naiset ja taide

PÖLYPUSSEJA PLUS PLUS, JA TULOSTUSMUSTETTA, JA HETEROITA JA VANHEMMUUDEN AVAIMET JA PAREMPI ON, KUN ITSE VAAN SELVIYDYT, ÄLÄKÄ APUJA KYSELE, SE ON HÄPEÄ, ETTEI YKSIN MAAILMASSA PÄRJÄÄ. HUKU HÄPEÄÄSI!

| Henna Timanttimetsä

En mä, tiedä kannattaako sitä luonnollisuudella ja biologialla ja historialla mitään paljon selitellä, että olemme sellaisia, koska joku on niin säätänyt, eikä säädetystä poiketa. Vanhemmuudesta vielä, se on vaikea juttu, todella. Sitä ei kovin moni hetero osaa. En tiedä, voiko heteroille antaa vanhemmuuden avaimia lainkaan. Jos sukupuolinen suuntautuminen määrää millainen vanhempi on, niin ja millainen lapsesta tulee, mitä voimme päätellä heteroiden vanhemmuutta harjoittavassa maailmassa lopputuloksesta. Hyvässä vanhemmuudessa ei ole kyse rahasta, niinkuin moni luulee. Tai että ei halua kuulla huonoista jutuista lapsensa elämässä. Jos ei ole ketään kelle kertoa elämänsä paskasta, niin se on melko paska tilanne. Heterot vois ryhdistäytyä, ennen kuin on liian myöhäistä. Jos rakastaminen ja välittäminen eivät riitä, eivätkä kiinnosta, millainen elämä ja kokemusmaailma, saati ihmiskuva siitä syntyy. Tai ei ole käsitystä mitä nämä asiat ovat, kuinka niitä toteutetaan ja miksi niitä pitäisi olla koko ajan harjoittamassa. Miehen ja naisen mallit, joilla heterovanhemmuutta puolustetaan, ovat toissijaisia asioita noiden kahden rinnalla. Vakavaa, joo.

Fu-tourist

| Henna Timanttimetsä

Future of Change. I wish and work for change, to change, for a change, give me some change, change a tune for a change, change clothes, change the way you walk, change the way you live. I think about it so much it has become a mantra and I begin to play with the thought of change, the word, what it means to me, what it means to anybody. Is it difficult, because for me it is a necessity and a self-evident part of life. As I see it people are afraid of changes, especially those which demand us to give up something. Changes may have an ominous tone in them, a silent doom. Change is absolute, good and bad, profitable. There is a thought of profit in the word. To change there must be something to gain, there must be an end and a thought of a new beginning. Also economically it can be wise to learn to give instead of taking.

But in the light of everything

what happens now in the world, it looks like things do change rabidly one way or the another. To demand world to change for better is a cry. Is it too common a phrase to be taken seriously? What kind of attitudes there are in general towards changing habits, attitudes, altering ways of knowing, looking, needing, wanting and doing? It is requiring substantial volume to make dramatic changes happen, a lot of energy, focusing and learning. I say dramatic because changes to make our ways of living sustainable and wiser need a total turnover. That means a lot of work. Not looking for easy ways out, there aren’t any.

How to be a unicorn.

| Henna Timanttimetsä

Dear tourists, you who escape and fly to beautiful resorts and wish to enjoy fantastic exotic natural clean environment, warmth and relaxed atmosphere to do things you do not do at home, experience and see something extraordinary for this extraordinary be part of you. What is fun is a very personal feeling, a choice, a preference, interest, way to experience, a matter of what kinds of things turn us on and give us joy, pleasure and make us feel alive, what we want to show of ourselves and be like. To go far away is to feel alive and become experienced, cultured, having had the luxury, being privileged enough to have had the time and money to travel. Idea of travelling is important, choosing where one wants to go and why, as leaving is refreshing, renewing. It is part of the enjoyment of travelling that responsibilities are left behind. While travelling one can use something and discard it, there are people who clean it after you.

My proposal is to renew the idea of the everyday tourist. Consider the amount of waste you produce. Consider how you travel and where. Clean the beach before you sunbathe. Reconsider the idea of fun and experiencing. Think what is your purpose as a traveller, what is that place you go to, purpose of travelling for you, purpose of you to that place, taking the time to go as a person who can. What kinds of things you pay attention to and why?

Freedom, it is our freedom, form of freedom defining shape.

| Henna Timanttimetsä

Does travelling broaden the mind? The Monday question.
If it does not do the trick, then what is needed to make the impact in the mission of expanding the human mind?

How come your world is a square although you have travelled so much? Let me know, I’m anxious to learn more. I’m asking because square and rectangular seem to be the most used geometrical forms of expression.

Kiddy kiddy, kiddy kiddy.

| Henna Timanttimetsä

I’m a slave 4 u./Climax cave

| Henna Timanttimetsä

uhh baby yes harder   (is this a woman?).
Give it to me baby nice and slow   (is this a woman too?).
Yes harder, but be nice and slow.
That requires talent to do hard and be nice simultaneously. Niceness is of course the outcome of sex, self-evidently pleasurable. To be hard and nice is a lovely contradiction and combination what comes to having sex. It is like bringing up children, be firm but loving. Know what you are doing and what is wanted of you. Funny is how these pornographic clichés work. They must work because they are used quite much. Horny is a state of mind of the contemporary world.
Level of arousal and intoxication of upcoming orgasm is a state of overwhelming simplicity of sudden feel good.

Niceness and slowness, coming. What a disgusting image of drooling. Self-centered pleasure hunt. Where there is a cunt. Give it to me. What do I get in return? Is it a give and take? Sexist power play where there is something for oneself only. Good time for me, only, but you must get something out of it too. Yea, sure I want exactly the same thing as you, and I want to give everything to you, because we are the same mind, we want the same pleasure. In mutual understanding I provide your ecstasy.

Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person? Who is this person?

Working class experience

| Henna Timanttimetsä

Rose

I was given a rose at the cash register at a grocery store. The flower didn’t have a smell. I thought it was odd, a rose with no smell. I took carefully off its thirty petals which I counted. Carefully placing them on a paper sheet and let wind take them. It was strikingly sunny.

This is the progress.

| Henna Timanttimetsä

This is the progress we are making. What is the progress, like where, on level of thought or action? I have got my hand on my fucking heart.

This is the progress we are making. What is the progress, like where, on level of thought or action? I have got my hand on my fucking heart.

You mean fuck!? Who do you fuck with, who fucks with you, are you fucking with me, don’t fuck with me, go fuck yourself. Ok, to the subject. There was a headline: When female sex robots become available will there be use for women? Do you understand what you are talking about or do you just move your lips to make conversation?

image 2016-17, Wearing my garbage, shot using flashlight only.

TODELLISUUS

| Henna Timanttimetsä

Televisio versus muisti, historia, ihmisiä kuten, televisuaalinen muisti, television ja muistin lähde, virta ohjelmistosuunnittelun ja tv-kokemuksen muotona, suuruus television ominaispiirteenä, postmoderni pinnallisuus, amnesia kulttuuriin, epidemia, miltä muistaminen tuntuu, mutta kun hän ei katso minuun, lyhytkestoisen sisällön tuottaminen nettiin, virtamaisuus, ohikiitävyys, passiivinen muisti-instituutio, mieleenjäävät tv-hetket katoavat, kenen mieleen ne jäävät jos ne katoavat, netti on ihmiskunnan muisti, tunto, kosketuspinta, sisältö, sosiaali-areena ja näyttämö, matalanteknologian ja korkeanteknologian laitteisto, todellisuuden paluu televisioon, reality-trend, reality-celebrities, reality, nöyryytyskulttuuri, nopea sykli, sylki, huijaus, näytteleminen, esilläoleminen, esitys, uusintaminen, uusinta, toisto, kierrätys, toisto, haukotus, missä menevät median rajat, mitä ei saa tehdä, kuka katsoo, näyttää mitä, jättää pois, rajata, lähinäkö, kaukonäkö, ikänäkö, likinäkö, huono näkö, kikkailujournalismi, sensaatio-uutisointi, liveness, utopiatodellisuus, läsnäolevuuden tuntu, välittömyyden tuntu, yhteys yleisöön, mitä tapahtuu juuri nyt, hetkellisyys, monimediastrategia markkinoinnissa, lähde osana mediasysteemiä, kuinka ohjelma tehdään, ei pelkästään teknologinen ja taloudellinen käytäntö, analysoi intermediallisia suhteita jonkin sinua kiinnostavan tietyn mediumin ja siihen liittyvän sisällön kautta, millaisia konteksteja intermediallisuus avaa aiheeseen, miten hahmottaa aiheen kannalta oleellisia konteksteja, viralliset yhteistyökumppanit, mitä tapahtuu medioiden välissä, kuinka valinta tapahtuu, horisontaalinen ja vertikaalinen intertekstuaalisuus, brändi ja formaatti, kuinka mediat käyttävät valtaa suhteessa toisiinsa entä yleisöönsä, crossmedia, laitekehitys, mikä kehittyy, kuinka yleisö oppii, mitä se katsoo, miksi se katsoo, huomaa, seuraa, kiinnostuu, omistaminen, laitteen, lähettimen, formaatin, mediatapahtuman rakentuminen tuotannon ja kulutuksen kannalta, konsernisuhteet, rituaalinen mediatapahtuma, todellisuuslupaus, vertaismelodraama, genre rakennetaan kulttuurissa uudelleen, dokumentaarisuus, genrehybridi, tosi-tv-leima, kaikki maailman tieto, tietosaaste.