Yes, it gets dark early: the sun sets at 4.30pm. It would be 5.30pm except last week saw the end of Daylight Saving time. Darktime depression, here it comes... No, I don't get it (although many do, apparently). And it's not quite as dark as this in Helsinki. The picture was taken in Suomenlinna where the lighting is not so glaring and blaring. All the firepower that's put into streetlights (not to mention neon signs and everything)... mustn't let the bogeyman in from the dark!
I would like to think that I'm not afraid of the dark, and logically I'm not. I know that usually (in Helsinki at least) there are no people with evil intentions behind every tree, hiding in the dark. There are no bogeymen, monsters or ghosts. And yet... If I had to walk a longer, unlit stretch, I'd rather not linger. It's just... well, it's just so dark. I wonder if there is anyone in the glaringly lit cities - it's never really dark in the city - who feels truly comfortable in the dark? Were people before the invention of electric light more comfortable with the dark, I wonder? Are the native people in, say, the Amazon region comfortable with the dark? What I'm getting at: did all the technological advancement that pushed back the darkness with bright, bright lights bring the fear of the dark? Or is it some kind of an innate, primal fear that is perhaps biological, as humans do not have a sharp sense of smell or hearing or cat's whiskers to easily navigate in the dark without the help of eyes?
Anyway, it doesn't get any darker than in November, before the snow comes. So far I'm enjoying the new photographic opportunities that the dark (again) brings, but I'm sure I'll be hoping for the snow to come soon.
Quite active I've been: got back to swimming (or rather water running which I prefer); enjoying experimenting with the camera (sort of deconstructive gimmickry). I was going to not do anything work-wise for a while, since I sent off that article recently. But I already got an idea for a new article, so what can I do?
Some supremely enjoyable art experiences too lately.
The museum of contemporary art now has the exhibition of the candidates for the annual Ars Fennica award, and some of the works stunned me. I was particularly blown away by the video/programming work of the Scottish-born, Finland-based artist
Charles Sandison, called "Words as the image of the world".
This picture from an earlier exhibition gives an idea of it: a room with a mirror floor, with innumerable words (I read that it's the whole of the 1911 Encyclopedia Britannica) flowing in changing streams and formations on the ceiling and the walls, reflected in the floor. It felt like all of the nearly six billion people on this planet had been brought together in one space, all the chaos, all the languages, all the cultures. The immensity of it was almost overwhelming.
Calmer, but equally beautiful: Beethoven's piano sonata no. 3 in C: sparkling, translucent pearls of joy on the piano keys.