression. Thesleff consciously chooses different techniques for related subjects in order to vary the expression. The progressing evolution within individual techniques and a cross-fertilization between them has evidently contributed to raising her artistic quality. I have studied how the techniques influence expression and found it possible to identify certain characteristic styles during the three periods: first a natural painting technique which reminds one of both French realism, paintings reflecting the Nordic mood and atmosphere, and symbolism, ascetism and synthetism; later an expressive Thesleff colourism with brilliant over- and underpainting in contrasting colours and last a free decorative painting in lines, with symbolistic undertones. Most characteristic is the lyrical expression which seems to be a common theme throughout Thesleff's entire artistry. I have found that Ellen Thesleff in her works had herown personal style compared to her contemporaries. Despite deep knowledge of styles and techniques she continually creates art from her inner self and with her own personal brush signature.

Den vårdande och helande bilden: möten med bildkonst i vårdandets värld

Denna vårdvetenskapliga avhandling syftar till att avtäcka och belysa en vårdande och helande dimension vid existentiellt lidande patienters möten med bildkonst inom vårdkontext. Kunskapssökandet sker i två studier. Den första (studie I) är en ikonografi sk tolkning av konstnären Matthias Grünewalds (ca 1460–1528) senmedeltida altarskåpsmålningar. I studien uttolkas lidandets uttryck och narrativa budskap samt symboliska gestaltningar av vårdande och helande i valda delar av detta s.k. Isenheimaltares bildprogram. Tolkningen utgår från rekonstruktionen av altarskåpets ursprungskontext, det medeltida Isenheimklostret, där svårt sjuka och döende patienter vårdades. I studie två (II) fortsätter sökandet i den moderna hospicevårdens kontext med hjälp av en kvalitativ intervjustudie som utforskar patienters meningsskapande vid möten med självvald bildkonst (oljemålningar och akvareller av fi nländska konstnärer som donerats till det sjukhus där intervjustudien gjordes). Forskningsansatsen är inspirerad av Hans-Georg Gadamers (1901–2002) hermeneutik. Vidare används några nyare tolkningsteoretiska ansatser inom bildkonstens område. Forskningens tolkningsresultat visar att bildkonsten har potentialer såväl på ett miljöestetiskt plan som på en djupare individuell symbolnivå. Som designkomponent i vårdmiljöns rumsliga gestaltning bygger bildkonsten in estetiska, etiska och andliga kvaliteter utifrån tidsmässiga och kulturella koder. I den medeltida klostervårdens kontext sammanföll bildkonstens dekorativa betydelse med andliga och helande syften. När det gäller självvalda konstverk i den moderna vårdkontexten bidrar de till det enskilda patientrummets atmosfär på ett unikt sätt utifrån patientens personlighet och behov. På en fördjupad mötesnivå, i samspel med bildens symboliska funktion, sker en inlevelsemässig förfl yttning in i bildens värld. Betraktarens inlevelse aktiveras till en transcenderande rörelse som går bortom det faktiska rummets och den reella tidens gränser. Vid resor i konstens bildvärld spelas minnesvärda händelser upp från det förgångna, men även framtiden kommer betraktaren till mötes. I en existentiell livssituation söker människan i konstverkets bildinnehåll efter symbolisk mening som kan ge svar på lidandets frågor. Bilderna iscensätter då helande motbilder som utgör korrektiv i symboliska former när olika existentiella förluster hotar. När livet förbleknats av sjukdom besvarar bildvärlden den lidandes blick med lysande violer som blommar upp, ger livskraft och bekräftar personens värdighet mitt i det förvissnande människolivet. När ångest och otrygghet nalkas inbjuds betraktaren till besök i landskap som utvidgar sjukhusrummets väggar mot hemgårdens trygghet. Där livet hotas av förgänglighet tar bildvärlden människan med sig till naturens eviga återfödelse. Upplevelsen av att vara delaktig i ett större och heligt sammanhang öppnar vägen ut ur lidandets avskurenhet. I medeltidens vårdkontext erbjöd den sakrala bilden en kollektiv och helande Symbolon som genom sin representationskraft synliggjorde det osynliga. Vid bildmöten i den moderna hospicevårdens kontext var det naturteman som gläntade på dörren till ”det hemliga rummet i djupet av hjärtat”. Forskningen antyder att även om meningsskapandet i ett bildmöte är avhängigt tidsepok, betraktarens förförståelse och kulturella kontext samt typen av bilder kan bildsymboliken, generellt förstådd som den saknade formen eller det saknade livssammanhanget, framvisa en helande och hoppingivande ordning i lidandets kaos.

Matkustus Suomessa. : Ensimmäinen jakso. ... : Selitykset Z. Topeliusʼen kirjoittamat.

Engraved illustrations are based on the original oil paintings of several Finnish artists: A. v. Becker, A. Edelfelt, R. W. Ekman, W. Holmberg, K. E. Jansson, O. Kleineh, J. Knutson, B. Lindholm, H. Munsterhjelm och B. Reinhold.

En resa i Finland. : Första serien. ... : Text af Z. Topelius.

Engraved illustrations are based on the original oil paintings of several Finnish artists: A. v. Becker, A. Edelfelt, R. W. Ekman, W. Holmberg, K. E. Jansson, O. Kleineh, J. Knutson, B. Lindholm, H. Munsterhjelm och B. Reinhold.

Suomi : kuvia Suomen maasta ja kansasta : etevimpäin kotimaisten taiteilijain maalausten mukaan. : Tekstin kirjoittaja K. Suomalainen.

Digital reproduction, The National Library of Finland, Centre for Preservation and Digitisation, Mikkeli

Imagining a New Society: Public Painting as Politics in Postwar Finland

The thesis is the first comprehensive study on Finnish public painting, public artworks generally referred to as murals or monumental paintings. It focuses on the processes of production of public paintings during the post-WWII decades in Finland and the complex relationships between the political sphere and the production of art. The research studies the networks of agents involved in the production of public paintings. Besides the human agents—artists, assistants, commissioners and viewers—also public paintings were and are agents in the processes of production and in their environments. The research questions can be grouped into three overlapping series of questions: First, the research investigates the production public paintings: What kinds of public paintings were realised in postwar Finland—how, where, by whom and for what purposes? Second, it discusses the publicness of these paintings: How were public paintings defined, and what aspects characterised them as “public”? What was their relation to public space, public authorities, and audience? And third, it explores the politics of public paintings: the relationship between Finnish public painting, nationalism, and the memory of war. To answer these questions, extensive archival work has been performed, and over 200 public paintings have been documented around Finland. The research material has been studied in a sociological framework and in the context of the political and economic history of Finland, employing critical theories on public space and public art as well as theories on the building of nationalism, commemoration, memory, and forgetting. An important aim of this research was to open up a new field of study and position public painting within Finnish art history, from which it has been conspicuous by its absence. The research indicates that public painting was a significant genre of art in postwar Finland. The process of creating a national genre of public painting participated in the defining of municipal and state art politics in the country, and paintings functioned as vehicles of carrying out the agenda of the commissioning bodies. In the formation of municipal art policies in Finland in the 1950s, public painting connected to the same tendency of democratising art as the founding of public art museums. Public painting commissions also functioned as an arena of competition and a means of support for the artists. Public paintings were judged and commissioned within the realm of political decision-making, and they suggested the values of the decision-making groups, generally conveyed as the values of the society. The participation of official agents in the production allocated a position of official art to the genre. Through the material of this research, postwar public painting is seen as an agent in a society searching for a new identity. The postwar public painting production participated in the creation of the Finnish welfare society as indications of a humane society. It continued a tradition of public art production that had been built on nationalist and art educational ideologies in the late 19th and early 20th century. Postwar public paintings promoted the new national narrative of unification by creating an image of a homogeneous society with a harmonious communal life. The paintings laid out an image of Finnishness that was modern but rooted in the agrarian past, of a society that was based on hard work and provided for its members a good life. Postwar public painting was art with a mission, and it created an image of a society with a mission.

Yksilö ja ympäristö: Maalari Frans Lindin (1903–1988) elinikäinen ympäristösuhde muistitietohaastattelujen ja maisemamaalausten valossa

Tekijänoikeudellisten syiden vuoksi teoksen kokotekstissä olevien kuvien teknistä laatua on jouduttu heikentämään. ---- Tutkin yhden työläisen, maalari Frans Lindin (1903–1988) ympäristösuhdetta lapsuudesta viimeisiin elinvuosiin asti eli kirjoitan hänen ympäristöelämäkertaansa. Tarkastelen hänen suhdettaan luontoon ja kulttuuriympäristöön hänen vapaa-aikanaan. Tutkimukseen kuuluu johdanto-osan lisäksi yksi suomenkielinen ja neljä eng¬lanninkielistä artikkelia. Tutkin erityisesti Lindin paikkoja ja ympäristökokemuksia; tarkastelen hänen kotejaan ja muita tärkeitä paikkojaan; käsittelen hänen suhdettaan veteen ja vesistöihin; selvitän hänen maalausharrastustaan ja ympäristökokemustensa ulottuvuuksia sekä osoitan muistitiedon tärkeyden kokemusten tulkinnassa. Keskeiset lähteeni ovat vuosina 1985–2004 tekemäni Lindin ja 15 muun henkilön muistitietohaastattelut sekä puolensataa Lindin maalaamaa maisemaa, jotka dokumentoivat luontoa, yksityistaloja, julkisia rakennuksia ja kaupunkinäkymiä. Lisäksi käytän asiakirjoja, sanomalehtiaineistoa ja historiateoksia sekä omia havaintojani. Lähestyn Lindin ympäristösuhdetta kulttuurihistoriallisen ympäristötutkimuksen, henkilöhistorian ja muistitietohistorian näkökulmasta. Ympäristösuhde tarkoittaa kaikkea, mitä ihminen tekee ympäristössään, ympäristölleen ja ympäristönsä vaikutuksesta tai innoittamana. Se on sosiaalinen, historiallinen ja kulttuurinen ilmiö, joka kehittyy varhaislapsuudesta lähtien kodista käsin ja muotoutuu elämän loppuun asti. Lindin ympäristösuhde kehittyi eri ihmisten vaikutuksesta, eri aikoina ja eri toiminnoissa ja konkretisoitui paikoissa, jotka olivat koettuja, muistettuja ja kerrottuja. Ne olivat myös lyhyt- tai pitkäaikaisia tai ainut-kertaisia, aktiivisia tai passiivisia, nykyisiä tai menneitä. Laatimani Lindin paikkojen luokituksen perustalta voidaan tutkia muidenkin ihmisten paikkasuhdetta. Lindin ympäristösuhteen moniulotteisuus ja rikkaus ilmeni sekä haastatteluissa että maisemamaalauksissa. Hänen ympäristökokemuksensa olivat arkisia, mutta niissä ilmenivät myös tunteiden, tiedon, nostalgian, edistyksen, omistamisen ja liikkumisen ulottuvuudet. Tutkimukseni antaa lähtökohdan kenen tahansa, varsinkin elossa olevan henkilön, ympäristösuhteen tutkimiselle.