Arche-scripture: a speculative archeological experiment (2022) Alberto Harres. An inspiring but very techy and grandiose artwork. Harres built an archive of human voices discussing the COVID pandemic in different mother tongues, then transcribet them into code which was drawn on clay and programmed a machine to read the code to piece together the fragile narratives. They provide a media-analysis of the human voice on their github page, defining it ”as an archive of itself” possessing the power to (sur)passthrough individual bodies: ”[voice as a message] manifests itselves in a multitude and sequence of bodies, connecting to one another”. He refers to the Archivist Manifesto (2013) Yuk Hui and summarizes it with bullet points.

– Our lives are mediated through Archives.
– We have become, in fact, interfaces of archives.
– These archives are on the hands of very specific corporations
– Opaque unnavigable archives in which we have no agency towards
– This lack of agency brings the question, to what discourse are the traces from our gestures been serve to?
– What will be the future history, future lives, of these digital objects of our memory? How long will they live for?

ANCESTROFUTURISM; Ancestralities and Technoshamanism (2017?) Fabiane M Borges & Maria Luiza (Malu) Fragoso. Also referred to by Harres. The article looks for intelligent but non-rational ways to confront the future. In my read the text is an attempt to produce inclusive spaces for collaboration by emphasizing intuition and spirituality as collaborative techniques. The authors also provide a critical analysis of postmodern capitalism, best exemplified in silicon valley moguls. They investigate: ”Hyperstition” a term combining hyper with superstition. I think this term is great for understanding why tech-business people are worshipped: They provide speculative narratives for our future (such as colonies in Mars and miraculous transpants) only to sell people products of the past (such as cars). The investments people make in companies operating hypersitiously, aid in bringing about the social and cultural change their directors desire.

Dark Scenes from Damaged Earth – The Gothic Anthropocene (2022) Justin D. Edwards, Rune Graulund, and Johan Höglund (editors) is a great collection of articles for combating the ideological rationale of the anthropocene and discovering shared non-rationalities to lean to. The Anthropocene by Jeffrey Andrew Weinstock and De-extinction […] by Michael Fuchs are great reads for forging tools to combat the pacifying and overwhelming impact of climate anxiety. Through them I could imagine anthropocene and climate change as literature genres which only represent a facet of the issues . This distance offered a glimpse to the ideological roots of the phenomenon and a path to read them in a more engaging manner. Horrors of the Horticultural […] by Lisa M. Vetere provides a recap on the prevailing techno-cultural landscape and the ideologies that birthed it and Overpopulation: The Human as Inhuman by Timothy Clark offers an anti-necropolitical(?) read of the overpopulation narrative by exposing a concerning hierarchical apparatus embedded in it. Goth is great and I now want to make horror-stories!


Take a pound of whight wex, and throwe therinne a quartroun of terbentyne […] Thanne loke thou have redy oz. 1 of vermyloun, smal grounde, al so smal as ony poudre

– BL Sloane 73, f. 173v

To produce sealing wax: 16 parts beeswax, 4 parts rosin [Jousihartsi] and 1 part colouring. Melt wax, add rosin, don’t boil. I plan to seal 12 flasks of springwaters I’ve collected over the years. Recipe via On Making Wax Seals (2016). An other source with more modern Sealing wax (1998).


Institutional critique has successfully problematized for whom are the spaces of art accessible and safe for and ultimately for whom is art. What is the class of people who enjoy stuff on display? Utilizing this approach to environmental matters and questionging what is nature, yields interesting result. For example: For whom is a spring for and is “drinking water” a desirable category?

Change is natural and as long as there is production, there will be new material. There are always new creatures which benefit from change and even participate in bringing it about. This approach is a branch of the ecosocialist concept of second nature by Bookchin (quoted below) which deems human activity natural by aligning it with other evolutionary processes. As an addition I insist that all manifestations of intellect (or rationales) are equal and maintain that animals form institutions (and that institutions are animals). A horse stable needs all intellects to become.

If one goes beyond that notion of nature as being more than just that which exists, we are talking about the biosphere. And when we talk about the biosphere we are talking about its evolution. Otherwise the word “nature” becomes so big, so promiscuous as it were, so “universal” as to become almost vacuous. It becomes the being that is nothing.

So we are talking, when we speak of a natural world, or when we speak of the biosphere, we’re talking about evolution. And it is always evolving.

When we no longer rank materials on the basis of how natural or man-made they are, it is revealed that human labour is the only constant which we can identify causing harm. Instead of evaluating the environmental impacts of what we define as “waste” (by analysing how materials we produce, such as plastics, change other than humans), we should approach labour itself as the waste. It extracts to sustain human values. All work is preservative, it seeks to halt change, to combats erosion. #ॐ

I now think that all environmental concerns are aesthetic: Nature will always find a way – But when they begin a process of adaptation, they change into something I cannot classify. The terror I feel facing climate change is revealed as a tremor at foundations of the ivory tower I’ve constructed: The position from where I’ve safely classified and framed my relations to others from.

Seems that non human life adapts to change and when it does it super exceeds my understanding of what is natural. It might be that survival is ugly. The (climate) change I’m involved with is a change in values, a change in what is deemed beauty. I can see desperation being normalized and crying emerging as art.

There is an odd bitter (or class-aware, which is which in this turmoil?) tone to the question “what is nature” and “for whom is nature”.  For example, there are currently numerous Safe the Baltic Sea -campaigns, with celebrity enforcements and support from business patrons. They want the people to keep the “sea clean”. When a business patron speaks of saving the sea… I’m left to ask for whom and what is sea.

I don’t have access to the sea they roam nor the clean they speak of. These are synthetized hyperobjects of sorts. The modesty etiquette these folk enforce, taints me like an oil spill. I’m not motivated by the cleanliness the patrons and their celebrity friends are calling – Particularly when their lifestyles and merchant ship are the root of the cause. Their campaigns are waste.

We can return to campaigns, after the fruits of all labour have been distributed fairly. I think this is a continuation of an Ore.e Ref. slogan from way back: “Let’s make de-growth fun!”


Met with almost all of the habitants of the Degermossa road, the route leading to the Kurängen spring. There was a sense of community and all the occupants had good things to say of their neighbours. Their biggest collective effort seems to be the road maintenance cooperative. An occupant whose grandparents had built the road with the aid of horses, still lives on the site. I spend a few night camping in the forest, habiting a hammock and exploring the area. There is a beautiful cold pond a kilometre north-east from the spring, traces of old paths and endless dark woods. I could hear the east passage cars all the time, so navigation was easy. The spring looks good, I spotted frogs again but the peat I planted last year as a part of my restoration efforts is dying. Only a fraction of it shows signs of life and I think I should remove the unsuccessful re-swampification plants to make room for new growth.

I travelled from door to door and interviewed almost 10 families who live on the road. One of the oldest occupants had lived in their house for 55 years, the youngest had moved in 2016 and new occupants were arriving next month. Some were third generation natives. Most told me that they enjoy the proximity of the woods and perhaps because the forest is literary their backyards, they put in effort to emphasize that there isn’t anything miraculous about it. They collect berries and mushrooms. Some had spotted deer, pug dogs, rare birds and their nests, snakes and rabbits. A few knew members of a local hunting group but none I interviewed took part in it. A few years ago a moose had been tracked north from the road. There are also rare cape frogs [viitasammakko] living in an artificial pond by the road. The pond is marked with a read V. It was made in the fifties by the fire department.

Some told about a bear sighting in 2017 after which they had been cautions of the woods. One confessed that they don’t dare visit the forest alone and that they never had gone past the swamp by themselves. There were rumours of wolves too.

To my surprise: None knew about the spring! One occupant had possibly heard a rumour of it but they had never visited the site or had any idea which direction it would be in. I invited them all to visit the spring with me in the framework of Nomadhouse late in September. As it will be a new site for them, it makes sense to invite the occupants there. I will now have to plan how non-Degermossa road audiences (or if) will join the performance.

I’m dreaming of organizing a camping excursion, perhaps inviting five audience members to spend the night with me in the forest. Cycling to the site from Mellunmäki takes one hour and the route is easy. One occupant, who didn’t know about the spring expressed a desire to keep it a secret so that tourists would not block the road. I think this would make sense and on an earlier visit Miina also expressed interest in keeping the site unknown! I should take visitors to the site blindfolded or intoxicated. I asked the habitats for permission to place the clay vessel I made into the spring, so that visitors could use it and everyone though it was a nice idea. Weird fun!

As none of the habitants, some of whom had family contacts with the forest spanning over a hundred years, had any prior knowledge of the spring… I wonder if the spring exists. Assessing the terrain, I’ve suspected that the spring has been the eye of the swamp before a nearby ditch, piercing the small glen, was dug. The spring might be a by-product of a forest industrialization attempt. If I read the terrain right it was dug to dry the forest and to better enable tree growth. The Sipoonkorpi wikipedia article explains that some parts of the forest have been cut to supply wood for the Suomenlinna fortification (by order of Nicholas II) but I suspect that the ditch has been made after 50ties.


Tuning my Patching Panda Operat (assembled last week) took some figuring. When the symmetry control was set perfectly in the middle and oscillation barely audible, the process failed. After failing numerously, I positioned the symmetry knob not-perfectly and sent a midi C1 from a daw via Keystep 32 CV out to the module. I send the audio back to the daw and read its tuner, turning the multiturn potentiometer (marked C1) until the tuner read 32.7Hz. I then sent C8 and turned the other potentiometer (marked C9) until the tuner read 4186Hz. I then sent C1 and C8 again, repeating the process 5-8 times until each C in between was in tune. I think C8 is the maximum for the Keystep. I could have executed the 9 Oct tuning between C0-C8 but the daw tuner couldn’t reach C0.

After tuning the EXP, TZ-FM, RM-AM etc. jacks ceased to work for a while and it took a reboot to get the module working.