Dyslexia is the biological equivalent of poststructuralist thinking – It is proof that nature can be creative. Dyslexia is an asset when you want to read a text or phenomenon rhizomatically.

  • Dicktator and Tractor can read the same. They are grouped together by their length, the height of letters and the timbre of the words.
  • Bourgeois can be spelled in pretty much any way (Examples: Bouswar, Bourwarg, Bosourward, Bourghraigh). The spelling process ends when the computer proofreading program quits nagging.
  • Relationships to technologies are not limited by a proper (humanistic) reading or predeterminations on how the technology should work. Relationships to technologies are personal.
  • The names and numbers of months don’t connect. ToDo -lists replace chronology, everything is ad hoc.
  • Anything that opens a lock is a key.
  • Similar structures and relations within networks can be identified without allowing binary/etc. categorizations to hinder the reading. Instead of focusing on words (nodes), a dyslexic reader focuses on context (relations). This enables them to spot similarities in categorically different fields of knowledge.
  • You are constantly reminded of the oppression of the status quo. Any utterance can be called to question by bystanders, various proofreading technologies and design.
  • Every time you feel you are understood by someone, you fall in love with them. Because relations are more important than words, meaningful relationships with the non-human world emerge unannounced.
  • When you manage to read something and to understand it you change as a human being.
  • Names are irrelevant, familiar faces and tools are recognized. Signifiers constantly re-emerge, introductions are made by announcing relations (Let me introduce you to a great colleague, whom I met in… , Try to pry it open with that shiny metal thing…)
  • Each reading changes the content of the text. There is constant doubt of categories and reasoning which is validated by logic. The font and screen resolution change the message.
  • Writing is fluid because it is speaking through text. Writing is an act. Every word is a prosthetic.


Midsummer Night (Mojito)

  1. Acknowledged that you live above 60th parallel north
  2. Mix three t-spoons sugar with the juice of half a lime
  3. Add half a cup of boiling water and 4cl+ of Captain Morgan rum
  4. Mix and serve to bed



  1. Light an oven but fail so that the smoke fills the room
  2. Mix one t-spoon of muscovado​ sugar with 1/2 of a lime (unwashed)
  3. Squash the juice from the fruit with a spoon and add a pinch of Asian Mint (Mentha asiatica)
  4. Puor in 4cl+ Captain Morgan rum and a dash of tap water (cold)
  5. Mix and squash the ingredients with the first wooden tool handle that you reach
  6. Consider your self served, sit on the porch and wait for the smoke to fade
  7. Optional: Wash the taste away with Fernet-Branca


A discussion I witnessed between a group of youngsters and the mounted police force. The situation felt like a hobbyist summer theatre play. The situation escalated slowly to the point where one of the youngsters spat on the face of an officer. They were caught for allegedly making a tag on a wall. I’ll continue documenting the activities of the police (horses) tonight.

Anarchist 1: Fuck, you want me to shoot you?! [Long pause] I’m fucking shooting you with these words!
Anarchist 2: Stop pressuring him!
Anarchist 3: Hey! What is happening here and why!
Anarchist 4: Man, man, man! You are all the fucking same! Bitch!

Migrating to Final Cut X as my full time editing program (pulled the trigger on an education bundle of macOS software for my new iMac). Feeling frisky while snooping through tutorials. Trying to set up all of the Trans-Horse media files (from early 2014 onwards) and so far FCPX is feeling like a good choice, it mixes media management as a part of the creative process. FCPX makes tagging​ clips into content creation. I have to invest in new hard drives (I’ll possibly start with a pair of Seagate Barracuda 2 TB 64 MB 7200 RPM 3.5″ SATA III 6 Gb/s). Unfortunately my hard drive docks only work with USB 2.0.. But I can already feel a big boost in speed (I guess the system manages data more efficiently). 

Notes on working with Adobe Creative Cloud (Reddit1 & Reddit2, G-Drive1 & G-Drive2)


I got the chance to follow the Mounted Police of Helsinki during their Saturday patrol around the Sörnäinen district. Witnessed two incidents were ill behaving citizens were taken into custody. Adrenalin was high.

Preparing to meet with Leena Kela in Turku tomorrow today.

You’ll know that you are on the right track when collaborators​ mistake your efforts in demolishing the society with a sophisticated sence of humor. #ॐ


Manufactured something brilliant: Re-Teema (2017) a replacement ear for Teema model cups (the cups ear gets broken easily). I’m in doubt whether to make a CAD drawing of the design (with Topis help?) or to invest in a hand router and make them myself. I’ll make a longer ear for next iteration and possibly secure the joint with a brass rivet (found a perfect brass screw for riveting).


Photos of the Sound of Work -exhibition online. Feeling happy about the display. The brick dust on the floors is a justified part of the exhibition. It draws focus to infra-art. Still waiting for videos of our gig to come online.

Served as a camera assistant in M-Cult’s Shades of Agency seminar and came to the realization that artist cannot make “community arts” – Only communities can make community arts. If an artist is involved the result can be art “with” or “about” a community.. But the result is just “art”. Community arts can be produced in a relationship or by initiative of a facilitator but no artist is needed. Only communities can make (or choose not to make) community art. #ॐ

Learning about The Museum of Impossible Forms. The project is challenging. Framing a temporary project space as a museum feels tandy. Who are they trying to convince and why convince them by dressing the project as a museum? Museums are dead.. They only move when bashed with critique. Challenges make them appear vital – Ignoring them is the best way to silence them. I’ll have to read why exhibit at all? by Lotte Arndt to understand the motivations with the group better.


Kenan Malik In Defense of Cultural Appropriation (2017)

Nobody owns a culture, but everyone inhabits one, and in inhabiting a culture, one finds the tools for reaching out to other cultures.

The accusation of cultural appropriation is a secular version of the charge of blasphemy. It’s the insistence that certain beliefs and images are so important to particular cultures that they may not appropriated by others.

Seventy years ago, racist radio stations refused to play “race music” for a white audience. Today, antiracist activists insist that white painters should not portray black subjects. To appropriate a phrase from a culture not my own: Plus ça change, plus c’est la même chose.

Social Cooling explained:

If you feel you are being watched, you change your behavior. Big Data is supercharging this effect. […] Social Cooling describes the long-term negative side effects of living in a reputation economy. A culture of conformity. Have you ever hesitated to click on a link because you thought your visit might be logged, and it could look bad? More and more people are feeling this pressure, and they are starting to apply self-censorship. This is called a ‘chilling effect’. […] Social [media] pressure is the most powerful and most subtle form of control.

The same explained through a video where Frank Pasquale explains how algorithms are racist.


Old medias are celebrating youtubers as the top influencers of our time. We need more writings investigating how youtube has formalized on-camera presence, how it’s capitalizing our private data and how personal expression has been harnessed to serve status quo. Youtubers are conservative entrepreneurs because youtube is a conservative framework for business and expression. Instead of battling corporations we now need to battle troops of independent entrepreneurs who believe they are expressing their beliefs. Youtube is not serving our rights, it’s cashing in on our dreams.


Maisie Williams in 2016.

[…] we should stop calling feminists ‘feminists’ and just start calling people who aren’t feminist ‘sexist’ – and then everyone else is just a human. You are either a normal person or a sexist

Notes to self: Hammeradio operates with scheduled scripts. Access schedules with crontab -e, look for scripts in /home/pi/Desktop/. The entry @reboot /home/pi/Desktop/startupfm.sh launches sudo arecord -fS16_LE -r 22050 -Dplughw:1,0 -c 1 - | sudo /home/pi/PiFmRds/src/pi_fm_rds -audio - -rt Hammeradio & on startup. PiFmRds begins broadcasting at 107.9 MHz. The contab entry 0 */4 * * * /home/pi/Desktop/akustamatashutdown.sh waits for four hours before it runs the script (sudo shutdown). With top you can see active processes. PiFmRds shows ~24.5% CPU and arecord ~4.6%. vcgencmd measure_temp shows a steady 49.4°C temperature.


Flying to Brussels to meet horses inregards of the Signal festival.

Judith Butler’s book Notes Toward a Performative Theory of Assembly (2015).

“The people” are not a given population, but are rather constituted by the lines of demarcation that we implicitly or explicitly establish.

If performativity has often been associated with individual performance, it may prove important to consider those forms of performativity that only operate through forms of coordinated action, whose condition and aim is the reconstitution of plural forms of agency​ and social practices of resistance. So this movement or stillness, this parking of my body in the middle of another’s action, is neither my own nor yours, but something that happens by virtue of the relation between us, arising from that relation, equivocating between the I and we, seeking at once to preserve and disseminate the generative value of that equivocation, an active and deliberately sustained relation, a collaboration distinct from hallucinatory merging or confusion.

[…] we have to ask whether​ it is right that verbalization remains the norm for thinking about expressive political action. Indeed, we need to rethink the speech act in order to understand what is made and what is done by certain kind of bodily enactments: the bodies assembled “say” we are not disposable, even if they stand silently.


Julius Gavroche’s Reading our times with Now examines the book Now (2017) by The Invisible Committee. Also a nice comparison RoboCop’s Dallas Shooting Locations 1986/2012 (history has ended).

“Wage labour explodes in all sorts of niches, of exception, in conditions of anomaly.  The idea of the “precariat” opportunely conceals that there is simply no longer any common experience of work, even precarious.  So that as well there can no longer be any common experience of its cessation, and the old myth of the general strike can be placed on the shelf of useless accessories. […]”

[…] The wisest political commentary, during the conflict generated by the Labour Law of the spring of 2016 [France], noted that two minorities, a government minority and a demonstrating minority, clashed with each other before a theatre of spectators.

The unities of the past, the person, the nation, the state, the society and economy, and so on, were always fictions, but they were effective fictions. 

If the State’s ambition is to manage, and to manage the totality of the social life that it gives form to/creates, then it is an ambition that is increasingly strained, depending on ever greater violence and police rule; the more it tightens its hold, the more “society” implodes at its base.

To mobilise the panic to restore order, is to miss what is essentially dispersive in panic. The process of general fragmentation is so unstoppable that all of the brutalities which will be used to remake the lost unity will only accelerate it, rendering it more profound and more irreversible.

“The originality of 15M consisted in the fact that it was an event, in the full sense of the word, that introduced new things into the political scenario charged with an unquestionable political radicalness, that curiously contrasted with the absence of any radicalness in its explicit demands.” “[…] The thousands of people who invaded the streets and squares did not do so only to demonstrate against this or in favour of that, but they did so also to institute themselves or, more precisely, to self-institute themselves as subjects in a political process.”

As a political movement, an essentially plural movement, 15M sought not to weld the fragments of social life into a new, false unity, but to create a space of passage, a threshold, through and from which different agencies could enter, gain sustenance, and depart, to possibly return again. […] 15M was not ideology, organisation, fixed practices, leadership, representatives, but the sharing, to speak metaphorically, of wine and bread in a life giving meal that could be re-enacted and edified into a form of life.

The police “are the proof that the legal is not the real, that order does not reign, that society does not hold because it does not hold by itself“; that all are the work and consequence of their force, a permanent agency of exception in the heart of constituted and “constitutional” political authority. 


Making the “Hammeradio” launch FM broadcast by scheduling tasks with cron. @reboot /home/pi/Desktop/startupfm.sh works well. It launches sudo arecord -fS16_LE -r 22050 -Dplughw:1,0 -c 1 - | sudo /home/pi/PiFmRds/src/pi_fm_rds -audio - -rt Hammeradio & I’ll also schedule a daily power off cycle for the device. I’ll set it to work during gallery open hours 14:00 to 18:00 (with a Lunch break in the middle). Found an old amplifier circuit I build (while learning to solder to make the WSG) and I’ll test it with the piezo mic I have handy (It would save the iRig pre-amp I bought).


I got PiFmRds to work on my RasPi3.

Note to self:

1. Use Etcher to flash Raspbian.
2. Enable ssh in RasPi using Terminal
cd Volumes
cd boot
touch ssh

3. Boot RasPi3, login via ssh
4. Set new password
5. Set locale
6. Install sndfile library
sudo apt-get install libsndfile1-dev
7. Install PiFmRds
git clone https://github.com/ChristopheJacquet/PiFmRds.git
cd PiFmRds/src
make clean

8. Broadcast from usb audio in at 107.9FM in mono 22050
sudo arecord -fS16_LE -r 22050 -Dplughw:1,0 -c 1 - | sudo ./pi_fm_rds -audio - -rt Hammeradio
9. End broadcast
sudo pkill pi_fm_rds

Fiddled with PiFmRds settings (I want it to display Hammeradio as radiotext (RT) but I’m not sure if it’s working). I also want to run a .sh script on boot to launch pi_fm_rds broadcast (aka. step 8). Currently launching the pi_fm_rds from /etc/rc.local. Tomorrow I’ll try to build a cron startup schedule so that I can spare the Hammeradio preamp from excess stress by powering the system down on gallery off hours (I have to use a preamp to connect a piezo mic to the RasPi). Other useful resources for future tightvnc manual.

Installed Sea Change: In the Scale of a Horse (2017) by Otto Karvonen feat Trans-Horse installation at Vuotalo. The installation consists of a performance documentation, a custom horse blanket with an embroidery with the text “Helsingin kaupunki – Kaupunkimittausyksikkö” and horse-gear used by Toivottu Poika during our HKI-TKU-HKI riding trip in 2014.