We need more animals in the internet.
When Did Humans Become a Burrowing Species? (2017) Sarah Laskow.
Accidents happen. I met Mikko in a cafeteria a while back we ended up talking about a public modular synthesizer system which was made publicly available by the Lawrence Public Libary in Kansas City (US). I sent an email to the Helsinki Central Library (Oodi) studio/electronics-department asking if we could get a modular for our upcoming library too. Four months later they asked me to meeting. I invited Rasmus Hedlund to join me because he’s great with modulars. Rasmus recommend Tuukka Jääskeläinen, who joined me for a meeting last Tuesday.
After a cheerful chat with the library crew, they invited us to select modules for a novice-friendly system which fits a 5000€ (+24% VAT) budget! Tuukka is currently in contact with various electronic music associations in Helsinki and I’m in contact with all of my sound-art friends. If everything goes as planned well have a list of modules selected in two weeks which we’ll propose that the library for purchases. We’ll also collect a list of people who would be interested in running educational workshops at the library or act as modular-godparents whom the library staff could consult concerning audio synthesis.
A futuristic military choreography Guard Commander Inspection – Arlington National Cemetery (2014).
Wrote a detailed summary (in Finnish) of my art-camp contribution for 12-18 year old kids from Hyvinkää and Hämeenlinna children’s art schools. Added links to Peggy Pierrots talkshop-guidelines and referred to Poste Restante. The title “Postructuralism for Kids -lecture” brings a smile to my face.
Neighborizome project development is in a mid development crisis. Nothing threatening but we need to find more sensible ways in to work together. We drafted a budget for next year.. If everything goes as planned we’ll publish a booklet and host a miniature performance art festival in the spring of 2018. Things will be confirmed next week.
Through this collaboration I’ve come to understand of my personal shortcomings as a project manager. Instead of engaging in negotiations which would be rooted on clearly articulated opinions, I tend to continue addressing questions I have issues with for as long as it takes for the group to address them the way I prefer – This way I inadvertently assume indirect control of the discussions, without clarifying and assuming responsibility for my intents. This style of management is rooted in collective low budget production culture (typical for performance art in Finland) where members have strong creative opinions and they don’t have the resources to challenge their beliefs. When issues are continually re-address the aims and shape of the artwork (or project) is address as a series of tasks which fit within milestones and deadlines (instead of creative intents and visions). As a result the project will be lead by the person who invest the most in task solving and this seldom makes for good art.
Vili Mustalampi performed well at the Kom-theater sound night at Vuotalo. I haven’t listened to the recording yet. I think the Mitä kuulu+ (for Ihme-days) & Kutsu projects which focused on the changes in city soundscapes are now complete. I’m not completely satisfied on how things went. The 48min documentary I made is a tad too long and unfocused and unfortunately I haven’t found anyone who would be interested in publishing it. I should share it more boldly to people I imagine would like it.
Great pedal building guides from Tonefiend – DIY CLUB.
- Breadboarding a Bad-Ass Distortion Circuit 1/4 (.pdf)
- Controlling and Modding a Badass Distortion Circuit 2/4 (.pdf)
- Transferring Your Distortion Circuit To Perfboard 3/4 (.pdf)
- Boxing and Finishing the Project 4/4 (.pdf)
A complicated build Build your own DS-1 distortion (.pdf) from Diystompboxes.com
A detailed guide with easy schematics Build Your Own Tricked-Out Electra Distortion by Nicholas Kula (2016).
Foot-switch wiring for Guitar Pedals (.pdf) madbeanpedals.
Detail and electrical theory Design Your Own Distortion by Rikupetteri Salminen.
Computer aided alternatives Electrosmash.com (digital multi-effects).
Nailing it 4troughthefloor with my looper pedal (bought a Boss RC-3 due to inter-economic cross-personal misery). My first techno-track! Heavily influenced by hours of Maurizio studies (nifty shuffling melodic kick is almost a copy of 4.5). Clever sliding hi-hats were made with Novation Circuit synth engines (everything recorded live, majority of the track was made with the device, compression added using Logic X). I can almost hear phantom melodies through the tones.
How to Hire Fake Friends and Family (2017) Roc Morin.
Morin: Does she understand that you’re not her real father?
Yuichi: No, the mother hasn’t told her.
Something is wrong on the internet (2017)
James Bridle. An analysis on how youtube algorithms affect storytelling. Bridle investigates an ecosystem of algorithms which inadvertently end up producing disruptive videos for children. It’s evident that the same human-AI alliances are affecting contemporary art too!
Someone or something or some combination of people and things is using YouTube to systematically frighten, traumatise, and abuse children, automatically and at scale, and it forces me to question my own beliefs about the internet, at every level.
[…] even if you’re a human, you have to end up impersonating the machine.
[…] it feels impossible to know where the automation starts and ends, who is coming up with the ideas and who is roleplaying them.
Automated reward systems like YouTube algorithms necessitate exploitation in the same way that capitalism necessitates exploitation, and if you’re someone who bristles at the second half of that equation then maybe this should be what convinces you of its truth. Exploitation is encoded into the systems we are building, making it harder to see, harder to think and explain, harder to counter and defend against. Not in a future of AI overlords and robots in the factories, but right here, now, on your screen, in your living room and in your pocket.
To expose children to this content is abuse. […] It’s not about trolls, but about a kind of violence inherent in the combination of digital systems and capitalist incentives. It’s down to that level of the metal.
This, I think, is my point: The system is complicit in the abuse.
And right now, right here, YouTube and Google are complicit in that system. The architecture they have built to extract the maximum revenue from online video is being hacked by persons unknown to abuse children, perhaps not even deliberately, but at a massive scale.
This is a deeply dark time, in which the structures we have built to sustain ourselves are being used against us — all of us — in systematic and automated ways. It is hard to keep faith with the network when it produces horrors such as these.
On An Exit From Contemporary Art (2017) Heather Jones offers an interesting interpretation of a talk by Tirdad Zolghadr.
As long as contemporary art continues to dis-identify with power, to place itself as other to power, it is very difficult to see it as a future-oriented operation. Contemporary art, Zolghadr argues, is already a future-oriented operation. Whether it wants to admit it or not, contemporary art is actively affecting geographies, neighborhoods, job markets, politics, policies, etc.… It is already creating audiences and communities. In short, despite the rhetoric of othering contemporary art to power, contemporary art is ‘sitting in the corridors of power’.
Fade into you (1994) Mazzy Star.
Coast Of Utopia: Star Trek: Discovery‘s Odd Future (2017) James Rushing Daniel.
6+ hour workshop for 12-18 year old kids from Hyvinkää and Hämeenlinna children’s art schools went well. My favorite part was a 30min lecture titled “Post-Structuralism for Kid”. I showed clips from a Mr.Bean movie, WWII propaganda posters, Burdens performance documentations and talked casually about how repetition inscribes us with ideologies. We are staying in Janakkala over night. I’m sleeping the same room with 20 preteens.
Gave a lecture on myself as a post-humanistic/sustainability artist by request of Riku Saastamoinen for 40 art-pedagogy from Sibelius Academy, Aalto Uni. and Theater Academy (Dance department). The talk took 1,5h. Run out of time towards the end due to personal therapeutic blabbering about my Marxistic heritage. Also framed contemporary dance as movement steered by fossil fuels. My reasoning was that indoor heating, insulation and plastic soft materials used for flooring have made it possible to move “grounded” (on the floor). Horse videos (Jesse riding nude 2014 & Otto Karvonen collaboration from this spring) got a really good response.
I fear that recent discussions concerning cultural appropriation are facilitated by conservative agents who seek to incapacitate the formation of disruptive alliances across classes. The winners in discussion concerning cultural appropriation are monolith modernist (record companies, museums & patent holders) seeking to establish specific technologies, protocols of communication and cultural signs as the property of specific human groups, institutions and corporations. I fear that in some cases the advocation of indigenous rights is used as a way to celebrate eurocentric nationalistic politics, worldviews and values.
My reason for these fears is that currently “identity” is discussed as a form of property. This is evident in cases where symbols and signs associated to a specific group are violently monetized by non-group members. In the aftermath of these events discussions concentrate on the fact that non-group members should not use symbols that don’t belong to them. Unfortunately these discussions seldom engage with the fact that there are markets for the techniques specific groups use to represent themselves! These markets are presented as a non-issue, even though they are the reason for processes which quantify marginal cultures and are delegating the right to stake a claim to an identity to those who have capital.
If there is property (in the form of styles, genes or birth rights), capital will find a way to assume control of it. If there is something to sell, someone will sell out. We are already seeing craftspeople and artists developing works which use indigenous styles but fit into the logic of the markets. The same happened with hip-hop! Identity should not be discussed as a form property. I believe the best way to counteract these developments is to destabilize the concept of identity and to de-demarcate the sites creative practices – To root it while studying class as network and as something situated. To celebrate, borrow, loan and share styles the deprived across classes share. The next revolution should be aesthetic and pluralistic.
Librem 5: “A phone for the people by the people”. The company name “Purism” has a nasty ring to it.
Performed with the Neighborizome group at the Koneen säätiö Lauttasaari mansion renovation topping out party last Thursday. We prepared a timecapsule/ritual kit for the future and buried into the yard. Builders and guests could vote on its content. Builders voted on an Anonymous Mask and a Koskenkorva vodka flask (Fitting symbols for their struggle). They threw coins into the kit for good luck.
Learning Ableton Live in preparation of a gig at the Viestejä Vuosaaresta (KOM-theater / Helsinki Model) event. The gig is on 2.11 and I’m scared. Vili will recite a marine weather report using his flamenco/gypsy-style singing skills. The tone of the singing is similar to an Adhan. Lauri Wuolio is also performing at the event.
Preparing a teaching gig for Janakkala (for kids, 12-18 years) next weekend. There will be 21 students. I’ll be teaching them how to “walk”.
Preparing a 1,5h lecture next Friday on my artistic practice (in the framework of posthumanism/ecology) for dance and pedagogy students of Uniarts Helsinki and Aalto Uni. I’ll start of by explaining that my mother was a Marxist, recap how my shared interests with the Helsinki communist youth association evolved into (very) slim involvement with anti-globalization and anti-war movements and how celebration over the 9/11 (2001) attacks resulted into a restlessness which lead me into crafts (In short before 9/11 dirty clothes were cool – Post 9/11 dirty clothes were scary).
Wax-treated my jeans coat. 1 part boiled linseed oil, 1 part beeswax mixture. It will take 6 months for the linseed oil to dry.
Why I Quit Academia (2016) ContraPoints. A really funny video about why not to PhD.
Degeneracy | ContraPoints (2017) a fun video summing queerness vs. fascism with a clever quote: “The queer quest is to survive. The fascist quest is to be the only surviver”. Video by a self proclaimed a PhD drop out.
Ecovention Europe: Art to Transform Ecologies, 1957-2017 (part 2). Yet another celebration of The Tree Mountain (1992-6) by Agnes Denes without paying attention to the fact that the work doesn’t do what it promised (which is a part of it’s charm). Also.. I’ve shot the snowy hill photo used in the article!
Visited New Performance Turku, assisted Tomasz Szrama to walk on the ceiling, received rough critique of a performance/publication made seven years ago, attended a very boring “How To Do Things With Performance -seminar”, witnessed a shouting performance by Hiroko Tsuchimoto and finally a salad ingredients voting performance by Denis Romanovski.
And that’s were it happened.
Romanovski placed various ingredients on the table. He talked about soviet traumas after which each audience member was given a vote. We were granted the right to vote on the ingredients of the salad. Majority of the ingredients were vegan friendly with the exception of eggs and mayonnaise. I gave my vote for the potatoes. As it was time to select whether or not to include eggs in the salad a shouting contests erupted.
Jesse and a person sitting next to him were the only ones to vote for eggs. Vegans were protesting and people started laughing. Someone rushed on stage and stole the bowl of eggs. While there was a lot of commotion and laughing I thought it might be fun to portray myself as an egg-rights advocate.
“Hi, I’m Eero. From the Egg-party. Have you considered voting our candidate Mr. Egg?” I asked a girl sitting next to me. She casted a weird smile. I thought she didn’t hear me so I continued louder: “Many consider voting mr. Egg to be in bad taste but I can guarantee that our representative mr. Egg is fresh!”. She smiled awkwardly. Everyone else was enjoying the commotion. Eventually the eggs were returned to the table and added to the salad despite the protest.
Then it hit me.
Egg translates as “muna” in Finnish which has a double meaning – It also means “balls”. Which meant that my joke on the election processing was most likely understood as a glorification of my genitalia. By the time I realized my error she had disappeared and I was stuck drinking beer with Jesse and eating democratically crafted Russian Salad.
I saw the girl later during the festival and felt like apologising. She bought a salad at a museum canteen and was walking to her table. I thought it would be best to clarify that I didn’t mean to bother her with my jokes the other night. “Hi!” I started joyfully. She was looking happy and I suddenly thought that maybe I was being paranoid with my interpretation. To steer away from a weird conversation or to save face I continued “Let me know if you want egg with you salad!”
No. 52 (Part One): How Globalization Changed China—and Its Art (2017) The Artsy Podcast concerning an exhibition Art and China after 1989: Theater of the World in Guggenheim.
Documentation of my favorite work from NPTurku 2016 by Sandrina Lindgren Olympic Shames is online.
Wavelings was recorded at Wäinö Aaltosen museum as a part of the New Performance Turku festival 2017. The band consisted of 18 artists who were taught to use synthesisers during a two hour workshop. Members were divided into two group and trained to recognise the sounds different synths produce. Songs Hear – Redo, Ou-Ou, How can you eat juice? (my personal favorite) were recorded during these small group sessions. Songs Mister Noa Moa, Play echo and One for the parents were recorded during a 30min gig were all of the musicians played together for the first time. The audience consisted of art lovers and the parents of the band members. Special thanks to Ida Martikainen, Leena Kela & Christopher Hewitt, Anni Välimäki (NPTurku) and Susanna Hujala (WAM).