20190209

Successfully built a Music Thing Modular Turing Machine Mkii and its Volts expander (which indicates faults in the assembly). Only four steps of the expander produce changes is the voltages which indicates bad solder joints, a problem with the 4015 chips, an issue with the clock input (using Ginko Synthese LFOv2), the pcb or something else. Checked all of the solder joints but they look good. I’ll have to get new chips, reheat all the joints and try again. The issue seems common and similar behavior is described on a Muffwiggler thread. Forgot a 10k resistor from Volts, soldered it down and everything works no!

20190203

Gigantic advertisement screens feel offbeat in Helsinki. I just witnessed the giga-screen of Musiikkitalo blasting adds against the gray Kiasma walls. One cyclist passed their confrontation in the rain, leaving the remaining snow glimmering alone in neon colors. Amos Rex mega-screen illuminated the entire empty plaza.

Below is an extract from an interview of Agnes Denes, conducted om the 5th of Oct. 2018 at the artists studio in Manhattan. I transcribed the 48m interview yesterday on the artists demand.

Agnes Denes: My poetry became haikus. Because the language was a restriction, so the haiku was an.. Well, not easier mode of expression, because it had restrictions but I wrote many haikus and then I buried them.

Johannes Heldėn: ..as a part of the Rice bur..

A: I buried all the writings and I tried desperately to remember my haikus because they were beautiful but I kept no copies. I wanted to divest myself of something that I loved, to get something back from soil.

J: That’s very beautiful.

A: I wanted to give it, to get. And there was one haiku I tried to remember.. And I can’t.. But I can tell you what it was. I was sitting in a fog, next to water and the fog descended on top of the water. And a mosquito landed on my arm and the haiku was that, the mosquito knew it’s platform but I lost mine.

J: Oh, that’s beautiful. I love it.

A: Isn’t that gorgeous?

J: It is!

A: And I can’t remember it, the haiku.

J: To be honest, when you are describing it like this and there is also the idea of the haiku but we can’t hear it, I think that makes it even more beautiful.

A: The mosquito knew my skin was its platform but I lost mine, because the fog descended on the water.

J: The haiku is lost, there is a beauty to that too

Eero Yli-Vakkuri: I’m now thinking about the Tree Mountain, there is this strong scent of death, somehow in this work. A feeling of getting lost, somehow. Am I interpreting it correctly, that there is like a sense of.. A sorrow of death?

A: Of what?

E: Of death.

A: What’s the word?

E: Death.

A: Death, like dead death, like as in died?

E: Yes.

A: So how does that come into this?

E: I don’t know it came to mind when you were talking about that haiku. Sort of these forgotten memories.

A: Oh, the giving things up.

E: Putting.. Stuff to the ground..

A: Jeah. Ok. So, ask the question.

E: There is no question, perhaps. It was a short..

A: There is no question but you want an answer?

[Laughter]

J: That’s a good quote. That’s a pretty good quote.

E: That’s my life.

20190128

SOW Blacksmith ed.1 spotted in the wild as a part of a Novation Circuit Sample Set! Some new entries in the Freesound.org comment page on the collection too. Feels really good to see the pack in use!

Ordered parts for a second Lorre-Mill uTone building session (more on that later – Planning to attach the unit to a 42hp blank eurorack panel). Also got parts for a PMFoundations Clock Divider (Eurorack PCB set). I now have an elementary set of modulation tools in the works. I’ll start compiling the units next month. The uTone will likely be build at Oodi. Odered parts from Digi-Key on Friday and they are already in Helsinki!

Saw dance works at Zodiak. Mira Kautto: Station to Station to Station was a faux-one-person-techno-party, framed as a reminiscence of the traces that past performances had left in the dancers body. Laura Jantunen: Talvi  was a monotonous, repetitive and pattern orientated piece. It placed human bodies and abstract electronic patterns on the same plane. I liked the experience of looking at human movement as a pattern but disliked the academic/neutral-tone of the work. For me the performance felt like a display of the concepts of repetition and patterns, rather then an exploration of them. Kimmo liked work a lot and their text on the piece is a good read THE CIRCUIT I NEED: TALVI, A CHOREOGRAPHY BY LAURA JANTUNEN  (2019) Kimmo Modig.

Also saw Their Limbs Their Lungs Their Legs at TeaK. I enjoyed the views and read the piece as a post-humanism for kids sort of show. The outer forms of the dancer bodies where changed with various disguises. Some parts were very humorous but it didn’t offer new insight to dance.

 

20190123

Busy two weeks. Applied funding from: AVEK, SKR (Uudenmaan maakuntarahasto), Taike and send proposals for HAM gallery and Place Publique.

Also preparing a teaching gig for Kankaanpää Art School. This time we’ll be reading (Communism for Kids by Bini Adamczak, 2014), writing, moving (I’m still on Kettlebells) and voting.

Up next… Updates to my portfolio and electronics (I have a nifty set of eurorack kits in the works). I build a DIY liquid carbonation system and I can now manufacture sparkling water and sodas (currently I have a batch of Ginger-beer in the works). During the weekend I converted white wine to sparkling wine! I plan to manufacture sparkling mineral waters from regional fountains (which can be found using the brilliant loydalahde.com service) and to clone famous mineral waters (such as San Pelligriano) following guides found on the khymos.org blogpost from 2012.

A 10l batch of San Pelligriano clone would require:

Kenen ajalla elät? [On Who’s Time?] (2019) Kimmo Modig. Part 1 of 5. A thoughtful text which investigates the lived experience of people who have to sacrifice their time and to constantly change their pace, to accommodate the falsified idea that contemporary capitalism makes everything available.

Perinnön vaalimista täystuhon äärellä [Protecting Cultural Legacies in the Face of Annihilation] (2018) Anna Jensen. A bright text questioning the motives of cultural preservation. I agree with Jensen but I have to argue that not all narratives need dismantling (previous post) and putting things in the museum (or defining them as UNESCO World Heritage things) is a good strategy for positioning the things to the past, offering them for the gaze of the public (for critical re-evaluation) and nullifying their mythological force (which is the case of the Swastika symbol is a good thing).

The gilets jaunes: Giving colour to suffering (2019) Benoit Bohy-Bunel. The text starts as a rant which is difficult to follow. I only read the chapter 4 titled “Brief remarks on the ‘yellow vests’ movement”, which offers a reading to the reported right-wing elements of the movement: Some parts of the moment are racist, because the nation-state subjectivity (the crisis of which Gilets Jaunes manifests) is rooted on racism.

[…] The racist, homophobic acts present in certain demonstrations, the nationalist, populist, sexist, ableist, anti-migrant and anti-social-assistance speeches, which have met with some success in certain parts of this movement, reflect the crisis of this subject-form and the rise of crisis ideologies.

There are many testimonies of suffering or social anger in this movement. These testimonies directly question the existence of the State and capitalism, with all that they imply (racism, patriarchy, ecological destruction, ableism, ageism). But the translation of this suffering, which is made against the backdrop of the crisis of the subject-form and the diffusion of populist ideologies of crisis, is not systematically emancipatory. What would be properly subversive would be to grasp, collectively and individually, the root of this lived suffering, and the radicality that it designates, so as to counteract the reactive and identity responses to the suffering. Such a capacity is not the privilege of ideologues, even “critical” ones, who would have to “educate” the “people”. Such a capacity eventually develops in the praxis of struggle, which can induce new encounters, new awareness, and new forms of life.