If it can be made with a machine it is not work. #ॐ
Making noise is not a strategy (2017) Lanre Akinola.
If it can be made with a machine it is not work. #ॐ
Making noise is not a strategy (2017) Lanre Akinola.
Author Jari Ehrnrooth has written a hostile and offensive text: “Pahuuden kieltäminen ei auta” (Denying evil doesn’t help) and got it published through YLE, our national broadcasting company. The text is using the Turku attacks to target muslims and other religious groups. He claims that the attack in Turku was executed using “Isis-style knife handling” and that “islam is still an authoritarian and expansive world religion, which strictest forms include appalling amounts of mental submission, physical violence and murder”. He continues to speculate about a “righteous terrorist-mother, kissing her little-jihadist, who is send to the daycare center on a be-a-hero-for-a-day event wearing a fake-bomb-vest around his chest – As is happening in Gaza”.
I send a complaint to YLE which is responsible for publishing the text. Ehrnrooth holds the title of adjunct professor in the universities of Turku and Helsinki (he signed his text highlighting the title). I wrote to Thomas Wilhelmsson the chancellor of Hki Uni. and Professor of Cultural History Marjo Kaartinen in Turku, asking them to distance their universities and departments from Ehrnrooth. I got a sympathetic reply but I was explained that adjunct professor is a only a title and that the person is not employed by the university. The message also underlined the autonomy and right to freedom of speech of their researches. This was a weak argument. There is no “free speech” in relations others are targeted based on their religion. #ॐ
Send my Dude mixer back to Brno. Included a short letter explaining the problem and a postscriptum: “Ps. My favourite Czech performance artist is Jiří Kovanda. I’ve worked for an old Finnish lady Outi Heiskanen who had performed with a Czech group called Crusaders’ School of Pure Humour Without Joke in the 70ties. I own a hobby-anvil made from a tram-rail (made in and bought from Prague) and an axe manufactured in “Czechoslovakia”. I’ve visited Brno once, only passed through. Here is a video of me making macho-coffee in Prague 2009.”
What we perceive as terrorism, the terrorist perceive as cry for justice. #ॐ
For a dog, it is itself and a human is like a dog. #ॐ
Accelerationist artists are passive aggressive rats. #ॐ
To jam a home pregnancy test into random stuff until it shows positive.
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
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
There is more in the world then masters and slaves, there is also the world. #ॐ
Roe Hero is my favorite artist from Kemi. He’s been rolling with the K-History and K.B.F crews often performing with Small C. Recently he opened a new youtube channel. K-History and K.B.F videos offer rare views to the city of Kemi. In 2013 I was explained that they are trying to keep Karen culture alive by performing frequently in cities across north and sharing tunes online. Roe had also made backtracks for Karen artists abroad.
Roe and friends are operating as a part of a large hip-hop movement originating from the refugees camps at the Thailand-Burma border. Searches for “Karen hip-hop” reveal a vast networks of artists representing Karen culture and performing in aesthetically similar videos in different locations around the world. The sounds and styles on the videos are unique. K-Culture hip-hop is a mix of gangster-rap/trap tricks and autotune synth pop.
Man finds a Wikipedia article written about him. It says that he is a fictional character. #ॐ
Float like an artists, sting like an institution. #ॐ
The SOW: Blacksmith ed1 metadata .cvs asks for intensive work but I’ll try to have it ready by tonight. Witness evidences of labor online.
Shot video at the Helsinki mounted police crowd control training session in the morning. Inhaled training mace spray and horse manure. Horses marched through smoke and flags were waved. A gun was shot at random. The sun was low and the officers backlit. The event looked like a buddhistic ritual. I was offered the opportunity to join their training sessions with the defence forces. Unfortunately the session will take place on the same day as our Kontula Electronic gig. Morning with the horses and evening with techno. Art, spring, stress.
Dance lessons were fun and intensive. Learned some Pilates movements but hurt my wrist (The pain comes from poorly executed kettlebell lifts and unergonomic phone handling). Mr. Pilates believed that modern work and lifestyles have weakend our bodies and to fix us into shape he develloped the practice of Contrology (know today as Pilates).
During the process of disemboweling charismatic authorities as political organizers – A mass of physical authorities telling us how to live in our bodies has a emerged.
Wonder if there is some sort of Anarcolates out there which would aspire break our bodies? Movement is always relational (to body parts, others and spaces) which makes autonomy as a body impossible. Anarcolatic exercises would attempt to replace current relations with new codependencies. Such new codependencies should be toxic and work to free us from the temporality (history) of the body. Perhaps technology could be used to mutate us! A dancer providing and controlling the oxygen flow of an other with a pump serves as an simplified illustration.
Can I Get An Amen? (2004) & Bassline Baseline (2005) by Nate Harrison (Note: Bassline Bassline circumvents youtube copyright protection algorithms by randomly gate-chopping samples!). Both pieces are fuelled with technological optimism (which in 2004-5 was already nostalgia). Contemporary discussion concerning cultural appropriation are distant and sampling is presented as a expression of an pancultural youth movement which seeks to discredit capitalism, corporate record labels and mainstream artists (The dismay mainstream artist felt over sampling is well captured in this delightful extract from 1988).
Jon Leidecker’s (aka. Wobbly) podcast series VARIATIONS #1-7 (2009-2012) investigates the history sampling in more detail. In all VARIATIONS is a great introduction to 20th century avantgarde music. He begins the series by illustrating how musical notation and sampling are related. These technologies have enabled artists to extract tunes and forms from localized cultural contexts and to distribute them globally, make remixes, to store tunes/forms indefinitely and to re-listen to tunes/forms without social context. Musical notations is as intrusive as sampling!
Leidecker argues that recorded music gave artists, who didn’t have training in notation the opportunity to document and share their culture. He presents jazz as an artform which developed largely through recordings. Early jazz musicians developed new styles to play old instruments and these styles were shared globally through 78RPM recording (Musical notation struggles to capture the style instruments can be played). Recorded music and samplers returned power to oral cultures and traditions. Charismatic performers who were overshadowed by literary traditions could re-emerge and seek out global audiences.
He presents sampling and remixing as fundamental human rights. As methods for organizing like-minded people. I think he argues that the best way to fight cultural stagnation and alienation (under capitalistic conditions) is to embrace sampling full heartedly. Corporate record labels and centralized regimes will always find ways to appropriate subcultures and minorities – The only way we can overturn such developments is by sampling, sharing and remixing. By using technology to disrupt. The sampler is like nuclear energy – We are all affected by it and it continues to define the world according to its logic (as discussed earlier).
I think many contemporary discussions concerning cultural appropriation are steered by a negative reaction to the technology of the sampler. It’s a convenient adversary. It is technology which is designed to extracts cultural signs away from their native context and to remix samples according to a fixed logic (wester time signatures and scales). But when we are discussing cultural appropriation, it is important to understand the difference between the global impact of the technology of the sampler and individual artists who use samplers. Herbie Hancock believes that samplers are tools which allow users to choose if they are used for good or bad. There is nothing intrinsically bad about technology or appropriation for that matter. Copying successful techniques from other could be considered is a human right and we can’t turn back the clock.
The arrival of samplers have changed our cultural ecology and artists who use them for remixes are trying to adapt to the change. Naïve users get blamed for what our sinister technology enables. It is the sampler in its self which subjugates and quantifies cultural signs accross classes and continents. Everyone touched by its logic has been tainted. #ॐ
We cannot stop sampling as a technological approach to culture – But we can use samplers to connect to each other. Acceleration is the best route for action. We should confront each others and not allow fear to hinder our efforts. Gianni Motti’s HIGGS, looking for the anti-Motti (2005) is a cynical artwork. He should have run together with someone, so that they would have collided and exploded into previously unseen particles.
Samplers are not against local cultures. They are against the world. In the wrong hands samplers are paving way for a granular future, where we cease to form relations to other cultures and only form relations to technology! As Topi discovered, people who use Tinder are actually in relationship with the application and the casual human encounter they engage in are irrelevant for the application developer and the emerging Tinder-culture. Sampler technologies are here: Embrace the possibilities they offer.
I hope the SOW: Blacksmith will manage to build bridges between new and old professions and classes. Designers make techno on their free time… By using samples extracted from the sounds of work of the craftsperson, they can alling their (rhythmically moving) bodies to the the reality of the labor force. We are in this together.
Don’t hope – Make #ॐ
“Open to all, 24 hours a day, seven days a week, the participatory performance will be live-streamed continuously for four years, or the duration of the presidency.”: http://hewillnotdivide.us
Finnish food culture is post-human as we mainly consume processed substance to maintain work efficiency. Food is a means to an end. This is usefull in our preparations for the post-apocalyptic future as processed food are more sustainable then handcrafted cuisines! When food is produced in large batches it’s difficult control it’s taste but it is way more energy efficient to produce. Force-feeding industrially produced canned shit like maksalaatikko for kids in schools and workers in public institutions for the past 70 years has changed us into post-cousine beasts. The dystopian view of human survivors eating dog food in nuclear fallout shelters is our reality. We’ve been eating military rations since 50ties.
The meat products we’ve grown accustomed to contain very little meat and will be easily replaced with proteins from plants or insects. Popular frozen-pizza brands have already replaced cheese into compressed wheat products. No one can tell the difference. Finn’s are well suited for life on a space-stations, orbiting earth while we wait for the dust to settle. Advanced cuisine-cultures will have a harder time adapting to upcoming droughts and other struggles which will make fresh foods into a rarity. An enjoyable taste in food is a luxury we cannot afford.
The moment when you ponder, is claiming a Google account in your childs name intrusive or a rite of passage which should not be interfeared by the parents.
If life is about money, businessmen are the best leaders. #ॐ
Donald Trump is a politician of the attention economy age. He is an attention politician much like Putin, Berlusconi and Stubb. Such politicians work to convert national stereotypes into political dogma. They are nouveau-nationalist. Putin uses stereotypes associated with street thugs in drafting Russian foreign policy, Berlusconi used Machiavellian macho-culture to keep Italy in the focus of EU and Stubb went for sports to pave way for fund cuts on education and universities (conducted by the Sipilä administration).
Every Finnish media outlet is packed with news about Trumps presidential journey. USAs political efforts of becoming the centre of the world are working out well. Everytime Trump is mentioned our attention to local politics, the politics we could imagine to affect are hindered. Our imaginations are captivated with contemporary North-American mythology. He is a tool selling the American dream.
Democracy is being blinded by nouveau-grand-narratives (best illustrated in the the MacGyver reboot). Every sentence spend on Trump is a sentence lost from the critique of the Sipilä administrations neo-liberal shenanigans.
“Don’t work for the job you have. Work for the job you want”. (2016) Pietari Kylmälä. #ॐ
Joined “Amen 2” launch gig at Konepajan Bruno by Anthonys invitation. The album is the second instalment of Mikko Joensuus Amen trilogy which is published by Svart Records. Amen 1 concert at the St. John’s Church left a good expression. A sample on soundcloud offers a glimpse to the massive sounds.
Guitars glimmering and people crying. A group of young men were talking about the moment they felt the touch of god for the first time (at home while watching TV). The gig felt more produced than the first concert and unfortunately the flow of individual songs came off as repetitive. The tones were made to shed tears. Anthony was playing Prophet 6 and singing.
There was a special guy in the audience. People shot video of the events highlights (visuals were a bit dull). Suddenly this guy lifted his hands and posed in a gesture as if he had a phone between his hands. He kept his empty hands in the pose trough a song and made a mental recording. This made very one shooting video look ridiculous.
Joined the “Paikan tuntu – Kohtaamisia unohdetuissa tiloissa” book lauch at the Orion movie theatre. Antti Möller who edited the near 200 page book hosted the event. He invited artists and people who had partisipated in various events of the three year long “Paikan tuntu” project on stage. The project and the event are organized by the Union for Rural Culture and Education and the book published be their sister organization Maanhenki. Möller interviewed myself and Hanna Johansson newly appointed Professor of Contemporary Art Research of the from the University of the Arts about how the role of artists has changed. Johansson has written a short text on the matter for the book. Her text is a cry for more serious strategies for cultural organisations and more challenging artworks (But it’s disguised as a celebration of the “Paikan tuntu” project).
Möller invited Marjo Priha on stage in behalf of the Helsinki Zoo organisation and asked her how had the artworks (made at the zoo over the course of the three year project by some 150 artists) had effected the site. She replied that she had come to understand that: “The skill of looking at things you don’t understand is skill which is best trough artworks” #ॐ. After the talks we watched video documentations of the project on the theatres big screen. My short about Päivi Allonen looked good and the audio worked too. It was zoomed to 4:3 size but served well. This was the first time I got to see my Panasonic GH3 footage I had shot on a big screen! With proper color grading it would serve even better.
Bought 100% cotton jeans and I have to learn how to stretch them.
Interesting text about the political-body-building in dance “Expressed in Fits” by Rachel Elizabeth Jones: “[…] the everyday traumas of racism, classism, and sexism live, at least in part, in the body; and the physical release of that trauma through dance is redemptive”.
Learning about choreographer Jérôme Bel after Pilvi’s recommendation (The Kettlebell Choreography I guided for her at NPTurku entitled me to call myself a choreographer, so I have to learn the ropes). “Step-by-step guide to dance: JB” on the Guardian gives an overview of his practice and in a lecture “About ‘The Last Performance’ (1998) 1-4” the artist discusses the development of his “The Last Performance” piece from 1998 in detail. The themes of sampling and recycling as a basis of artistic production (or un-production) are appealing and I comply with his thinking. In an other short video were he talks about his practice “Rehearsal Matters interview with JB” he comes off as a rigid and flamboyant artist persona. I don’t agree with his definition of improvisation being “an attempt to free oneself”. I’ve always seen improvisation as a tool to illustrate the confinements we forced to comply with: Improvisation is about articulating confinements and vocalising the ideological positions sites/situations encapsulate us into. Trough improvisation we can see the boundaries of the working body. His rigid view on improvisation is in alignment with conservative and craft orientated mindsets of orthodox-artist, who search for a canonised and mystical order trough styles and beats (I’ve come to understand that Hip-Hop is a conservative cultural movement. Sampling is a form of prayer).
Copying what others have done can be the most effective way to make something new. #ॐ
Grey Cube Gallery documentations are completed! Fixed the Italian-to-Finnish translations with Viivi yesterday and send my final invoice to the Union for Rural Culture and Education. My favorite artist presentations was by Päivi Allonen and I also enjoyed taking with the Helsinki Zoo staff. During the summer Honkasalo-Niemi-Virtanen collectives residency documentations were cancelled but I’m overall satisfied with the project.
A lot of interesting ideas concerning the relations of animals and public institutions came up during the Zoo staff interviews but these complex talks didn’t make the final cut. I’ve written some down under the tag “Animals in the City“. The idea that the sites primarily goal is to build awareness of animals as individuals was build up through director Sanna Hellström interview. The Bear Castles that hosted the art exhibitions and events are now left unused and if someone is interested in presenting stuff there they should contact Katri Houtbeckers from the Zoo.
Helsinki Zoo staff and festival documentations:
I’ll meet up with the Union for Rural Culture and Education on the 26th for the “Paikan tuntu” book launch at the movie theater Orion. I was interviewed for the book by Antti Möller.
Visited “Suburbia – Lähiöperformansseja” exhibition by Antti Ahonen and Katri Kainulainen over the weekend. Came too late for Siiri Nevalaises after party piece but got to hear KOELSE drone noises. Many of the exhibition pieces were faux performance documentations and there was a tad too much repetition (Some photos from the exhibition available online). The photos mimicked street fashion looks and presented a hardcore-nostalgic view to the suburbs. Katri and her friend posed semi-nude in rough concrete surroundings. Unfortunately the contemporary fashion industry produces heaps of similar (and even more disturbing) imagery and styles present in the exhibition came off as rip-off’s of Vice magazine covers.
The fashion industry has appropriated the visual cues of performance art! The disturbing documentations such as Carolee Schneemann’s “Interior Scroll” (1975) has been normalized trough Vice magazines commercial interests in the niche and the perv’s. The best way to rebel against these processes is to produce documentations which look boring!
Had an interesting chat concerning photography workflow with Antti. His archive on flickr is packed with performance art, street art etc. event documentations and artworks. The huge cultural heritage collection he has build has been made intuitively. He does not “waste time” with color correction (he’s colorblind) and he trusts the camera’s/computers automatic sensory. This approach alleviates stress and enables him to take on performance documentation gigs rapidly.
Sometimes the winning move is to renouce the fight. #ॐ
Finished my article “New Material Intercource” regarding contemporary sex-toys and their impact on the environment and our sexual expression. It’s currently being edited by Tuomas Laitinen and it’ll likely come out before Christmas in the Esitys-magazines Masturbation-edition. I draw nifty pictures to accompany the text. The illustrations are available on Openclipart: New Material Intercourse – Clipart collection and they are licensed for unlimited commercial use! The text echoes the “handicraft-ethical / future archeological” thinking we’ve developed over the years through various Ore.e Refineries activities. One slogan we’ve deployed with Jesse was: “The future is decided with hands” and the “New Material Intercource” text takes this statement literally.
Watched and appreciated “November” (2004) by Hito Steyerl. The movie convinced me that narratives are a thing of the past. At time artist were trained to produce counter-narratives in an effort to voice out opinions of the oppressed. I’ve now come to understand that the problem is with narrativity itself. Every narrative ground events in to mythological continuum.
Every story, tells the story that there is a founding myth. #ॐ
Met with Päivi Raivio and I agreed to join her “Rescue Museum” events in November. I’ll possibly be working to salvage personal digital heritages of unknown Facebook users.
Met with Pilvi Porkola and went through my participation in her upcoming show for New Performance Turku. I’ll be using a kettlebell and making techno on stage with her.
If you want to change the world with art, the first step is to change the art you make. #ॐ
The trade embargo on Russia has an impact. The quality and availability of fresh fruits and vegetables has deteriorated.
Build a handle for my dremel-tool with Jesse’s help. We attached a steel rod to a big nut, which fits the dremel’s front tip threads. Also shot a short movie about 3d-printers.
Thinking about the artists who hide their depression into poor art. #ॐ
If a band consists of only multi-instrumentalists it’s not a band. #ॐ
All sampling is a form of cultural appropriation. The technology used in sampling superimpose a worldview that everything can extracted from their context, scrambled and reused. Sampling has nothing to do with samplers – Sampling is an approach to others. It’s musical roots are in notation which was a technology used to appropriate gregorian chants and folk art, all for the service of centralized regimes.
Samplers serve the modernist status quo. They are anti-taboo and make a mockery of religious and cultural orders which maintain their ethos by disallowing remixing. Samplers serve capitalism. They flourishes on the idea that nothing is too holy to be chopped to bits and resold in new packages. Samplers are totalitarian, you are either all in, share everything or get marginalised.
The remix-culture does not give a voice to the oppressed – It is extracting voices and compiling them to samplepacks and styles that can be easily analysed and controlled. The profits gather to an elite which benefits from having access to a quantized, processed and simplified data.
The open source, copyleft movement only benefits silicon valley. Besides the big companies, only open source evangelists make profits from open source. Majority of the people making profits speak English. Technology is not shared for free, it is distributed to subjectivity users. Richard Stallman drafted his manifestos in the same universities that innovated the musical sampler technologies.
Samplers serve a conservative cultural movement which stores, categorizes, appreciated and remixed iconic sound. Samples are a mockery of nature because they cling on the past. The museum is the ultimate sampler.