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Eco-phenomenology and the Maintenance of Eco Art: Agnes Denes’s A Forest for Australia (2021) Clarissa Chevalier. A nice introduction to discussions, and summary of approaches to land-art conservation. Chevalier refers to William Cronon who argues that approaches to the natural world which portray it “as Edenic or sublime uphold problematic colonialist ideology” (in stark contrast to what Enis Yucekoralp writes concerning the sublime). The article offers a through investigation to the condition of the artwork (building on the work Sarah Hicks and Gilbert Jock started) and calls for a change for how we appreciate land- and environmental artworks.

I argue that there is value in allowing A Forest for Australia to be gradually shaped by its environment without human intervention, as the trees extend past the planned geometry of the original planting. As Jock and Hicks note, A Forest for Australia offers a rare glimpse into the increasingly extreme weather of Australia, in contrast to the manicured suburbs and lush city parks of Melbourne. […] I believe Denes’s “A Forest for Australia” highlights the contradictions of artificially sustained urban green spaces in the face of extreme weather conditions induced by climate change.

I’m flattered by the quote from my contribution to the “Forest Dreams” seminar last year: “As performance artist, Eero Yli-Vakkuri poetically states […] approaching the uneven growth of Denes’s forests allows us a mental exercise in cultivating our appreciation of decay, of ‘failure’, of our unmet expectations of nature.'”

Turns our marble can be made into co² using sulfuric acid: From Marble Dust to Soda Water (2021) Henry Levin. I could use a part of the Finlandia hall to drink the other.

20220202

Ville Haapasalo is more valuable for Finnish national defence than a F-35A Lightning II fighter jet. #ॐ Relationships keep peace.

Finns are the biggest consumer of coffee globally on a per-person basis – But we are not actually drinking coffee: We are drinking tea, in the shape of coffee. Cafeterias serve coffee in samovars. Big heated pots stands still for an entire working day and the drink is served too hot to taste, mixed with milk and sugar before serving. This makes our coffee taste like not-coffee. It’s bitter, weak and served in jugs – Consumed to keep warm. We are wasting valuable resources, expediting global warming while at it. All this just to proof that we are culturally different from Russians.

The saddest thing is that we are wasting good ingredients for our not-tea. The President brand for example, a blend of African and South-American variants, is a great for slowly brewed drips – When the beans are roasted lightly. But to survive a day in Finnish-Samovar Coffee pots without turning bitter the blend is often roasted dark which removes the earthly, borderline grasslike tones from it (I think the blend has some yirgacheffe in it). It makes no sense to prepare fine variants of coffee to be spoiled by trying to incubate them in a samovar. At best the drip coffee served in our cafes tastes like americanos, so why not go straight for espressos?

Our coffee culture is tea culture. Joining NATO is a bad idea. Putin is an ageing dictator and things are not looking good but NATO is not a peace organization. The only route for peace is a route towards peace.

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Agroecology and the Survival of Cuban Socialism (2021) Aidan Ratchford offers a glimpse to how Cubas modern (monoculture) sugar farming industry was developed into a pluralistic farming praxis. Interesting to note that the development they underwent rid the country of the binary division between urban and rural.

The resilience of maintaining its socialist principles has been crucial to this experience of degrowth; only an economy which prohibits landlordism, structural inequality, and the accumulation of private wealth and means of production, can strive for genuine degrowth. In this sense degrowth as a real life experiment has necessarily a socialist character, given that the fundamental principles of capitalism are incompatible with the above. This is not to say that capitalism will not have its own “degrowth” given the threat of climate change but this “degrowth” will be the forced underconsumption of use values by the Global Poor, not Cuba’s sundering of social wealth (i.e. use values) from capitalist valuation.

Ethics & Epistemology (1998) a nice extract from a discussion exploring  the different understandings of freedom which Hegel, Engel and Marx deployed. Particularly how Engels statement “freedom is the recognition of necessity” can be understood. The analysis investigates how the thinkers approached nature and I like the definition that of our freedom can be measured by investigating how well we achieve in the projects we undertake: Ecological sustainability is freedom! The text explains that some mistakes of the Soviet Union where a result of a misfortunate process where the Second International chose to revive Hegel’s notion of freedom as an internal state which does not demand an engagement with the world. This enabled the state to limit individual freedom so that it could compete in overall productivity with capitalist societies, so that history would complete itself – Instead of deepening an investigation to what productivity, progress and history actually are.

For both Marx and Hegel human beings realise their essence through recognising themselves in the world beyond. For Hegel this takes place in the realm of the Mind, of thought, and is essentially an act of contemplation. For Marx however, it is through activity, through interaction with the external world outside themselves that human beings realise their own nature. This involves not only work, production, that is the moulding of nature to human design, but also social interaction where people recognise in each other their own selves.

The practice of the International was to submit to ‘historical necessity’ – ‘scientific’ laws that determined the movement of society – which would of their own accord pave the way for socialism. This was the opposite of Marx’s approach, who argued that the fact that social relations could be analysed scientifically, as governed by laws that acted independently of humanity, was itself precisely the state of affairs that needed to be overcome through socialist revolution.

Working towards an Arradio FM receiver module. Sourced schematics & the pcb layout and investigated the circuitry thoroughly. The Arradio hosts a sub-module from an FM radio kit which is no longer available but there seems to be an alternative to the sub-module Steckmodul mit TDA7088 which has the same components and the 70nH & 78nH inductors, which the tda7088 schematics call for are designed into the pcb. The varicap/capacitor diode 1SV101 which handles the voltage based tuning is a rare component but not completely lost yet. There is also an AM circuit which, if I understand it correctly can piggybacks on tda7088 tuning mechanism (or CD9088CB which is the same chip).

The previous schematic also shows a 33k resistors attached to the pin1 which is defined as a “mute” toggle on the chip datasheet (other sources I’ve spotted show a 10k resistor in the same arrangement). If I understand it correctly the “mute” can be understood as a channel latching mechanism, which enables the radio to lock to strong FM signals when the chips “scan” feature is used. A post by Lui Gough defines the mute as “a frequency locked loop with internal muting of weak signals”. Disabling this “tuning lock/mute” might enable a FM receiver unit build around the chip to linger in-between channels for unbeautiful static noises. I will investigate this further as I don’t actually know how the current circuitry behaves. This post offers a thorough breakdown of the chip. I know that the mute switch on the Arradio only cuts the device power input. If my experiments are successfully I will propose (Arradio developer) that that I’d update the design so that it would support the newer fm sub-module and that the submodule control & audio amplification circuit tl074 would be made using smd components.

I’d also like to change the pot and jack-in footprints to match more common components, include reverse voltage circuitry and possible switches for the “mute” and “scan” features (while reducing a hp or two).  Eventually I’d like to try building the submodule could be build straight to the pcb. Learning KiCad!

Sourced two 1SV101s and I’m hoping to test them with the mini-FM transmitter. No idea if it would work thou.

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Visited Kurängen spring with Monika. The spring looks very nice, the water looks healthy and is tasty. The moss planting process I started last year appears successful. I will have to remove the non-attached and dead parts during the spring to make room for growth during the summer. We collected 30-50kg of clay from the ditch close to the spring.

Esitystaiteen perusteet -kurssikooste

Kooste sisältää tehtävänantoja, suorituksia, opiskelijoiden kirjoittamia muistiinpanoja ja keskustelun rippeitä. Aineistoa käytettiin Kankaanpään taidekoulun Esitystaiteen perusteet -kurssin opetuksessa, johon osallistui kaksi perättäistä vajaan 15 opiskelijan ryhmää ja etäopiskelijoita. Kolmiviikkoinen kurssi on pakollinen ensimmäisen vuosikurssin opiskelijoille. Ohjelma pyrki kehittämään osallistujien kykyä purkaa ja lukea erilaisia yhteiskunnassa toistuvia esityksiä sekä kehittämään taiteilija-ammatin vaatimia esiintymistaitoja. Esiintymistaidoista on hyötyä kun tekee taiteellista työskentelyään ymmärrettäväksi kollegoille, perheenjäsenille ja muulle yleisöille. Esiintymistä käsiteltiin laaja-alaisesti puimalla historiallisia poliittisia puheenvuoroja, performanssitaideteoksia ja osallistujien kurssin aikana toistamia arkirutiineja.

Ohjelmaa rytmittivät liikunnalliset harjoitukset, joilla pyrittiin vahvistamaan osallistujien kehotietoisuutta. Aamut alkoivat joko yhteisillä tansseilla tai venyttelyillä ja ryhmät suorittivat päivittäin kontakti-improvisaatioharjoitteita. Koulussa toteutetun opetuksen lisäksi ryhmät toimivat Kankaanpään liikuntakeskuksessa ja työskentelivät muutamaan otteeseen kaupunkitilassa. Liikepohjaista työskentelyä ohjasi pyrkimys harjaantua tunnistamaan kuinka keho vaikuttuu ympäristöstä, säistä ja toisista ihmisistä. Tätä kautta yritettiin hahmottaa miten ympäristö vaikuttaa sosiaaliseen kanssakäymiseen. Menettelyllä pyrittiin kehittämään valmiuksia ymmärtää kuinka taideteokset, kuten veistokset, maalaukset, valokuvat ja arkkitehtuuri ohjaavat havaintoja, ajattelua ja käytöstä. Ohjelmaan kuulunut luento tarkasteli performatiivisuuden käsitettä eri nykytaiteen suuntausten ja merkkiteosten kautta.

Koosteessa on mukana esitystaiteen perusteet etäkurssin kurssitehtävät, joita myös osa kontaktiopetukseen osallistuneista on tehnyt korvatakseen poissaoloja. Laatikkoihin kootut tekstit ovat viikottaisia tehtävänantoja, joita ryhmille jaettiin. Näiden alla on opiskelijoiden suorittamat tehtävät sekä linkkejä teoksiin, joihin viitattiin keskusteluissa. Harjoitteita ja niiden purkuja ei ole esitelty tässä asiakirjassa, koska tämä on tarkoitettu ensisijaisesti muistiinpanoksi ja arkistoksi. Koosteen avulla voi toivottavasti palauttaa mieleen opetuksessa viitattuja taideteoksia, kirjallisuutta ja harjoitusten kulkua. Kurssi päättyi molempien ryhmien osalta ryhmissä suunniteltuihin yhteisharjoituksiin, joiden kehittelyn rippeitä on tallennettu asiakirjaan. Osallistujat arvioivat omaa oppimistaan ja antoivat työskentelylleen kurssiarvosanat opetuksen päättäneissä henkilökohtaisissa palautekeskusteluissa.

Osa performanssiharjoitteista on napattu suoraan Pilvi Porkolan toimittamasta Performance Artist’s Workbook (2017) kirjasta. Performatiivisuutta käsittelevä luento-osuus pohjasi teoriasisällöiltään Richard Schechnerin Performance studies an Introduction – Chapter 5: Performativity (2002-2013) oppikirjaan. Suomennettu nimellä Johdatus esitystutkimukseen (2016). Kurssi käytti opetusaineistona kahta suomalaista performanssitaidekokoelmaa; T.E.H.D.A.S ryn luomaa D-Ark arkistoa, jossa teoksia yli 30 vuoden ajalta sekä New Performance Turku -festivaalin videokanavaa. Arkistoista löytyviä taideteoksia sovellettiin myös opetuksessa toistamalla esityksissä käytettyjä koreografioita ja perehtymällä taideteoksiin liikkeen kautta. Edellisistä kursseista saa otteen blogin aikaisemmista. Kurssin vastuuopettajana oli Tuomas Laitinen, joka sijaisti Aapo Korkeaojaa.