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.


Read a speech written by Päivi as “a man with a moustache which looks like the moustache of Kyösti Kallio” at the RaivioBumann (Raivio & Daniel Bumann) Hiljainen vieras / Silent Guest event. The performance was a part of Patsastellaan: Parties for Public Sculpture series organized by James Prevett (Taideyliopisto). The role of being just an actor/speaker felt nice.. I wasn’t as nervous as when I perform my own material.

Bought a Bastl Dude mixer for the upcoming Childrens Techno workshop (Teknomuskari) in Turku (NPTurku covers the expenses!). The mixer can also be used in Brussels next month. Made a website for our upcoming show wheredoyouwanttogofromhere.com. The Brussel gig is causing a lot of stress.. The recent attacks in Barcelona and Turku are adding to the mix. Working with horses is stressful, working with people is stressful and working in public spaces is stressful. To top it off, we are drafting strong arguments concerning the changing nature of public space (in relation to recent attacks) and framing climate change as a weaponized method of colonial dominance.

The booklist we’ve selected as our framework requires intensive learning. We are studying classics like Foucault, new material from Butler, new materialism/anthropocene inspired texts, the history of horses in European cities, re-reading Hribal and Eyal Weizman’s theories concerning the Arab Spring (The Roundabout Revolutions, Critical Spatial Practice 6, 2015). Majority of the text deal with infrastructure and how urban structures serve as authors of the modern self-regulating subjectivity. The texts (even the history of the horses) are centered around the concept of public assembly and examining how the concept of “the people” is build and used.

I guess part of the stress is caused by the indoctrination of these texts. Changing is stressful.. And I guess developing as an artist requires constant change.


Arabic Pixel v0.9 open source font by Alex Clay a game dev from Syria.

Jason Hribal on Which Side -podcast (2016) fighting for animals as a part of the working class and making very provocative evaluations touching the Black Lives Matter movement: “Animals have a voice through resisting. […] I want people to be angry and not feel pity for animals. […] Movements require a lot of energy […] Poverty transcends race“.


Selected 36 samples from the SOW: Blacksmith sound pack which I think are fitted for granular synthesis using the microGranny 2 (Found a good guide for mG2 sample workflow on Muff Wiggler. Also discovered a decent macOS utility NameChanger). I plan to prepare a horse sound selection which I can use as an acoustic element during Trans-Horse lectures (as seen in Pori 2014). Made a some small updates the SOW site.

Edits with FCPX are progressing slowly. Navigating between the viewer and timeline using keyboard shortcuts makes me feel like a pro.


A discussion I witnessed between a group of youngsters and the mounted police force. The situation felt like a hobbyist summer theatre play. The situation escalated slowly to the point where one of the youngsters spat on the face of an officer. They were caught for allegedly making a tag on a wall. I’ll continue documenting the activities of the police (horses) tonight.

Anarchist 1: Fuck, you want me to shoot you?! [Long pause] I’m fucking shooting you with these words!
Anarchist 2: Stop pressuring him!
Anarchist 3: Hey! What is happening here and why!
Anarchist 4: Man, man, man! You are all the fucking same! Bitch!

Migrating to Final Cut X as my full time editing program (pulled the trigger on an education bundle of macOS software for my new iMac). Feeling frisky while snooping through tutorials. Trying to set up all of the Trans-Horse media files (from early 2014 onwards) and so far FCPX is feeling like a good choice, it mixes media management as a part of the creative process. FCPX makes tagging​ clips into content creation. I have to invest in new hard drives (I’ll possibly start with a pair of Seagate Barracuda 2 TB 64 MB 7200 RPM 3.5″ SATA III 6 Gb/s). Unfortunately my hard drive docks only work with USB 2.0.. But I can already feel a big boost in speed (I guess the system manages data more efficiently). 

Notes on working with Adobe Creative Cloud (Reddit1 & Reddit2, G-Drive1 & G-Drive2)


Flying to Brussels to meet horses inregards of the Signal festival.

Judith Butler’s book Notes Toward a Performative Theory of Assembly (2015).

“The people” are not a given population, but are rather constituted by the lines of demarcation that we implicitly or explicitly establish.

If performativity has often been associated with individual performance, it may prove important to consider those forms of performativity that only operate through forms of coordinated action, whose condition and aim is the reconstitution of plural forms of agency​ and social practices of resistance. So this movement or stillness, this parking of my body in the middle of another’s action, is neither my own nor yours, but something that happens by virtue of the relation between us, arising from that relation, equivocating between the I and we, seeking at once to preserve and disseminate the generative value of that equivocation, an active and deliberately sustained relation, a collaboration distinct from hallucinatory merging or confusion.

[…] we have to ask whether​ it is right that verbalization remains the norm for thinking about expressive political action. Indeed, we need to rethink the speech act in order to understand what is made and what is done by certain kind of bodily enactments: the bodies assembled “say” we are not disposable, even if they stand silently.


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.


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!).


Met with Maria Oiva for an interview concerning her Digi-artist venture. She is going to blog about the discussion.

Learning about Tania Brugueras’ “Useful Art” concept from Claire Bishops’ book Artificial Hells (2012). “Useful Art” feels fitting to Trans-Horse activities (even better than “Maintenance Art”). The chapter “Conclusion” (pg. 275) is really good to read. I don’t agree with her critique of participatory art.. Art/Education/Activism is not about my relationship to the Other but about Our relationship with the world (the horse). There is more in the world then masters and slaves, there is also the world. The text is filled with useful quotes such as: “Critical pedagogy retains authority, but not authoritarianism”.

The first, and perhaps longest running, pedagogic project of the 2000s was Cátedra Arte de Conducta (2002–9): an art school conceived as a work of art by Cuban artist Tania Bruguera (b.1968). Based at her home in Havana Vieja and run with the help of two staff, it was dedicated to providing a training in political and contextual art for art students in Cuba. […] she wished to make a concrete contribution to the art scene in Cuba, partly in response to its lack of institutional facilities and exhibition infrastructure, and partly in response to ongoing state restrictions on Cuban citizens’ travel and access to information.

Strictly speaking, Arte de Conducta is best understood as a two-year course rather than as an art school proper: it was a semi-autonomous module under the auspices of the Instituto Superior de Arte (ISA) in Havana. Students didn’t get credits for attending it, but the institutional affiliation was necessary in order for Bruguera to secure visas for visiting lecturers.

The school, like many of the student projects it produced, can be described as a variation on what Bruguera has designated as ‘useful art’ (arte util) – in other words, art that is both symbolic and useful, refuting the traditional Western assumption that art is useless or without function. This concept allows us to view Arte de Conducta as inscribed within an ongoing practice that straddles the domains of art and social utility.

Freire maintains that hierarchy can never be entirely erased: ‘Dialogue does not exist in a political vacuum. It is not a “free space” where you say what you want. Dialogue takes place inside some programme and content. These conditioning factors create tension in achieving goals that we set for dialogic education.’ In other words, critical pedagogy retains authority, but not authoritarianism: ‘Dialogue means a permanent tension between authority and liberty. But, in this tension, authority continues to be because it has authority vis- à-vis permitting student freedoms which emerge, which grow and mature precisely because authority and freedom learn self-discipline.’

[…] a single artist (teacher) allows the viewer (student) freedom within a newly self-disciplined form of authority.

Pedagogic art projects therefore foreground and crystallise one of the most central problems of all artistic practice in the social field: they require us to examine our assumptions about both fields of operation, and to ponder the productive overlaps and incompatibilities that might arise from their experimental conjunction, with the consequence of perpetually reinventing both.

[Rancière] argues that in art, theatre and education alike, there needs to be a mediating object that stands between the idea of the artist and the feeling and interpretation of the spectator: ‘This spectacle is a third term, to which the other two can refer, but which prevents any kind of “equal” or “undis- torted” transmission. It is a mediation between them, and that mediation of a third term is crucial in the process of intellectual emancipation. […] The same thing that links them must also separate them.’ In different ways, these philosophers offer alternative frameworks for thinking the artistic and the social simultaneously; for both, art and the social are not to be reconciled, but sustained in continual tension.

We need to recognise art as a form of experimental activity overlapping with the world, whose negativity may lend support towards a political project (without bearing the sole responsibility for devising and implementing it), and – more radically – we need to support the progressive transformation of existing institutions through the transversal encroachment of ideas whose boldness is related to (and at times greater than) that of artistic imagination.

Send a job application to the National Gallery (in Finnish). In short I propose Kettlebell training sessions next to the collections of national art:

“Haluan ohjata Ateneumin suomalaisen taiteen kokoelmanäyttelyn yhteydessä kahvakuulajumppaa. Tämä ei ole vitsi. Harjoittelun myötä opitaan liikkeiden perusteita (turkkilainen maastanousu, yhden käden tempaisu) ja saadaan fyysisen toiminnan kautta ainutlaatuinen ote taiteeseen. Intensiivisen jumpan ohessa katsomme valikoituja teoksia, keskustelemme niistä ja kuulemme teoksiin liittyviä puheenvuoroja. Olen tehnyt kahvakuulan kanssa taide-esityksiä vuodenpäivät ja käyttänyt sitä myös taideopetuksen työkaluna (Maa-taidekoulu 2016, Kankaanpään taidekoulu 2017). Intesiivinen fyysinen harjoittelu avaa taidetta eri tavalla kuin passiivinen käyskentely. Minulla on alustavia suunnitelmia kuinka työskentely kannattaa toteuttaa. Toimintaa olisi johdonmukaista käynnistää esimerkiksi työn-teemoihin liittyvien näyttelyiden yhteydessä. Toimintaan on myös referenssejä maailmalta (mm. Metropolitan Museum of Art on järjestänyt liikunnallisia taide-esittelykierroksia). Tässä ehdotuksessa on kuitenkin kyse syvällisemmästä yrityksestä hahmottaa taideteoksia, kehoa ja museota.”


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.


Followed the mounted police force of Helsinki trough the independence day rallies. Eight hours in minus five celsius weather and I only got one decent shot of the horses. A pair of geldings grooming each other, yellow back light and police lights reflecting from their facial armor plexiglass. The nationalist “612 freedom rally” was an eye opener.. Bigotry is winning.


Visited Hybrid Matter symposium at TeaK last Thursday. Jennifer Gabrys gave a talk concerning animals as sensors. She referenced projects that had embedded animals with sensory technologies to collect data on weather conditions, migration routes etc. The approach is of interest for our Trans-Horse project. We’ve investigated the possibility to set the horse’s views and environmental requirements as a premise of urban planning in hopes of crafting more environmentally engaged and versatile environments. Gabrys approach was critical and she argued the majority of animal aided data is used to confirm human perceptions. She is currently working in a project called citizensense.net. Her talk gave me the idea to use the horse care-journals of the Mounted police of Helsinki as data to study city development!

Steen Rasmussen gave an interesting talk about BINC economics (bio-, info-, nano- and cogno.). His talk was a useful reminder of the historical importance of the middle class: The empowered, wealthy and democratic middle class of the last century was a unique historical glitch and automation of labor is it’s biggest threat. He was optimistic about 3d printing and other “new” manufacturing technologies and urged the audience to engage with new technologies open mindedly. Unfortunately many new technologies categorically renunciate agency of the makers. This renunciation is embedded in modern worldviews – Factories and 3d printers are equally bad! There are no new technologies.. New tools fuel the same old colonization. After the symposiums I came across the concept of Critical Making which I’ll have to study more. Critical Making seems to fit many Ore.e Refineries projects neatly.

On Friday I joined a dinner organized by the Union for Rural Culture and Education. The dinner completed my involvement with the Grey Cube Gallery project. I was seated next to Päivi and sound artist Petri Kuljuntausta. Kuljuntausta was kind enough to share field recording techniques and motivated me to continue with sonic experimentations. We talked about the Ihme audio-guide project I completed last spring and he had some ideas on whom to contact concerning the future of the project. I had to leave the dinner early as I rushed to Turku. On the buss I read some of Kuljuntaustas texts on sound art. He has used a KaossPad in his live setup.

In Turku I met with Jesse and we made 232 separate machine/tool sounds and two binaural recording at his smithy (The binaural equipment is on loan from Circus Maximus). The recording went as planned and we worked on site for eight hours. The majority of the sounds are high pitched and we’ll possibly make additional recordings next year. Jesse had the idea of fitting the smithys floor with piezo microphones, so that we could hear the bottom end sounds. We’ll likely call this sample-pack “Sound of Work: Blacksmith vol.1”. I’ll demo the sounds for Jesse next weekend.

I’m meeting students from the Kankaanpää Art School online this week to discuss their upcoming graduate exhibition and art projects. Also met with Antoine Pickels concerning possible Trans-Horse engagements next year.


Burning Man at Google lecture by Fred Turner explains how companies like Google foster (and capitalize) creativity and a sense of community using architecture, mailing lists and other nasty schemes. Turner argues that engineers and coders are the primus motors of social change and culture (like artists and poets were in the past). The talk makes it easier to understand what artist/facilitators like Andrew Gryf Paterson are after with their work- and talkshop activities. Technology (and art) is a tool for social (re)organization. It is made and used to express desires. The talk also discusses the growing role of self-reliance (and how survivalism is related to it). “Vocational ecstasy” (Ideological work) is also an interesting concept. It describes a creative mode people can arrive to when working in teams on creative tasks. Individual egos fade away through joined unpaid labor and participants feel transferred something else (work on modular technology is key in the experience).

I’ve been trying to motivate myself into editing Horse Porsche Show documentations I shot with Hanna. Also contacted the Workhorse hobbyist association in regards of their winter forestering workshops. Trans-Horse activities are progressing slowly and I’m having trouble with setting goals for next years activities. The funding I’ve managed to accumulate is not adequate for building collaboratory schemes together with professionals in the horse-community. Making mere representations (videos, texts etc.) of their work and horses feels boring.. Particularly as the reception of our “Come Together, Leave Together” (2015) movie was so lame (We didn’t get it into any festival screenings in Finland and it’s been rejected from the YLE (Uusi kino) programming too). We got positive reviews from peers and horse culture collaborators but the movie has failed to reach audiences through mainstream channels.

Alex Schweder continuing on Performance Architecture (lecture).


Visited Susanna at the Etelä-Espoon ratsastuskoulu and she took me for a ride around the pond. Worked with the horse Emma and got my muscles sore. We did some stable work and discussed the technicalities of introducing horses on stage. Had a nice moment with the Awaited Son too. For the evening I went to the Helsinki International Horse Show with Hanna. It was a boring sports event merged with a cheap horse gear and accessory sales event. Food was bad and beer was expensive. Shot video of the event and I’ll make a post about the event for the Trans-Horse blog.


Videos of Antti Salminen investigating how art is going to change as we run out of oil, Eeva Anttila presenting dance as the ultimate post-fossil artform (she’s arguing in a modern fashion) and Jesse Sipola living the dream.

Learning “The Theory of Affordances” by James J. Gibson (The Ecological Approach to Visual Perception, 1979) in an effort to understand how animals change the way we perceive our surroundings. As we learn to work with the animal we are granted new “affordances” to the environment and collaboration between horses and humans build habits which benefit both species. Jussi Parikka cites  J.J Gibson in his “Mutating Media Ecologies” (2015) article. The controversial concept of Niche Construction also offers interesting routes for investigation!

When investigating affordances I found a funny fitness project by Anne-Marie Skriver Hansen “Bringing Performance Art into Everyday Life Situations“.


We met with the “In the Flow” reading circle last evening. Quotes to remember: “…Russian avant-garde art was not directed against the status quo, against the dominating political and economic power structures. The Russian avant-garde of the Soviet period was not critical but affirmative…” Groys on postrevolutionary art in Russia and “Only dull and impotent artists screen their work with sincerity. In art there is a need for truth, not sincerity.” by Kazimir Malevich.

I’ve wasted another day working on the Weird Sound Generator. Replaced every capacitor, added ribbon pins to the wires and resoldered them on board. Double checked the resistor values and pulled out some resistors for testing. Eventually replaced the CD40106 chip.. This returned the voice B Osc.2 but voice A Osc.2 is still missing. I had two chips to begin with and I might have damaged both. During the resoldering session I noticed that a capacitor had been missing a connection from the beginning (because the double sided circuit board I’ve etched is missing connections between sides) and I might have short circuited both chips at some point. I’ll acquire a new chip at some point but I’ll start working on the case now. Working on the board is addictive.

Contacted the Theatre Academy of Helsinki concerning our “Horse and Performance” course which is planned for next fall. They seem excited about our course and apparently students are eager to join register.

Idea: Attach a piezo mic (with a preamp) to hammer and broadcast the audio through the Raspberry Pi radio transmitter (on FM 99.0).


Tampere Sokos Hotel Torni is has kitschy interior decor. They’ve combined raw concrete, naive illustrations of trains and pastel color panels shaped like the silhouette of the city. There is an ongoing art exhibition in the lobbies. The Tampere Artist Association has organized a selling event. Rooms are fitted with prints customers can buy. This room has one by Janne Laine. I have to ask if he’s had sales.

Working on a grant proposal for the Arts Promotion Center Finland. I calculated I have a 2-6% chance of getting a grant. My chances are further lowered as I got a 5 month project grant (8000€ -Insurance ~1200€ expenses) last year. They have a “fairness policy” which aims to distribute the funds evenly. The same artist is not likely to receive funding on consecutive years – No matter how good the project is and how well it has been received. This feels silly. When you get a project rolling they should push it further, but they cut your funding instead.

I’m re-using an old proposal we made for the Trans-Horse project. The Art Promotion Center guides applicants to apply for 1, 3 or 5 year projects. Which is why I’m making a 5 year project plan. I can apply for 1 and 3 year funding with the same paper.

What toggles how the brain samples information? Some data is clearly overdubbed and other re-written.

I think spam is a radar system of a sorts. It’s send through networks in intervals and where the areas where data gets clogged indicate the outlines of protected computer networks.