20180115

Chelsea Manning for U.S. Senate campaign video sends a very similar message as the Donald Trump presidential campaign.

Work on viili continues! Made a sheet document to follow the progress: 20180115_a-history-of-a-viili. Collected Kombucha from Pasi Rauhala for the upcoming Neighborizome talk-shop.

Wrote a travel grant usage reports for the Arts Promotion Center of Finland. Tough work. I’ll have to make a document about last years artists grant too.

Send an email to New York Performa-organization in an effort to plan the residency period. Also learned that our flat in Brooklyn has a gym in the basement, it’s 15 min from the residency-atelier and that I need to get a B1 style working visa in order to make a film in the city.

Send my Novation Circuit to Thomann.de for service. The unit glitches occasionally. Thomann has a three year warranty! Included a summary of the issues and a short text: “Greetings from Helsinki and I hope you have a good week. I’ve been preparing viili lately, it is a fermented milk drink (similar to buttermilk) and going to the sauna by the cold sea. I’m thinking about getting a Drumbrute, it would compliment the Circuit well and make for a decent sequencer.”

Got a copy of Osculum Infame (2001) Gardar Eide Einarsson & Matias Faldbakken (published by Nifca). A guide for satanic ass-kissing.

There are various aspects of the Osculum Infame, the Black Mass and the description of Satan’s physical appearance that can be applied to the notion of modern-day networking rituals and their participants. As a manner of trading social behavior for personal gain, networking had become one of the most powerful vehicles for financial, political and cultural progress.

20180113

I constantly compare myself to and seek the acceptance of Germans, French, English and even Swedes. I think their cultures are better then ours.. I don’t even think I have much of a culture. There is no such thing as western civilisation (2016) Kwame Anthony Appiah.

One reason for the confusions “western culture” spawns comes from confusions about the west. We have used the expression “the west” to do very different jobs. […] Often, in recent years, “the west” means the north Atlantic: Europe and her former colonies in North America. The opposite here is a non-western world in Africa, Asia and Latin America – now dubbed “the global south” – though many people in Latin America will claim a western inheritance, too. […] “western” here can look simply like a euphemism for white.

Herodotus only uses the word “European” as an adjective, never as a noun. For a millennium after his day, no one else spoke of Europeans as a people, either.

In a Latin chronicle, written in 754 in Spain, the author refers to the victors of the Battle of Tours as Europenses, Europeans. So, simply put, the very idea of a “European” was first used to contrast Christians and Muslims.

The idea that the best of the culture of Greece was passed by way of Rome into western Europe gradually became, in the middle ages, a commonplace. In fact this process had a name. It was called the “translatio studii”: the transfer of learning.

But they all face a historical difficulty; if, that is, you want to make the golden nugget the core of a civilisation opposed to Islam. Because the classical inheritance it identifies was shared with Muslim learning. […] Much of our modern understanding of classical philosophy among the ancient Greeks we have only because those texts were recovered by European scholars in the Renaissance from the Arabs. […] So the classical traditions that are meant to distinguish western civilisation from the inheritors of the caliphates are actually a point of kinship with them.

Whether you are discussing religion, nationality, race or culture, people have supposed that an identity that survives through time and space must be propelled by some potent common essence. But that is simply a mistake.

It will help to recognise that the term “western culture” is surprisingly modern – more recent certainly than the phonograph. Tylor never spoke of it.

[T]he very idea of the “west,” to name a heritage and object of study, doesn’t really emerge until the 1890s, during a heated era of imperialism, and gains broader currency only in the 20th century.

How have we managed to tell ourselves that we are rightful inheritors of Plato, Aquinas, and Kant, when the stuff of our existence is more Beyoncé and Burger King? Well, by fusing the Tylorian picture and the Arnoldian one, the realm of the everyday and the realm of the ideal.

No Muslim essence stops the inhabitants of Dar al-Islam from taking up anything from western civilisation, including Christianity or democracy. No western essence is there to stop a New Yorker of any ancestry taking up Islam.

The cosmopolitan impulse that draws on our common humanity is no longer a luxury; it has become a necessity. […] I don’t think I can improve on the formulation of the dramatist Terence: a former slave from Roman Africa, a Latin interpreter of Greek comedies, a writer from classical Europe who called himself Terence the African. He once wrote, “Homo sum, humani nihil a me alienum puto.” “I am human, I think nothing human alien to me.”

20180112

Representational vegan (noun)

/ˌrɛprəzə’nteɪʃənəl ˈviːɡən/

  1. A carnivore or vegetarian who portraits themselves as a vegan in order to advocate vegan culture and lifestyles geared toward ecological sustainability (i.e. Ordering a vegan dish at a corporate launch so that the companies statistics on employees will show a higher amount of vegans in the personnel).
  2. A person who does not want to admit publicly that they eat meat or consume animal based products.
  3. A person motivated to restrict themselves from consuming products which are based on or include parts of animals or animal made products, primary because they enjoy to interpret how their diet (and related discussions) affect how others interpret their personhood.

20180111

On route from Turku to Helsinki the train hit a person. It was a loud sound and the train shook. There was only one impact which faded away accompanied by a series of crackling noises. I first thought it was caused by stones on the track. It’s too dark to see through the windows. The train is now waiting for security officials and paramedics. After they take control of the scene we will be allowed to continue. I can see someone walking a dog outside. When it happened I was looking at the Moog Drummer from Other Mother announcement. The police walked past the isle, accompanied by a conductor. I didn’t talk about the incident with the waiter serving coffee. It took 1h 50min to clean the tracks. People sat still on their seats in silence. When we reached Pasila the conductor apologise for being late and thanked everyone for the trip. The way he thanked sounded honest – He was grateful for the behaviour of the people on the train. It was a death train.

34C3 – Humans as software extensions a good presentation by Sebastian Schmieg. Notes on the presentation below (not actual quotes). He also has a solid video online at http://i-will-say-whatever-you-want-in-front-of-a-pizza.schloss-post.com

People extend computational systems by offering their, bodies, senses and cognition for them. This exchange takes place in the The Stack (as defined by Benjamin Bratton) a computational totality of planetary scale, which includes rare earth minerals, data centers, bots and people. In this computational totality even the smallest nodes (people) can be controlled and programmed. Factory workers were extending machines with their bodies, freelance workers have escaped the factory but they have to offer themselves as flexible extensions of the modern media assembly line. Schmieg argues that precious work conditions enforce “Forced Creativity”.

He believes that artificial intelligence will not replace people but it will be used to organize the labor force of people who are forced to work as software extensions. A concrete example are Google’s image recognition captchas (used to teach machine learning algorithms) which have transformed work into such a short tasks that it is and feels like nothing (This is how post work society should be understood). When you try to pass a “I’m not a robot” captcha you do involuntary work.

Schmieg believes that our position as software extensions grants us the possibility to effect how AI systems (etc.) make sense of the world. By feeding false or ideologically motivated material to the systems we can use them for our benefit. I agree and this is the reason I’ve actively added political vocabulary to the Google Docs spelling tools.

A short text remembering Finland’s Red Women (1918) Kristen R Ghodsee.

A 2016 study by a young historian, Marjo Liukkonen, uncovered evidence revealing that the Whites executed far more women and children in the infamous Hennala concentration camp than previously believed.

Afrosuomen historiaa etsimässä, V jakso: Katse tulevaisuuteen (2017) Ruskeat Tytöt. An episode about afrofuturism featuring an interview with Ima Iduozee. Towards the end the presenters recap how it felt like to make the series. It would be interesting to read a etnofuturisticly influenced afrofuturistic scifi story. A group of Afro-Finns fighting for the survival of Finno-ugric culture using magical Nokia technologies. More on etnofuturism and it’s problematic origins: Etnofuturismi suomalais-ugrilaista
identiteettiä rakentamassa (2005) Anne Hyvärinen.

20180108

Performative hybrid interaction: Understanding planned events across collocated and mediated interaction spheres (2018) Matti Nelimarkka. Visiting my brothers dissertation today. He has been researching “performative hybrid interaction” which I understand as a study on what it means when people use digital tools to make agreements. The most interesting question he poses is “Does performative hybrid interaction support normative positions more strongly than face-to-face interaction?” aka. do digital tools tighten the grip normative social contracts have on us. He emphasizes that “… social theories were not extensively used to conceptualize the research problem or to articulate the findings.” but continues that “The computermediated discussion, for example, seemed to support more inclusive participation”. Which is a strong claim if we think about electronic voting etc. (Edit: After the events I can confirm that I didn’t understand anything of the dissertation)

Doctoral Sword Skewer Rotating Stand for Barbecue (Tohtorinmiekka pyörivä grillivarras asete) #☭

Found a Fostex SW-1 for 12€.

20180107

Увидеть огород Вадима и бросить троеборье… Weird and powerful movements with kettlebells and chained weights.

Learning to make viili in preparation of the Neighborizome events.

Updates (8-14.1). Note: Moved the history of a viili here.

Gen 1#

1l fatty milk, 2dl fatty viili (Valio brand) in warm room temperature (22.5°C). Mixed using a blender and poured in six closed jars (jar lids have three small holes for air). Simple and fun.

  • Batch A 12 hours in 22.5°C, 12h in cold. Results: Consistency identical to original viili and taste is great but mild.
  • Batch B 23h in 22.5°C, 7h in cold. Results: Consistency identical to original viili and taste is great, slightly more acidic.
  • Batch C 33h in 22.5°C, 12h in cold. Results: Consistency identical to original viili and taste is great, similar acidity as batch B.

Gen 2#

1l non-homogenic, non-heat-treated and organic fatty milk, poured on top of 2dl of Gen 1# A batch in a large glass container (cleaned with boiling water). Room temperature 22.5°C.

  • Batch 2A 23h in 22.5°C, 4h in cold. Results: Consistency identical to original viili and taste is great, similar acidity as Gen 1# Batch B. (Same taste and condition after ~20h in refrigerator).

Gen 3#

Batch 3A[P]: 1l regular low fat milk, poured on top of 2/3 Batch 2A mixed with cultured buttermilk (Which includes Asidofilus & Bifidus bacteria). Batch 3A: 1l regular low fat milk. Room (also milk and viili) temperature 22.5°C. Batches prepared in heat-treated jars (two lids emit a faint vinegar odor).

  • Batch 3A[P] 23h in 22.5°C, 18h in cold. Results: Consistency identical to original viili and taste is great, nicely acidic but not strong. No trace of buttermilk.
  • Batch 3A 23h in 22.5°C, 18h in cold. Results: Consistency identical to original viili and taste is mild but good. No vinegar odors or taste.

20180102

Enlisted as an unemployed in an effort to collect funds for the upcoming New York residency. I have some savings and gigs scheduled but I need to pull in all available resources to fund the trip (grant applications for Taike and Skr failed).

Guests from Brussels are arriving today and staying for a week in our place. Kids are still on their winter vocation and I can’t work at home.

Neighborizome events are being planned and prepared for 18.1.

20171227

Kettlebell History Goes Back Much Further Than Russia (2016) Nick English.

In 1981, The Official Kettlebell Commission was formed [USSR], which advocated (but didn’t enforce) mandatory kettlebell training for all workers.

Felkar more or less agrees that Pavel’s marketing was extremely influential in spreading kettlebells as a fitness tool. She likens him to Eugen Sandow: he wasn’t the first guy to excel at bodybuilding, but he was a marketing genius who lay a lot of the groundwork for today’s world.

A civil servant missing most of his brain challenges our most basic theories of consciousness (2016) Olivia Goldhill.

Darwin Grosse’s Art + Music + Technology feels like an interesting podcast series. Listened to the chat with Michael Hetrick. Fun and nerdy.

Guerrilla Public Service Redux (~ 2017) a happy story of artist Richard Ankrom’s infra-art activities from 2001. A positive narrative. The same strategies of using uniforms to disguise guerrilla actions are still actively used.

Deep Decay – Into Diachronic Polychromatic Material Fictions (2017) Andy Weir. A difficult but informative text. Deep time Marxism feels like a fresh and fun approach/addition to the discussion. I should continue making melancholic downbeat electro (I’m dreaming of a drum machine).

As philosopher Ben Woodard has pointed out, the radical futurity invoked by the eco-crisis remains largely wedded to an anthropocentric horizon—understood in terms of “our children” and future generations. The deep geological repository, however, embodies not only a call to future generations, captured as a narrative of protection in the film [Into Eternity (2010)], but also a more radical confrontation with the death of human thought, and so its contingency alongside nuclear timescales.

If the more radical futurity of the eco crisis, alluded to by Woodard, can be understood as the further and scientific removal of the human from the centre of the universe, then the deep geological repository registers and deepens this germ of trauma.

The deep geological repository, as site of activity and its operational conditions, presents a specific kind of problem, one that necessitates what Jussi Parikka has called for in a media archaeology that he aligns with art practice, “the investigation of the mineral and substrate materialities as well as the materialities of production, management of global labour processes, and various other materialities that are always entangled”.

Art can be an experimental platform for building multiple “diachronic material fictions” that think the deep geological repository as futurology, excavating its political stake. From one perspective, this is important as artists are stakeholders in an ongoing industry consultation process, demanding critical reflection on what this could mean beyond the instrumentalisation of making seductively stunning images. From another perspective, our understanding of the “contemporary” of contemporary art is subject to traumatic reconfiguration, amplified alongside inhuman scale, refracted through multiple interface methods. Finally, developing the ideas of thinkers such as Parikka, who proposes “concrete and long-term investment in geological times of media as crucial for processes of subjectivation”, we can consider what it means to think production and circulation of these fictions as constitutive of radical, processes of subjectification, opened and cut across by deep time.

20171223

The lower your social class, the ‘wiser’ you are, suggests new study (2017) Michael Price.

They found that people with the lowest social class scores—those with less income, less education, and more worries about money—scored about twice as high on the wise reasoning scale as those in the highest social class.

The findings make sense, [Eranda] Jayawickreme says, as people who grow up in a working-class environment have to rely on shared, communal resources more than people in the middle class, and therefore hone social techniques that smooth out conflicts with their peers.

If you want to foster wise reasoning in yourself, [Igor] Grossmann advises, try to use third-person language when thinking about conflicts. Mentally address both yourself and your conflict partner by name, for example, as it forces you to see the situation as others would see it.

Great news.. Now you can trust that pain derived from class awareness is both real and justified.

20171220

How the baby boomers — not millennials — screwed America (2017) Sean Illing.

Returning from Turku, gave my best effort in explaining Judith Butler’s Notes Toward a Performative Theory of Assembly (2015) to the Neighborizome crew. We had a pleasant chat about it but I failed to nail it. Made plans for next months discussion events.

Made the VCF resonance mod for my Volca Monotron Delay. I’ll test the CV input (via Gate input) too.

20171217

Porin Juhlaviikot performance went well and the evening was very fun. Arma Agharta was the highlight of the festival. He has songs on SoundCloud. Irma Optimisti was fun too. She performed an interpretation of Kimmo Kaivantos drawings. Her work made me think that performance art has an important role in illustrating modern concepts using bodies. Performance artists make sense of art.

20171215

Preparing for tomorrows gig at the Porin Juhlaviikot. I’ll go there today and stay at Jussi Matilaises place. Preparing a piece with techno (Drums from SOW: Blacksmith ed1 – Samplepack), Berlin Wall Distortion pedal, soviet electronic music, shared bodyweight exercises (as presented in Brussels) and a kettlebell. I have a lot of shit to carry with me.

Sonic Reducer circuit by Fredrik Lyxzén seems like a possible pedal build too. Lyxzén is also a musician: Friends in the Force – Rough mix (2013)

20171214

Berlin Wall Distortion pedal is operational, I’m happy – But still hungry and I’m already planning for a new audio effect project (possibly a cold war / Finnlandisierung related filter / amplifier unit). Before I start with a new device I’ll wrap this project properly. Made corrections to the Berlin map/schematic and moved it to OpenStreet map. I’ll remake the circuit board toner exposure / transfer images next week and possibly shoot a video explaining how it works (I’ll use archive.org videos as illustration). I’m thinking about making a cover of Dancing on the Berlin Wall (1982) by Rational Youth.

Homemade Modular Synthesiser explained by nervoussquirrel (the previously noted Geiger counter module also included). The system is dedicated to Ray Wilson.

20171211

The Berlin Wall Distortion build was successful. Unfortunately my schematics had a critical error which took the better part of the day to figure out. All of the components are soldered on the board, potentiometers, buttons and switches are in place. Sounds works but one of the diode pairs is still causing issues. I’ll try to find potentiometer hats tomorrow and attach the window.

Giovanna guided our Neighborizome group as a consultant over the weekend. The discussions were very fruitful and I feel way more confident about the project.

Preparing for Porin Juhlaviikot performances (should be writing texts for it already but I’m too tired due to a day of breathing solder gas).

The Truth about ‘Cultural Appropriation’ (2017) Kenan Malik for ArtReview. Too strong arguments for me..

What is really being appropriated, in other words, is not culture but the right to police cultures and experiences, a right appropriated by those who license themselves to be arbiters of the correct forms cultural borrowing.

20171208

Talks at the Pori Art Museum Creative Commons and Art -event are available online. I’m not fully satisfied with my presentation (this was the first time I talked about copyleft/artistic licensing publicly). A fun day nonetheless. Kimmos presentation was solid and Kalles presentation about Korppiradio firm. The host of the event Anni Saisto gave an interesting talk about her role as an author of museum catalogue texts. Museum workers rarely name themselves and we speculated that this is one reason why museum catalogue/pedagogical texts seldom make strong claims.