It seems that my doctoral research project will somewhen come to a provisional end in the form of this exposition. This expositional work will be one possibility to stabilize and render the process that will continue in my artistic works after these five-year academic sheltering. It has been puzzling, sometimes abyssal, always challenging, but above all joyful and energy-and-hope-giving exploratory move, quite often deeply lonely, but undoubtedly within a flow of vivid contributions, inspirations, critical and post-critical polyphonic and multicomponential support coming from various sources, fields, and directions. All of which have helped not only to keep pace mentally but above all to ground and develop the comprehension of the artistic practice within the understanding of a broader ecosystemic context, and stimulating imaginaries on stage reacclimatizations and scenic transitions in the context of an accelerated mutation of the sociosphere, the technosphere, and the biosphere. Hence I would like to thank all those who have helped me carry out this research project.

First and foremost, I would like to thank all the not-human ones who participated, often in leading roles, in all the scenes compiled in this exposition. Thank you so much Baltic storms and Japanese blossoms, rains, snows, hails, electronic circuits and camera lenses, suns, clouds, waves, herbs, pollen (well...), birches, rabbits, mosquitoes, crows, one hare, one smartphone, wooden stages and metal stands, and the fire lit at the end of The Theatre Season. Also, thank you to all the plastics, plexiglass, sponges, wires, adhesive tapes, inflatable balloons, micas and other powders, straws, foams, glues and gels, and other petroleum derivatives which contributed to the almost-reifying of the 161 prototypes of weSANK project. Thank you warmly Basque Atlantic tides, Lapland fjells, Japanese gardens, and Californian cliffs; thank you video projectors, printing inks, stage backdrops and props, and a few obsolete Shakespearian costumes. And finally thank you algorithms, data fluxes and flows, image alteration software, one desktop and two laptops (one burnt out during the journey), electricity and internet wifis. Thank all of you and the manifold ones that I forget, even do not know, for having emancipated yourself from your considered-as-peripheric environmental qualities to trigger, compose, and perform this work so beautifully.

I would then like to express my gratitude to all those, more human-like, who helped me to produce these "scènes", technically and materially: thank you Heli Litmanen for the impressive work on the realization of the replica of the small theater of The Theatre Season, and for having helped me, on numerous occasions, resolve technical dead-ends; your help, accompanied by a good spirit, a few oxygenating morning greetings in Spanish, was during these five years, often very early at the Theater Academy, when it was still sparsely populated, invaluable. Thank you Heli Hyytiä for leaving the door open for the prop workshop, for letting me make “things” and for all the precious advice, with this disarming sweetness which is yours, for optimizing these crafts. Thank you Kati Mantere and the costume department team for facilitating all costume borrowing with confidence and sympathy. A special thanks go also to Marja Zilcher for the superb metalwork realized for the installations The Theatre Season and Backdrop (Venice). Finally, I wish to thank OPTE/TEPA team members Jyri Pulkkinen, Pekka Anttonen, Jyrki Oksaharju, Vesa Rämä, Kaj Wager, Heikki Laakso, Hanna Käyhkö, Tarja Hägg, and Janne Björklöf, for the consistent help for the productions, and sometimes outside of those, in a more improvised way, your listening and generosity make this institution a privileged place to carry out such technical work. Here I would also like to thank, since I am thinking of those who have facilitated the making of the works in concrete terms, Milton Laufer for offering your coding skills and tools, Ville Sarma and the Helsinki Design Museum for the loan of the Reacclimatizations acrylic box, Ana-Carina Paulino and Tiago Coelho for finding for me the best greenhouse PVC in a secret place in Alentejo, and Jonas Outakoski for great sound design on the Solastalgic Prologue.

Now it is with gratitude that I acknowledge the great support and help of my two supervisors. Thank you Esa Kirkkopelto for having warmly started the project with me, and this in a double fruitful way: directly, by already engaging in the very first months of the research process through lively conversations and profound inaugural questions, and also, indirectly, upstream of the doctorate, when I read your fantastic thesis which helped me to articulate my questions for the doctoral selection process by taking off from what you call “the obvious understanding of the stage”, opening up exciting affordances for conceptual reformulation. Thank you for the cheers, the advice and also the shared uncertainties, and for the trust and fair hospitality you showed when stepping into the trouble waters of doubts, sometimes with intense, always respectful, disagreements. Thank you very much for these first important years of the research process during which you have tirelessly asked this very annoying yet fundamental and unavoidable question: “How is this a stage?”. And, since our meetings were most often held in French (in which stage means at the same time stage and scene, which complexifies even more the landscape), in a context where I did not have much opportunity to express myself and the research in my own language - this felt really meaningful because I could open a field of surprises, nuances, and potentialities from the space of translation - merci Esa pour la confiance maintenue malgré nos différ-e/a-nces.

Thank you Mika Elo for the consistent availability, the careful listening and the hypergenerous criticality that you gave to the process during the last three years, and right up until the final stages. The discussions we have had about the project within the complex relationships between art and artistic research each time generated strength and joy, setting a fertile ground for the continuation of the process. This supervisory relationship was wonderfully nourished by the hypercalorific three-year seminar that you facilitated with Miika Luoto (I take this opportunity to thank Miika here too), during which, by addressing again and again the question of writing, sense-making, aesthetic thinking, you have continuously put intellectual and imaginative fuel into the desire for new forms and formats of research within a keen sense of experimentality. Thank you for sharing the dear question of what artistic research is, a question which is too often, in my opinion, eluded, and replaced by the other, more pragmatic question of what does it do. Thanks for not avoiding the hardcore ontologies. So, not only for the quality of your feedback and critical openings, but also for your kindness and the hierarchy-free and insightful collegial dialogue, your input in the process have been invaluable.

Wesank! (we did not!). To the 28 wesankers, artists, architects, researchers, who in Tokyo, Paris, Barcelona, Daegu and Helsinki have prototyped with curiosity, trust, instinct, affects, sophisticated thoughts, humor, grounded common sense, poetic touch, constructive criticism and high enthusiasm, thank you! Thank you Simo Kellokumpu, Josselin Vamour, Yusuke Kamata, Guillaume Aubry, Carolina E. Santo, Anne -Valérie Gasc, Emmanuel Guez, Laura Gozlan, Icinori, Sébastien Martinez Barat & Benjamin Lafore, Aurélie Pétrel, Florian Sumi, Aurélien Vernant, Outi Condit, Henna-Riikka Halonen, Edvine Larssen, Maiju Loukola, Tuomo Rainio, Aida Salán Sierra, Begüm Erciyas, Lys Villalba, Cris Argüelles, Edouard Cabay, Mireia c. Saladrigues, Marc Salicrú Julià, Ignacio De Antonio, Rumen Rachev and Woojin Kim: that was so interesting, and so fun! And, because this project would not have been possible without you, I owe you my deepest, as deep as a stage be, gratitude, Emmanuelle Chiappone-Piriou, who have been, an extraordinary partner in crime, both in conceptual conduct and through a consistent trustful, careful and warm working relationship, not only during the two years of this project during which we co-directed weSANK project, but also from the upstream discussions that enlightened me on bizarre experimental architecture to downstream to the achieved project, invigorating friendship and ongoing connivance in the sharing and fueling of our respective research processes. For the indefatigable joy, the sense of humor, the dance steps and a few lipsynching-for-our-lives during the exhausting days of gloomy Finnish autumn when locked together in a bunker with rare and dry air, we held on with the reconstruction-chain of the hundred and sixty-one zoizoi-prototypes of the project, grazie mille, amica mia. To be continued.

Thank you Hanna Ahti for the beautiful visits, filled with a soft and trustful sense of collaboration, Tanja Kiiveri for the enthusiastic invitation on the island, and Chloé Grondeau for the other warm invitation on the other island, "au loin".

A special thought goes also to my friends and partners of the theater "before", there and when it all started to deviate, thank you for the support, the trust and for participating in the vital impetus of the first stages. Thank you Muriel Coadou, Gilles Chabrier, Denis Lejeune, Valérie Larroque, and thank you Nathalie Ortega for having accompanied me, back then, having my back for the first insecure directing steps.

And I can not evoke these early theatre works without having a warm thought for Catherine Marion who gave so much love, support, and shelter during all those years, from the beginning until now. Thank you my dear dear.

Performing Arts Research Centre (Tutke) and Theatre Academy, I am warmly and truly grateful for all the help and input I have received from you. Thank you, Leena Rouhiainen, Esa Kirkkopelto, Tuija Kokkonen, Hanna Järvinen, Annika Fredriksson, Elina Raitasalo, Annette Arlander, Pilvi Porkola, Kirsi Heimonen, Laura Viertola, Siiri-Maija Heino, Kirsi Rinne, Susann Vainisalo, Hanna Westerlund, Stefano de Luca, Kirsi Munck, Laura Gröndahl and Riitta Pasanen-Willberg, all of whom have been warmly and bravely leading, convening seminars, planning, realizing and facilitating Tutke’s challenging platform these last five years we worked together and for helping me so generously and consistently with all the phases, needs and specifics of my research project. Kiitos Tutke, you are a fantastic research station! Other collegiate support and inspiration, in addition to the above-mentioned Tutke research professors-team, for which I am grateful, comes from Michael Schwab, Miika Luoto, Anita Seppä, Lea Kantonen, Teija Löytönen, and all the guests who facilitated and gave presentations during excellent seminars and courses, thank you all.

Thank you Dean Maarit Ruikka and all Theatre Academy administration staff, with a special winking to Milja Nevalainen, Nina Numminen, Raija Vuorio and Maria Kaihovirta for solving production and social security issues. Also thank you professors Ray Langenbach, Otso Huopaniemi, Anders Carlsson, Kira O'Reilly, Tero Nauha, Kirsi Monni who gave precious cheering attention to the research project. And thumb up to the Theatre Academy library enthusiast and dedicated staff, kiitos! The work and dedication of all of you in this institution make Theatre Academy a very special, functional, privileged and serene place to conduct doctoral research. I also wish to thank here the fabulous students with whom I have had a chance to discuss my research process, and to implement a few prototypes, especially MA program in Ecology and Contemporary Performance students, and all the participants to my workshop "Towards Hyperdramatic Theatre".

Thank you as well, Fine Art Academy’s doctoral program. It has been crucial to blend studies and practices beyond disciplinary borders. Thank you, University of the Arts Research Pavilion in Venice for inviting me in the second edition of a great and challenging project to bring artistic research in the context of the biennial. Thank you Jan Kaila, Anita Seppä, Henk Slager, Seppo Salminen, Sami Kustila and all the artists of the group show You Gotta Say Yes to another Access.

Thank you also, organizers and co-participants of the Summer Academy for Artistic Research in Tromsø, that was an unforgettable kick-up momentum for the research and a great opportunity to connect with colleagues in other Nordic platforms (a special cuddle here from the beaver to Granny). Thank you Sher Doruff, John-Paul Zaccarini, Lindsay Seers and Dorita Hannah for the inspiring one-to-one discussions.

Gracies Institut del teatre de Barcelona and El Museu de les Arts Escèniques (MAE) i Centre de Documentació for hosting the research during an unforgettable spring in Catalunya among scenographic treasures! Thank you Anna Solanilla, Carme Carreño, Teresa González Borrajo, Gemma Sabatés de Hita, Silvia Ferrando, all the students who participated in the workshops « Vers un teatre hiperdramàtic », and you the-lady-by-the-counter-at-the-cafeteria-whom-I-am-sorry-I-don't-know-the-name who called me every day mi amor or cariño handling me amazing comforting food that felt so homely.

Thank you merci Montreal! Merci François Cooren for inviting me to present the research at the Université de Montréal, thank you Erin Manning, Brian Massumi and Senselab for inviting to share the project and for “distributing the insensible” together. Merci Fonderie Darling, et merci Claire Moeder for inviting the tempest in Quartier Général on CIBL radio one night of heavy snowstorms on the québécoise city.

Arigato Japan! Thank you Yuko Suzuki, Tokyo Arts and Space team and co-residents, Charlotte Fouchet-Ishii, Villa Kujoyama team and co-residents, Tove Bjoerk for a great eyes-opening talk on Japanese traditional theatre, and Tomoyo for the each time unforgettable suspended time at La Jetée. また合いましょう!

Merci Paris! To Johanna Råman and the Institut Finlandais in Paris team, a warm thank you for hosting Q̶͈̬̿͝l̴̛̬̝̒o̵̰̍̔ǘ̴̼ḓ̷̟̓̅s̷̻̦̆Q̸̠̿͒u̷͓͚͊̽A̸̛̘͝r̷̖͈̀͝ṭ̶̏͘z̶̩̩͛ 's Very First Sensorium of Artistic Research and thank you all sensorium generous contributors: Eija-Liisa Ahtila, Guillaume Aubry, Marcelline Delbecq, Anne-Valérie Gasc, Karolina Kucia, Edvine Larssen, Marie-Luce Nadal, Laura Porter, Leena Rouhiainen and Mireia c. Saladrigues for such an inspiring moment. Also in Paris and Lyon for showing curiosity and support during the process, merci Valeria Cetraro, Léa Bismuth, Audrey Illouz, Laura Gozlan, Ann Stouvenel, Camille Louis, Julie Sermon, Julie Noirot, and thank you Madeleine Mathé for a lovely morning discussion in Clamart.

To the editorial team of Ruukku journal #12 “on peripheries”, Mari Mäkiranta, Eija Timonen, Maiju Loukola, thank you, that was a very giving dialogue! To the artistic research cluster at Orpheus Instituut in Ghent, and especially to Paulo de Assis and Lucia d'Errico for their invitation to facilitate an inspiring study day on scenic mutations, thank you! To The Contemporary Condition research group at Aarhus University for inviting me at the conference The Contemporary Contemporary: Representations and Experiences of Contemporaneity in and through Contemporary Arts Practice at ARoS Aarhus Art Museum, thank you! This academic episode in the middle of the research process was significant and helped a lot to crystallize thoughts midway.

I would like to thank my external examiners, Ellen J. Røed and Carl Lavery, for delivering for the project as critical dialogue partners/jurors such generous, insightful, demanding reports after the two artistic parts and in the frame of the pre-examination. Your always delicate and very constructive feedback has taken me further, and from those accurate and opening comments, I have been able to clarify the operative concepts of and for the research. Thank you both very much.

It is impossible to think of doing this kind of research without collegiate support. Thank you, doctoral candidates-colleagues Outi Condit, Stacey Sacks, Suopo (Jari) Kauppinen, Tuija Kokkonen, Otso Huopaniemi, Henna-Riikka Halonen, Mireia c. Saladrigues, Eija-Liisa Ahtila, Joa Hug, André Alves, Lisa Torell, Edvine Larssen, Saara Hannula, Tuuja Jänicke, Jana Unmüssig, Karolina Kucia, Tuomas Laitinen, Stephanie Misa, Katt Hernandez, Anne Juren, Alex Nowitz, Katja Lautamatti, Katariina Numminen, Lynda Gaudreau, Matthew Cowan, Ilya Orlov, Erick Beltran, Tülay Schakir, Jaakko Ruuska for seminar collaborations, for your curiosity and feedback. Thank you, every Tutke, Kuva and Sibelius doctoral candidate with whom I have had a chance to discuss and learn from.

Thank you Tero Heikkinen for the great support when it comes to the Research Catalogue technicalities. Thank you Rebecca Fisher for proofing my Frenglish and turn it into acceptable English, and also for giving helpful feedback on the writing. Thank you also Anna Heaton for proofing during a Finnish archipelago shared summertime in residency the subtitles of The Theatre Season film.

Thanks to art venues, conferences hosting institutions and residencies! Tokyo Arts and Space, O Espaço do Tempo residency, Cité International des Arts residency, Performing Studies International, University of the Arts Stockholm, SAR conferences, C.A.R.P.A, Ars Bio Arctica residency, AARK residency, Noormarkku residency, Vartiosaari Arthouse and Escape residency, Baltic Circle Festival, Villa Kujoyama, Mains d’Oeuvres, Diagonale, Théâtre de l'Elysée, Vapaan Taiteen Tila, Kiyozumi Tea ceremony Pavilion, Théâtre de la Croix-Rousse, Night of the Museums Barcelona, Etlab Helsinki, Grand Café Saint-Nazaire, Galerie Valeria Cetraro, Jardin Shakespeare, Doxart, Résonance Biennale de Lyon X, Radio CIBL et Quartier Général-Jordan Dupuis, Kiasma Museum, Chicago World's Columbian Exposition 1893, Théâtre de Venissieux, Comédie de Saint-Etienne, Centro Recoleta Buenos Aires thank you all for inviting me to develop and share my work as installations, workshops, presentations, performances, writings, and/or talks.

Thank you funding bodies! The research project would have been impossible to realize without your generous support. Thank you KONE foundation for the amazing, research-saver four-year grant, CIMO Fellowships programme for a start-up grant, TTOR and Tutke for enabling the production of the two artistic parts. 

Thank you the audience, to each one of you who took time to experience the works, the presentations everywhere, everywhen.

There would be no doctoral research without emotional, affective, let-your-hair-down resources and saveguard. You are the ones, my dear friends, who granted gracefully this, dear Sophie, Laurent, Franck, Birta, Margrét-Sara, Dirk and Christopher, Yukako, Amélie, Nagi, Sari, Niina, Maria and Neil, Ana, Horacio, Milton, Josselin, Françoise... merci, obrigado, gracias, arigato, thank you with a big sparkle heart emoji.

I would like to thank my family, my grandmothers, my parents and aunt, and especially I would like to thank you Philippe, Amandine, Marius, Jules and Marcel, for being an amazing team, supporting me with so much tenderness and laughter all the way. Philippe, my dear brother, I eventually found here up north the research experimental zone that we have been idealizing together during the last two decades of our continuous and vivid dialogue about the differences between science and art processes and research temporalities. Dialogue to be continued on another road trip to Berlin or Lisboa, after a swim at the Petit Travers or, and, during a flamboyant sunset at the perspective Côte des basques, in front of the ocean, back home.

Aurélie Pétrel, for the past eight years of amazing collaboration as a duo, including these last five years of this doctoral project, a loud thank you for the permanent support and joy, for the demanding artistic dialogue around a free, surprising, sometimes wild, always playful, encounter between our respective deviant practices. Thank you for training me in how to fix gracefully things at the last minute, for broadening the horizon of the playground, for the shared Kyoto soba in Studio 3, for combining, through anchoring trust deeper and deeper, profound friendship and pro matters. Thank you dude.

Outi Condit, oh oh O! Thank you for sharing with passions, arabesques, screams, magics, loves and hates for artistic research, the every-day-process these last five years. You research edgy alter ego-ega, you the ideal colleague I wish everyone to find by their side for doing this, you and the many in, I thank you all for the unending and unended and unendable discussions, the enthousiastix, the hypercrtitix (it’s love as we know), the schizophrenix, the qwirix, the theatrix and the (other) academix. You are a mazing Cassandra, Maleficent, the other-remote-me, Hamlet-still-to-come, THE ACTRESS, a deep bow to youz.

And Simo Kellokumpu, for partnering and filling with joys the shared dream of the green night of dazzled snows, and especially for that long icy night in early-April of the first year of this research project, when, in the middle of a frozen lake, up north in Lapland, we saw together the green dragon rising above the Saana fjell... ►