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
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
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.
Apparently pifm which I tested last year only works in RasPi2 and I’m now trying to get RpiTx to stream FM trough USB audio in (I bet that for what I need it would be easier to buy a RasPi2). RpiTx is very advanced but I can only get it to broadcast audio files over fm (here is a simple tutorial). Unfortunately I can’t get it to stream live audio trough my USB audio interface. Following rpitx-app-note‘s I learned about:
arecord -c1 -r48000 -D plughw:CARD=Device,DEV=0 -fS16_LE - | csdr convert_i16_f | csdr dsb_fc | csdr bandpass_fir_fft_cc 0 0.1 0.01 | csdr gain_ff 2.0 | csdr shift_addition_cc 0.2 | sudo rpitx -i- -m IQFLOAT -f 100000
But it is dependent on libcsdr, which I can’t get to compile on RasPi3 because “If you compile on ARM, please edit the Makefile and tailor PARAMS_NEON for your CPU.” and I have no idea on the RasPi3 PARAMS. I found some hints on what to do (but it seems that those are set for RasPi2). Trying to sort the things out by installing gnuradio and other tools as recommended in a different tutorial.
I’ll make yet another clean install of Raspbian and continue in the evening with PiFmRds. I’m using Etcher to write the os on the sd card, which seems to work well. I should learn how to clone the sd card.
Visited Lovi ambient event at Lava klubi and saw a good gig by Rasmus Hedlund and Paula Lehtonen. Their collaboration yelds great results. Paula designed video using material from their trip to Tasmania and Rasmus crafted a field of sounds consisting of oceanic & low jungle rumble tones. Spotted a Make Noise Photogene in use. The gig was constructed out of some 8-10 distinct soundscapes, which were supported by videos from different locations.
My Family’s Slave (2017) Alex Tizon.
I’ve been accepted to a six month residency in New York were I’ll shoot a film of the NYPD Mounted forces. The other artist accepted to the Alfred Kordelin Foundation residency is Iiu Susiraja.
Editing Otto Karvonen feat. Trans-Horse – Sea Change: In the Scale of a Horse video documentations. The material is a tad shaky and some key moments of the performance are missing.
‘Crapumenta!’ … Anger in Athens as the blue lambs of Documenta hit town (2017) Helena Smith from Guardian reviews Documenta (save a click: Everybody hates Germans).
Lost in Europe (2017) by Claudia Ciobanu. She gives an honest account on what it feels like to live in a foreign country inside Europe and how recent political struggles have treated the left.
Those a decade older than me had 1989. To them, this felt like 1989 reloaded. For many of us it was a premiere. […] Our generation, we said to each other back in 2005–2006, was immersed in a neoliberal consensus and had no hope for a change. History was supposed to be ending. Less than a decade later, we got our revolutions. In Romania. And in Greece too. With a vengeance.
[…] I’m not much of an activist in Poland because it’s in the nature of activism to be local, contextual, language-dependent and ridden with social norms.
Just a few decades back, our parents escaped criminal regimes. We know what it’s like to be an economic migrant. Our relatives are in the West looking for a more prosperous life. And even if we don’t know what it’s like, we want to help because otherwise we would not be human.
We make too much of our ‘home countries’ out of fear. If we cannot cope with the present, we escape into the imaginary.
Maïmouna Jagne-Soreau’s provoking text A New Nationalism (2017) celebrates the nation state as a melting pot. I’m game for postnationalist welfare state!
[…] multiculturalism has been a good temporary alternative […] everyone who doesn’t fit the Finnish stereotype, struggle with issues caused by this model.
Art critic Otso Kantokorpi is warming up to the idea that artists can make art without artworks (Trans-Horse is mentioned!).
Steph Kretowicz & Kimmo Modig have launched a book-pod-art-cast series: Somewhere I’ve Never Been. It’s a tad complicated. Kretowicz has written a book and build a project around it which happens simultaneously as podcasts, a webpage (with links to essays/articles) and in (fb) discussions. The first podcast episode (1/7) offers a personal account to the subject of post-soviet global westernization. Kretowicz’s text is packed with pop-culture references (which leave me cold) but her account on visiting a music festival in Romania (as a first generation Polish-Australian) is touching. Her estrangement is twofold.. She is a daugher of immigrants who seeks for grand narratives in global-pop and a creative-westerner from London ushering promises of development for ex-soviet countries. Keywords for the first episode would be: Nationalistic stereotypes, beer, sentimentalism and global-pop.
An interesting text on post-fossil sexualities: Sex Matters on the Hot Earth – Making Wonderlust (2017) by Anni Puolakka. She references Low-Eroei Manifesto (2017?) by Tommi Vasko.
Today the tellurian lubricant (oil) underlies every narration on Earth. […] One could say that urbanization, the rise of youth culture, sexual liberation, idea of infinite growth and individualism are all born from this sudden ecstatic burst of excess energy: a liberation from physical labour which is suddenly done for us by fossil-fuels.
The manifesto is fun to read (it’s so-ooo angry). Vasko’s views on sustainability are romantic. Sustainability does not mean a balanced relationship with the environment – Absolute control of the environment can be sustainable too. The text also claims that art is a messiah in our efforts to reach sustainability. De-rendering is the most interesting concept presented in the text (More on loweroi.net).
It’s easy to write about the world through personal experiences. Writing about others is difficult because you will fail. Everyone who can afford this failure should engage in these confrontations. Everyself is authored by others.
Heard Belorukov & Zherbin, Filter Feeders and Pasha Rotts at Akusmata gallery last night. A warm and noisy evening. Saw a Make Noise 0-Coast and a SP-303 in use. Also a brilliant electronic music gig hat (by Pasha). Petri Kuljuntausta offered some guidelines for the upcoming Ore.e Ref./Storijapan: Sound of Work exhibition/gig. He wants us to prioritize on audio. We’ll possibly also present audio pieces from the Ore.e Ref.: Meta- Collection (Record Singers, Topi Äikäs 4’33, Wuolio usb stick?). Particullary Äikäs and RS serve as solid references. Came up with the idea of making a helmet xylophone (like the one Ewoks play in Star Wars) and using the same styles of exhibition display techniques we deployed for SIC (2014).
Ore.e Ref. on a winning streak. Washington Post writes that The hottest trend in Web design is making intentionally ugly, difficult sites. Apparently web brutalism is a thing.
There are two camps at the Helsinki railway station. The Finland-first protest camp and the asylum seeker deportation protest camp. Their camps are at the far corners of the plaza. Both camps are protesting against the same financial elites.
Geraldine Juárez bashing post-digital as an enclave where post-democratic regimes are developed during transmediale 2014 | After the revolution(s) discussions: “The more governments talk about transparencies […] the more we see them abusing our rights.”. She defines the internet as interNATO, a megastructure operated by old institutions (nation states and old money) engaged in “old battles”.
An extract of my kettlebell choreography contribution for Pilvi Porkola’s “Until We Come Together” (2016) at New Performance Turku is available online!
Wrote a short memo on the Trans-Horse presentations for Vårscenefest [Fi].
Who enjoys shopping in IKEA? (2011) A critical analysis of shoppingcenter architecture by Alan Penn.
Uploaded my speech and notes for the Hollo Institute seminar (notes are also available on google docs) [Fi].
Kevin Kelly and the AI Cargo Cult (2017)
The results of accelerating technology will most likely not be super-human, but extra-human. Outside of our experience, but not necessarily “above” it.
What if humans are not meant to feel good in static settlements?
On class and race: From white trash to the whitelash: What do white people want? (2017) by Helen Lewis. Moving in lines of Marx, Race, and Neoliberalism (2013) by Adolph Reed’s.
Send an application for a residency/grant in New York for Kordelin foundation and the Finnish Cultural Institute in NY. Fingers crossed for Trans-Horse NY.
Cute short on the state of affairs between Art & Politics: Best Friends Forever (2017) by Liu Shiyuan and Kristian Mondrup.
Revisiting Greener Grass (2010) by Mari Keski-Korsu. Today the work is even more relevant.
Visited Arttu Merimaas’ Grandfather’s Leather Club exhibition at Sinne gallery. It is great. Thanks to the Cruel Radiance… course we hosted I got an updated view to his art and with this insight the exhibition felt like a warm handshake. The pieces were critically materialistic but optimistic. Instead of making crude suggestions (as seen in the Autochthonic Fantasy) he displayed queer fearytail aesthetics with faint references to public monuments in Helsinki. There were horse pictures too! After Sinne I visited Hippolyte for Pekka Niskanen & Robert Aeberhard Sounds That Shouldn’t Be There. I read it as a sacrifice on the grave of modernism.
There is no alt-right there is Contemporary Nazi Party.
Listened to fffff.at/rip podcast. Surveillance state is upon us.
My talk for Hollo institute Utopia-seminar went reasonably well. I had some trouble framing the end of the talk.. I attempted to announce horselogical-pedagogy and engage in an open ended discussion but being surrounded by professors and emeritus professors the announcement came of as a joke. People laughed as I presented Adjunct Professor The Awaited Son. I laughed with them out of pity and tightened my fists.
“So.. All of you are ok with horses taking your jobs?” I asked as people chuckled.
Currently in Oslo on route to Tromsø on a Trans-Horse affair. I’ll meet a horse today at 15:00 and perfom with it tomorrow at 10:00. The festival is called Vårscenefest. I’ll have a day for seeing the city before I return to continue work on Trans-Horse events for Sea Change by Otto Karvonen. In Vuosaari I’ll be handling horses with Susanna Airaksinen. I’ll have to travel to Brussels late May to meet with the Signal organization staff and the cities mounted police force. In June we’ll host a sound-art exhibition at Akustamata in Helsinki.
Visited Kontula Electronic and had a brief encounter with Martta Tuomaala. I didn’t get to talk about her “bodybuilding” project. She seemed to be stressed about the show. Also saw a children’s techno workshop.. It wasn’t as techno as expected. Kids triggered grooves from a launch pad, which kept the event noise free. Pop songs and kid’s toons were also played periodically. Children were dancing. I’ve been invited to host a children’s techno-workshop for NPTurku in the fall.