Frenchie’s Gym owner Santos “Frenchie” Ramos has passed away on the 10th of June. He was a really nice person and I always felt welcomed to his place. I saw him mostly behind his desk greeting members and chatting with friends. Sometimes he would do easy leg workouts in the gym too. After learning that I’m a performance artist, he passed me a handwritten note which read “Carlos Colón vs. Hercules Ayala” and told me to search for it online. The search led me to a video of a wresting match where he served as the referee. He later asked me if I had watched it and after complementing him on the show, he shouted: “You see! Performance artists!!” and flexed. Once after skipping two weeks of training he greeted me with a shout: “What you!? Where have you been! You will never become a champion if you don’t train!”. His gym made me feel welcomed in NYC and I was a client for five months. When I told him I was returning back to Helsinki, Frenchie acted like he didn’t understand and asked me when I’d be back. I think he tough I was polish, which I didn’t mind. I have a membership card as a bookmark and I’ve attached a cap I bought from him to my hoody, so that it acts as a shoulder pad. I really loved the view from the gym, to the Broadway/Marcy Av station and the breaths of warm air the trains pushed trough the windows. I only have one photo from the district. More: Brooklyn tough guy ‘Frenchie’ Ramos dies at age 76, owner of old-school Williamsburg gym for more than four decades (2019) Mikey Light and Larry McShane.
A thorough and nice no input mixing tutorial by Sarah Belle Reid (2019).
Build a perf-board unit of the a Simple EQ / Baxandall EQ module (the Tilt channel is still in the making). The build was an ordeal. I did how ever learn that the reverse polarity protection of the circuit works well (it even saved an IC I popped in the wrong way) and that my noisy DC 5-24v to Dual Power 12v -12v 5v -5v 3.3v supply is robust. I attempted to plan the build using various board design tools (Fritzing worked best for me) but ended up just soldering components down following the schematic.
I added two switches to my build, which can be used to bypass the capacitors controlling the bass response (27nf) and/or the treble (1nf). Changing the 27pf didn’t have much effect. I added female pin headers which can be used to insert different capacitors in their place. My first water capacitor (using faux s.pellegrino) shows a value of ~35pf and it has an effect on the sound. Next I’ll build more water capacitors, which hopefully will have higher values for more distinct effects. I’ll also have to design a front panel, which can used to mount the bulky capacitors (The one I have has ~20ml of water in it).
During my tests I’ve discovered that the electrical resistance of sparkling mineral water drops slowly (as the water loses its bubbles). I believe that this property could be used as vca of sorts. I plant to make a simple signal divider, which uses sparkling mineral water as a conductor. This signal multiplier would be useful for one-shot slowly amplifying ramps (for example adding volume). Water and electronics is a beautiful combination.
Artdeed over artwork. #ॐ
Wrote applications for the Helsinki City Art Council (Police horse movie) and Alfred Kordelin foundation (Police horse movie and exhibition).
A US focused text but fun to read. I guess many of the arguments hold true across the globe: Gentrification Is a Feature, Not a Bug, of Capitalist Urban Planning (2019) Samuel Stein.
Capitalists have serious and specific demands of the state, without which they are unlikely to function in the long term, or even on a day-to-day basis. They want the state to make big, fixed-capital investments in infrastructures that enable their own profit-making. They also want government to ensure some degree of support for people’s social reproduction, in order to assure they have a living, breathing workforce to exploit in the first place. Without these investments — planned, paid for and coordinated by the state — they have little basis on which to operate.
[Gentrification] is surely an economic and social force, but it is also the product of the state — a planned process of channeled reinvestment and targeted displacement. […] Militant anti-gentrification movements can threaten real estate capital’s capacity to realize profits, and thus transform the housing crisis from one borne by tenants to one felt by landlords, developers, and investors. This is no easy task, but it is the one we face if we seek to unmake the real estate state.
An excerpt from Fully Automated Luxury Communism (2019) Aaron Bastani. Compared to the 2018 book “Täysin automatisoitu avaruushomoluksuskommunismi” [Fully Automated Space Gay Luxury Communism] by Pontus Purokuru this feels like an educative read. The Purokuru text felt more like the authors personal reasoning why they ought not to stress about not contributing to the present day development of the welfare state, then a manifesto for a communism to come (as it was proclaimed it to be).
While the average political commentator likes to cast Marx as an idealistic dreamer, the man himself repeatedly stated his distaste for describing what communism might actually look like – what he termed writing ‘recipes for the cook-shops of the future’.
He was certain about some features of the new society, however. One was that the arrival of communism would herald the end of any distinction between labour and leisure. More fundamentally, it would signal humanity’s exit from what he called the ‘realm of necessity’ and entrance into the ‘realm of freedom’.
[Marxs] view was that communism was only possible when our labour – how we mix our cognitive and physical efforts with the world – becomes a route to self-development rather than a means of survival. […] as information, labour, energy and resources become permanently cheaper – and work and the limits of the old world are left behind – it turns out we don’t just satisfy all of our needs, but dissolve any boundary between the useful and the beautiful. Communism is luxurious – or it isn’t communism.
Participated on my second Performing the Fringe walk/un-conference last weekend in Vilnius. The project is organized by curators Inga Lace & Jussi Koitela. On site we were also hosted by Ula Tornau from the Contemporary Art Centre (CAC). Hooked up with old friends I met in Stockholm (Andrej Polukord, Flo Kasearu, Jon Benjamin Tallerås) and I was introduced to new friends Lara Almarcegui and Michele Matyn. The visit was eventful and tightly scheduled. Upon arrival we gave short introductions to our work and sociologist Siarhei Liubimou presented his research. He had identified that soviet nuclear power-plant workers form tightly related groups and resemble an ethnicity. The workers are highly specialized and under the states protection. They can carry out their entire working careers in relation to different power-plants, live in semi-closed communities and their offspring often continue the work.
Liubimous talk on how people moving daily between European cities for work, can be understood as the core of the emerging pan-European population, offered an interesting framework for viewing how the temporary Performing the Fringe artist-network is organized: Our group was brought together trough synchronous movement, which was steered by abstract spatial targets (instead of articulated aims). Example. In Vilnius we attempted to reach a TV tower by foot and in the process the entire landscape we passed, merely facilitated our joined movement. Our movement made the city into an abstract surface, which I believe we read primarily in relation to our joined movement. Relationships in the group were informed by the landscape but not defined by it.
The next day Lina Albrikiene took us on an emotional walk in her childhood surroundings. Later she took us on a walk in Lazdynai, a district supposedly modeled after Tapiola (I made a video about their relationship 2012). Kipras Dubauskas took our group under the city, we walked a kilometer in old rainwater tunnels. Some parts of the tunnels were build using bricks and others were made from newer materials. It was a time-trip of sorts – The city felt like an organism. We visited Delta Mityba in the evening for the exhibition and eating. We were kindly hosted by Robertas Narkus who gave us a tour of the space and shared his experiences in combating gentrification. The next day Vitalij Cerviakov took us on a toxic-walk to the “most polluted” parts of the city. As we walked the landscape revealed itself like a narration. A notable vista opened when we approached new grave yards, which were situated between a barren wasteland and an Ikea, our movement felt like a movie. I think that the banks, national internet server facilities and parliaments are more toxic then the route we took. Our group talked non-stop during the trip (expect on the latter walk which was a silent) and we spend the nights visiting art events around the city.
Through Cerviakov’s toxic-walk, I arrived to the understanding that the contemporary art we saw in the city was trying to develop a narrative or some other reasoning, to explain the current state of affairs. Experiences of city habitats and creatives are not commonly known and people we met exhibited a strong desire to share their story or present how they had come to terms with the post-state of affairs. I could feel the weigh-of-the-west forcing people to articulate their desires (even though most desires are best left unarticulated, this does not mean unexposed). It felt like artists were defined by this forced-reasoning-process, either trough their protest against it or skills in aligning with it. Nostalgia that looks to a future, which failed to arrive is a viable form of protest: Some future communists want only wool shirts, yogurt and to share the faint heat of their shelters.
Watched Rocky VI (1986) by Aki Kaurismäki after the trip and understood better: Beating the referee and the audience is the only way to win and winning is nothing. I was very inspired by the event and I’ve scribbling notes frantically since my return. The project will continue 2020.
Performed at Lal Lal Lal: Neptunalia 2019 at Tenho two weeks ago. Got on stage with Regular Dog, Pauliina Haasjoki, Reijo Pami, Sara Milazzo, Arttu Partinen & DJ Paukku. I presented a mineral water lecture which I brightened up using live fizzy water sounds (used an amp I build earlier). Ended my talk by preparing a batch of faux s.pellegrino using chalkstone from an ammonite fossil (talk notes in Finnish). My talk resonated particularly well with Haasjokis geological-poetry. Pami used a bucked of water as a sequencer, Partinen played moody ambient using cassettes, Milazzo had an array of tech on stage which she used to probe the dynamics of space and deep water exploration. Regular Dog was cute – Bought their cassette.