ERD/WORM an eurorack module with soil as one of the components announced by artist Martin Howse. He is also running interesting (but expensive) Wormed Voice -workshops in London.
Took part in the independence day protest events with Pietari. We followed the mounted police through the night. The evening was uneventful and I have a hangover.
Preparing my presentation for the Creative Commons and Art seminar tomorrow at the Pori Art Museum.
Forget Wall Street – Silicon Valley is the new political power in Washington by Olivia Solon & Sabrina Siddiqui (for The Guardian)
“Their theory is that democracy is an impedance to capitalism so they need as little regulation as possible”
During the 1990s, In the early days of the dotcom era, internet companies flourished in Silicon Valley by skirting the law, moving fast and breaking things. Such techno-libertarianism was founded on the belief that borderless cyberspace was separate from the physical realm and therefore not subject to the same rules.
[…] Silicon Valley’s tech leaders have a short memory: their companies were built on a foundation of government intervention and public monies.
Born Sexy Yesterday by Pop Culture Detective (Jonathan McIntosh) investigates naive-but-sexy female characters portrayed sci-fi movies and identifies them as fantasies for the colonial gaze. These characters are build on an older, racist narratives about indigenous women and white men. The interpretation feels legit.. In Finland similar characters have been written to illustrate the relationships between urban and rural communities. A male graduate from the city arrives to the countryside and meets with a farmworker girl. The graduate fights of her brutish suitors (often alcoholics) and marries the girl. These stories are not sci-fi movies but they are rooted on modernistic fantasies.
Performed at the Lauttasaari street-party over the weekend. Got on stage after a show by the Moomin characters! Our part in the event was a part of the Neighborizome project we are working on with Leena Kela and Heini Aho (recently announced on the Koneensäätiö website). We were introduced on stage by Anna Talasniemi. Some evidence on the event on Instagram. We found five potential condominium-collaborators to work with.
My Dude mixer arrived to day. I’m very happy with the quality of the sound. It amplifies mic level signals neatly and delivers a balanced stereo mix (almost makes a sm58 mic audible with out a preamp). The over-amplification/saturation sound mixing feature works with rhythmic material, it seems to follow beats (haven’t tested the feedback yet). I guess I’ll make a tutorial on how it works with different audio sources for Pietari.
The only disappointment is that it doesn’t have a separate light to indicate when the device is on (Open lines are indicated with leds). There is a serious issue with channels 4&5 and I’m in contact with Bastl to have the unit replaced/fixed.
Here is a video showing issues with mics and here is a video showing issues with synths (ts & trs connectors). Leoš from Bastl-Help guided me to reheat the contacts in an effort to fix the problem. Unfortunately I couldn’t get it to work. As I was poking inside the mixer I noticed a lot of fast and dirty soldering work – Which was disappointing. Some connections didn’t seem to have any solder in them! I’m now waiting for news on how long it will take to be replaced (the delivery of this unit took two weeks). I need to have the mixer repaired and delivered by 15.9.
Anti-Calisthenics (2017). The workout video of the century! Shared-Bodyweight training as a model for bodybuilding.
Visited Tuomas A. Laitinen Thermoscene exhibition at Sinne. Heard the end of the Biitsi performance. Came too late to form an opinion on the music. The piece we saw with Pietari was some kind of poetry jam.
Interesting experiment with mG2! Made a piano roll in Logic X which triggered samples (through midi) that I chopped from an interview of my grandfather. mG2 can play 6 samples per bank but it accepts program changes to access new sample banks (I think it can have over 60 banks). I wrote program change messages in the piano roll so I could access all of the interview samples through Logic X. I could experiment chopping an interview into samples (which I would keep in the synth) and edit the interview using some kind of (partially automated) drum system. Instead of editing an interview this approach would synthesize the voice of a person. As discussed with Pietari editing an interview can be approached as some kind of narrative-granular-synthesis.
Succeeded in building an almost functional midi clock sync between Automatonism and external midi gear!
Omar Souleyman’s Björk – Crystalline remix (2012) is the future. His new album To Syria, With Love is available on Soundcloud. Es Samra is my favorite so far.
A new episode of Somewhere I’ve Never Been by Steph Kretowicz & Kimmo Modig is available on Mixcloud. Apparently they are publishing each episode through a different channel. I guess it’s fitting to the theme of the book. I’ve enjoyed the episodes so far and I think they should translate it into Finnish and sell it to Yle. The Ableton Live automations on Kretowicz’s voice could be easily used for an actor speaking Finnish. Sari TM Kivinen would have the perfect accent.
All of the episodes of Pietari’s podcast series Pietari K. kävi täällä for Yle are now online. The episode on Kalle Päätalo as a cyborg is particularly fun. Lawrence Lek’s Sinofuturism (2016) is mentioned.
Returning soulfully to Soundcloud with a mG2 fuelled moods.
Major updates at Ore.e Ref. main site (10 years of celebration!). The biggest structural updates are internal: Cleaned dead links, re-organized the folder structure (./media, ./praxis) and relinked files to corresponding .html pages. Also added company staff (Eleonoora Lundell, Päivi Raivio, Hanna Karppinen & Pietari Kylmälä) and reframed Ore.e Ref. as “a public utility company”. While working on the site I found a lot of cute stuff (like a copperplate sale announcement and an attempt to make an interpretation of the company logo from 2011). Also noticed that NO-CHAIR-DESIGN in featured on a top 100 design manifestos list. The site is still missing an announcement of the Meta- Collection. I’ll start working on it during the summer. I guess it will be hosted on the “projects” page.
Got a call from a random English speaking copper scavenger asking if I could buy his 100kg batch. Referred him to Niemen romukauppa and provided him with the addresses, contact details and bus schedules. This isn’t the first time Ore.e Ref. has caused strange enquiries. Once I got a call from Rick DuBois a Sea captain from Imperial Yachts. He wanted Ore.e Ref. to repair a ventilation ring while the boat was docked in Helsinki (Unfortunately Jesse was busy at the time so forwarded the commission to Kylmateras.fi). Ore.e Ref. website might look shady for creatives but it spells P-R-O-F-E-S-S-I-O-N-A-L for people who need of custom metalworks.
Visited Homage 1 at TeaK yesterday. The piece was choreographed by Janina Rajakangas, featured nine dancers and it dealt with emotions. Rajakangas explained that she was exploring dance as a stylized convention for movement which is primed by the dancers desire to portrays emotions/feelings on stage. The approach was analytical. Dancers working on stage presented themselves as emotional teflon by swapping their moods and gestures impulsively. In a dicussion after the piece Rajakangas talked about “tunteet” and “tunteiden esittäminen” but I’m not sure if she was talking about emotions, moods or feelings. The audience (consisting of dancers) talked about the piece using weird vocabulary. They asked Rajakangas if she was interested in “liikkeen laatuisuus”. This apparently meant “the formal structure of movement”. “Kehon laatuisuus” was also to describe specific muscular tensions. People were trying to sort out if the emotions the dancers portrayed were real of formal representations emotions. I don’t know.. Everything looked fake to me.
I read the piece as a critique of contemporary dance. It’s statement was: If artists can acquire emotional-teflon-skills and they truly can swap their emotions on cue or if the dancers can make the audience believe that their emotions are true by using specific gestures… Then it must mean that the emotions they perform on on stage categorically fake or that the audience is gaullable (or crazy).
They want us to use our bodies as keys. Fingerprints and iris scanners open doors.
The Cruel Radiance of What Is course came to an end. My last teaching gig was on Monday but all of the students skipped class! Only 2-4 students attended the course in general so their absence didn’t feel like a protest. People who joined the kettlebell workout were really delighted of the style of teaching I’m currently into. We met with Mikko, Miina & Arttu and two students yesterday for our final joined meeting. We ended up talking chop but the event was fun.
Visited Perfo performance event in Tampere on Thursday. Saw performances by Asko Nivala (a “failed Hannibal Lecter” / meet-is-murder cabaret), Suvi Suvereeni (a very fluid collaboration with Siri the intelligent personal assistant. A low key, personal approach to the technology yielded revelations on how the technology perceives us!), Tuuli Tuikka (an anti-art & anti-capitalism manifest on how nature and creative experiences are commodified. She shredded and packaged a flower into plastic containers) and Joulumaa (a four member noise ensemble doing a faux-ritualistic, holistic noise show. The sounds were too orchestrated for my taste and their stage work came of as flamboyant. I did get to see a 16 channel mixer being used as a percussion instrument, which is a novel sight).
After the festival I chatted with Janne Rahkila about rejoining the Perfo crew for next year. I’d continue working with the streaming system.. I’m hesitant about the gig. I don’t believe in live-video streams anymore. Perhaps I should make interviews of the artists as text and brief synopses of their performances instead. Also met with Timo Bredenberg and we had the last meeting of our “In the Flow” (Groys 2016) reading circle (some ideas in the book are useful but the authors style is too tandy).
I’m now preparing for a grant award event at the Taidehalli. I got a “The Young Artist Grant” from the Finnish Art Society. Also got a techo gig (with a workout theme) for next years Kontula Electronic. I’ll likely be joined by Kristian Ekholm (and Pietari if he finds the time. I haven’t talked about this with him yet). Also got news from Antoine that our Trans-Horse proposal for Signal festival is being processed by the production crew.
Uplifting news all around.
“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.
Bumped into an old video “Love Story for Post-Apocalypse” from 2010, which I made as a part of a theatre video-design project for Antti Manninen. I should make a sci-fi movie!
Currently writing a review of the “Fleshlight™ Freaks! The Alien” sextoy for the Esitys mag. I got it for a decent discount when I was interviewing Eero Meronen of the Yellow Rose sexshop.
I’ll have to remember to send an SMS to Pietari about joining Circus Maximus Association.
Wonder if bright mobile phone screens could be used for the to alleviate seasonal affective disorder.
“Today’s theory demands transformation” (or something like that) cries Groys in “In the Flow”. Last week featured many transformative experiences as we hosted the “Horse and Performance” course for students of the Theater Academy Helsinki together with Pietari. The week long contemporary-horse-culture course ended in a full day of horse-animal-human-exercises, which the eight participants had planned and conducted for our group. The day was long and I lost my bearing on which inputs and ideas were provided by the horses and which were of human origin. During one set of exercises I lost track of who was an animal. Reports and photos of the course are being processed and will be publicised on the Trans-Horse blog during the following weeks. The “Theatre and Dance” magazine will also publish a small text about the course.
Paula published the “The Bat Simulator” video last week (I’m the bat). The video got me dreaming of a new leather jacket. The one on the video was found on the street and has since been broken. Timo has published “Last Worker Standing” which casts an eerie look at the concept of “New Work”. He call it an “Dyst-ironical speculative fiction machinima”. I’m inspired to make a song to accompany the video (A Deep Time Marxistic Étude). Timo’s work would go together with Paula’s recent “Harmaja +10 länsiluode 35m/s” piece presented at Hippolyte gallery.
Playing around with “Deep time Marxism”. I explained the concept to Paula, as being 40% chitchat with Pietari and 60% of the “Dust and Exhaustion” article by Jussi Parikka, with some references to the concept of “Anthrobscene”. I made two educational videos about it. One for grooves and smoothes and the other for seduction and the weeps.
- The Deep Time Marxists of the Future
- Indoctrination to the Arts
We are preparing the “Horse and Performance” course for the Theater Academy Helsinki with Pietari. This time the course will be conducted inside a week which will push as to work even harder than last time (Here are the un-proofread notes of the course).
“Does ‘art audience’ today really only mean people who have an (economic) interest in the art world?” asks Elvia Wilk on Spike magazine. I concur with her thinking but have to argue that she didn’t dig deep enough. Reaching vanilla-art-audiences is common for projects which reject institutional protection and work against status quo (Unfortunately result from such encounters are seldom fruitful). The text makes an interesting observation on how artist deploy non-artist friends as resources: “[…] if you hang out around art people long enough eventually you develop a taste for semi-mutually-exploitative collaboration.”. These processes are evident in the practice of artists like Outi Heiskanen and particularly her involvement with the Record Singers group and the “Bellinin akatemia”. Both group were dependent on non-artist collaborators.
Pietari shared a neat text: “Debt, neoliberalism and crisis: interview with Maurizio Lazzarato on the indebted condition” by Magnus Paulsen Hansen and Mathieu Charbonneau. In the article Maurizio Lazzarato discusses how the 2007–2008 crisis has influenced creditors and how tax-havens force debt to the working class:
“The power of debt in neoliberalism represents a highly efficient mechanism of control and capture, more efficient than the modes of resistance put in place by the workers’ movement. While the latter still focuses on dynamics located within the productive space, power is now exerted on a broader social scale. Hence, there is an asymmetry between capital and the forms of resistance.” “In reality, there is no crisis from the point of view of creditors as they are currently operating a second great appropriation by virtue of capturing the welfare state’s social wealth. […] the principle of redistribution has been preserved, but the direction of redistribution has been inverted.”
In the Finnish art yargon artist are always portrayed as underdogs of contemporary society. This status requires critical reassessment. By claiming an underdog status artists exclude themselves from the responsibility of developing more sustainable systems. I think artist are very powerful and their work has an impact in the city. Losing the underdog status will force us to make claims about the world and open our practices up for critique. We can do this together, so let’s agree on something.
Visited the Sorbus crew exhibition at SIC with Pietari. The audience of the exhibition was a positive mix of elderly folk and kids. The group presented a 30min movie which was a celebration and critique of contemporary yuppie culture. The artwork showed how a group of entrepreneurs search for inspiration from urban countercultures and utilize anti-authoritarian, horizontal organizational strategies for their personal economic gain. The movie was a subvertisement which kept the audience hooked with splatter movie tricks and clean cinematography. I enjoyed the exhibition and the afterparty.
The movie felt like a response to recent critique of Sorbus and SIC, which states that these organization (funded by the Kone foundation and Kulttuurirahasto) inadvertently advance economically liberal values and partake in gentrification processes of developing city areas. The critique presents these organizations as youthful lubrication for liberal city development (Much like the Restaurant days and other startup incubators). Jussi Koitela’s text also portrays these organizations as undemocratic and non-transparent. I think the non-transparency part is true.. I really don’t know how Sorbus or SIC curate their events. I don’t know how to befriend them or even where to meet them.
The way they function is very different from the way the older, national artist union associated art spaces are organized. These organizations elect members by voting and board members can have an significant impact in the direction the associations takes. Unfortunately the Muu Association (which serves performance and media-artists) feels corrupted as it has been run by the same small inner circle for years. But in theory I could join the ranks and work for change inside the system. I would have a better opportunity impacting the Finnish (and European) art scene through Muu Association then I have through any other artist run platform in the world!
What’s keeping me from joining the association? The 70€ yearly union fee? After paying the fee I would be entitled to legal council from the national artist association lawyers and various other benefits (like discounts from local arts and craft shops). Paying the fee would give the opportunity to expand my practice. 70€ cannot be the reason. I guess it comes down to the feel of the organization. Muu Association feels like it belongs to a different era. It feels old.
This debate resembles critique concerning the DIS collective. The question is that can artists appropriate entrepreneurial start-up business strategies (tactical media, sponsored beer & sex) for changing the world and still stay true to their cause. I think that the Burning Man festival commodification process is clear evidence that organizations which fail to establish themselves financially will be squatted by corporations. To remain independent artist organisations need to accumulate their own capital. I think union fees is the best way for doing this. After enough capital is accumulated it could be used to acquire property and to use it to benefit the community. Exhibition in this space would advance communism through an acutely curated program of events and publications. I’d call the space “International Muusicbus Space 2.0”.
Post Ihme-days. Waiting for my talks to come online on their youtube and depressurising from the busy weekend by watching Tron Legacy and playing techno. The KP3 can only play 7s long samples which makes it limited as a sampler.
We got organized with Antti, Pietari ja Timo and formed a study circle where we’ll read “In the Flow” by Boris Groys. I’ve read the intro and first chapter (and build by talk for Ihme-days on that basis).
Called artist Jorma Puranen and interviewed him about a vinyl cover he made 1974. The cover shows the Record Singers group. He was excited to talk about his involvement and confirmed majority of details I had heard about the cover. The way he spoke was inspirational and I also learned how he got to study in Pentti Kaskipuros class. Kaskipuro is a key figure in the post-postmodern movement in Finland. Self-educated but traditional, crafty but spiritual. I had the pleasure to meet him a couple of times.
Got the Artsi museum writing gig. I’ll make a 5 500 character text about Record Singers -group (1973– ) for an upcoming vinyl exhibition catalogue. The museum is planning to show the “Record Singers: ¾ – Johdanto ryhmän esitystaiteelliseen toimintaan.” documentary I made 2012. The writing fee is moderate but there is a fee for writing.
Making c-cassettes for the Ihme-days demo, preparing a 20min speak, baking and having a band rehearsal with Pietari.
Default Comfort. The comfort of using a preset wifi ssid name, sitting in the city center, at a cafe, behind a computer which looks like the rest. Drinking coffee which taste you don’t have to evaluate. Default Core.
Puuuh. Made it. Out of twitter. I feel fucking free but I miss pictures. All I have is text. Entering Ekphrasis mode (As Pietari educated me). I have a e-mail newsletter people can sign up. If more than 10 people get on board I’ll start to sending them out 1-2 times a year.
Also.. Bought a Kaoss Pad 3 for 200€. Looking forward to learn how to work with samples live. Downloaded An adventure by Ella Kiviniemi, which has some nice quotes by urban rider Heikki Mikola. I’ll chop it into bits and trigger the samples from the pad. I imagine I can also use the KP3 for lectures.. In the past I’ve used horse-ambient samples from the computer to build an atmosphere for my talks. The KP3 gives me the possibility to control how my own voice is merged into the ambient soundscape. Saddly I don’t have time to learn how to use it before the Ihme-days events.
Changed eero.storijapan.net/blogfolio/blog to eero.storijapan.net/blogfolio/txt so that this site can be understood as “blog” and “txt” is left for official publications.
Reading “In the Flow” by Boris Groys. We bought the e-book with a group and there are so plans to write a critique of it in some online magazine. The text Kylmälä, Salusjärvi & Ylikangas recently published feels nagging in relation to Groys, who celebrates the event fullness of the contemporary museum.
I don’t agree that “… art in flux is better documented than ever before, and the documentation is better preserved and distributed than traditional artworks”. Because even though people take photos and make videos no one is building an index. A video is not a documentation, it’s spam before someone goes trough the trouble of cataloging it. Cataloguing builds references and context.
If you refuse an “unpaid” gig, you can make a thing about your refusal. If you accept it, you get to do a thing. Every “I refused an unpaid gig” story is the same. Every thing is different.
Leaving twitter is an adult thing to do. It’s about dissolving into the internet, not clogging it with jokes. Time to take the flow more seriously.