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My chapter on "Revolution" in Keywords for Radicals (AK Press, 2016).
Nordic Studies on Alcohol and Drugs, 2003
This article presents a comparative analysis of the treatment of the drug problem and drug policy issues in Finnish newspaper editorials across three periods, viz. 1966–1971, 1972–1985 and 1993–2000. The material for the first two periods was obtained through Alko Inc.'s library and information service, while the editorials published in the 1990s were drawn from the newspapers' own electronic archives. The analysis reveals three main shifts in the welfare state's drug policy rationality over the past 35 years. First, there has been a shift from the closed nation to a global world. During the first drug wave of the 1960s Finland was categorised as a separate, isolated corner beyond the reach of the world's trafficking routes, and the aim was to create a united national front in defence against the external enemy. In the 1990s, the enemy is both on the outside and in, and Finland is positioned as an integral part of global processes. Secondly, there is evidence of a tr...
1700-tal: Nordic Journal for Eighteenth-Century Studies
MAKING SENSE OF PERCEPTION AND POWER IN PARTICIPATORY PERFORMANCE. Horizons of Change and Politics of the Sensible in Lois Weaver’s What Tammy Needs to Know, Tellervo Kalleinen and Oliver Kochta-Kalleinen’s Complaints Choir, and Claudia Bosse’s dominant powers. was also tun?, 2020
This study discusses the transformative potential of contemporary participatory performance practice and the possibilities for locating and interrogating it through performance analysis that pays special attention to the dynamic of human perception. The writer suggests that the crucial ideological assumptions, power relations, as well as the processes of exclusion and inclusion of participatory projects, are not to be seen solely in their “goals” or “themes”, but, even more distinctly, in the modes of bodily participation that they employ. The study consists of a theoretical part and three case study analyses. In the theoretical part, the writer presents a novel analytical framework for addressing the ways in which artistic performances engage and affect their participants, and for understanding the culture-bound dynamic of perception, power, knowledge and the body both in participatory performance situations and in our everyday lives. This framework provides a detailed account of the material-performative human perceptual apparatus, a theme less explored in the field of theatre and performance studies. Drawing especially on the views of human perception, power, and experience of Jacques Rancière, Marcel Mauss, and Michel Foucault, the main concepts of this framework are “sensory fields”, “experience fields” and “body techniques”. As for the verbalization of experiences through performance analysis, the framework draws on Joe Kelleher’s and Alan Read’s notions of “theatre images”. Based on the analytical framework, the writer locates and interrogates “politics of the sensible” i.e. modes of participation; underlying assumptions regarding the participants and the efficacy of the chosen participatory strategy; potential inclusions and exclusions; and horizons of change in Lois Weaver’s What Tammy Needs to Know (2006) and What Tammy Needs to Know about Getting Old and Having Sex (2008), the Complaints Choirs of Helsinki (2006), Singapore (2008) and Vienna (2010 –) based on the Complaints Choir project concept by Tellervo Kalleinen and Oliver Kochta-Kalleinen, and dominant powers. was also tun? (2011) by Claudia Bosse and her group, theatercombinat. This study also shows how all of these projects embody features of post-Fordist work and how they relate to the ethos of de-alienation in participatory art practice. Besides locating productive transformatory potential and tendencies in all of these performances, this study brings about critical perspectives and notions that have not been addressed in previous research on Weaver’s, Kalleinens’ and Bosse’s projects. In Weaver’s performances, being introverted, shy or reluctant appeared as an “inhibition” that needed to be cured. Sexuality – and the belief that we can learn to enjoy it more through facilitated taboo-breaking speech – was conveyed as a given fact, which can be seen as othering shy and introvert spectator-participants, and spectator-participants in whose lives sex, and sexuality do not play a central role and who do not adhere to the therapeutic undertone of the performances. That said, Weaver’s performances challenged social myths and taboos around and about the elderly, sex problems and sex toys. The performances also highlighted identities as social and performative processes and may thus have affected the world-view of some participants and helped them to understand our own position in the processes of social passing. These performances also hinted at the possibility of coalitional feminist identity politics that emphasizes dialogue between individuals and groups with different identities to locate grounds for alliance-making and co-operation. Simultaneously, they can be seen as productive feminist and LGTBQ+ consciousness-raising and community-building events. The Kalleinens’ Complaints Choir relies strongly on the assumption of the therapeutic power of harmonic and affirmative group-based action; however, this study suggests that the project may risk a proto-totalitarian dynamic through performances built on spectacularity and a uniform mode of performance. Furthermore, while the project relies on a grounding open-access policy, its basis in choir singing – a skill and practice not familiar to everyone but adopted in formal and informal learning situations – and its references to demographic representation, have an exclusionary tendency. On the other hand, Complaints Choirs have political potential in that they give complaints audibility and visibility through attention-raising choral performances at public sites. The wide Internet presence of the project contains much potential for distribution; for devising new Complaints Choirs; for fighting censorship; and for linking people concerned about similar issues at a grassroots level, beyond the frames of national and local politics. As a concept, the Complaints Choir can also be seen as eschewing the problematic assumption about a pre-existing community with a shared set of interests to be activated and included in the project, prevalent in much community-based practice. In Claudia Bosse’s and theatercombinat’s dominant powers. was also tun?, the reliance on proactivity, navigating on one’s own on the performance site, and the decentral non-theatre location, give rise to an potentially exclusive ambience that limits its audience base to art aficionados. Moreover, while the performance de-stabilized and challenged glib classifications of “nation” and “democracy”, it problematically hinted at demographic representation at the level of video interviews and the naming of the volunteers’ choir that were part of the performance. This said, dominant powers. was also tun? may have affected the participants’ ways of viewing and interpreting news stories and, more broadly, media representations of revolutions as critical media consumers and art audiences. The performance can be seen as a novel form of critical immersive performance practice that employed immersive strategies without offering its participants any consumerist spectacle in which to immerse themselves. The writer suggests that the analytical framework presented in this study provides new insights into perception, power and the body in performance theory and analysis, and may also offer productive inputs for artist-researchers, curators and art educators in planning and reflecting on their projects, and for scholars in areas such as epistemology, semiotics, and political science. Doctoral Dissertation, University of Helsinki, 2020 ISBN 978-951-51-6418-6 (paperback) ISBN 978-951-51-6419-3 (PDF) Open access PDF also available at the HELDA Database/University of Helsinki: https://helda.helsinki.fi/handle/10138/320573?locale-attribute=en
In Situ Archaeologica
This article deals with eastern central Sweden and the late Neolithic transition from a coastal based hunter-gatherer society, to a society based more or less on agriculture. The article proposes a hypothesis based on an earlier study, suggesting that the period for the shift to agriculture is visible; for example, in the change in waste management systems on dwelling sites, during the period 2500-2300 BC. Furthermore, it is suggested that the late Neolithic transition and the time span for the late Neolithic period itself, at least in the studied area, perhaps starts somewhat earlier than it is considered today.
Religiös förändring: kristenheten i Sverige efter millenieskiftet., 2014
Biblische Notizen , 2016
Law and Social Inquiry, 2023
Anglia - Zeitschrift für englische Philologie, 2010
Kelten. Jaarboek Stichting A. G. van Hamel voor Keltische Studies., 2022
International Journal Article, 2018
Gümüşhane Üniversitesi İletişim Fakültesi Elektronik Dergisi/e-gifder, 2024
in Storie dell’arte. Studi in onore di Francesco Federico Mancini, a cura di Fabio Marcelli. Tomo II, 2020
Review of Mülke, Markus, Aristobulos in Alexandria. Jüdische Bibelexegese zwischen Griechen und Ägyptern unter Ptolemaios VI. Philometor (Untersuchungen z. antiken Literatur u. Geschichte (UaLG) ; Bd. 126; De Gruyter, 2018)
Wellcome Open Research, 2022
Iconarp International J. of Architecture and Planning, 2017
International Journal of Gynecological Pathology, 1991
Journal of Universal History Studies (JUHIS), 2024
Journal of Plant Nutrition, 1994
Annals of Medicine & Surgery, 2021
Mathematical Logic Quarterly, 2012
Integrative Medicine Research, 2016