20180918

A art-critical/pedagogical practice with teenagers: School of Performance (1995) Avdej Ter-Oganian.

Received my copy of Malfeasance – Appropriation Through Pollution? (2011) Michel Serres. I dislike his etymological, latently nostalgic word games. He adores a reality that remains inaccessible for non-germanic folk (this statement is best exemplified by a cry on pg. 55. “Old Europe, what ignorant ruling class is killing you?”). But I like the coarse tone of the book. He argues that human cruelty is derived from the cruelty of our neighbouring animals and that a process in religious practices, which developed the concepts of afterlife and holy-land (sites that are not tainted by bodily impurities), were needed to produce a tangible, object-like earth for us to habit and study. Science is possible only through religious traditions.

Serres argues that people who seek to live without producing waste are modernity-producing-myth-reenactors. He argues that the founding myth of modernity is a story of a man who left his grave without leaving any waste behind: “[L]eaving no trace whatsoever that would allow us to infer a history”. This myth enforces the de-territorialization of localized cultures: Colonization of any-and-all terrain is possible only because there is a holy-land which lies beyond reach. “[O]ur being is not there” or even here, someone else will judge us – We are tenants of our bodies.

Current economic schemes which focus on intangible services and brands echo the same shift. This has a convenient impact on consumer culture: When we were branded clothes we get excused from the pollution these objects develop into. The objects are just on loan – This means that hiding a logo is a process of claiming responsibility over it.

Human misery marks the limit of possible life. Those who have a place have. Those who have no place have nothing, strictly speaking. Do they exist? They have fallen below the level of animals. (pg.12)’

I don’t agree with his view that “our appliances rig out the organs of our bodies”. I believe the body has the potential to change and the potential to develop into something else then flesh-defined, which has other then personal desires. For me “exo-darwinism” in development can result to altruism. Serres points out that “since the emergence of blacksmiths” we have know that, the stuff we produce taints the world and destroys habitats. Our understanding of the anthropocene is not new. We know that we are wasteful and do it anyway. He argues that we cause pollution to keep the nature at bay, to kill tigers. I wrote something similar in 2016 “Zoos provide us an opportunity to approach animals rationally”.

[…] sewers, garbage barges, factories. and loudspeakers can be thought of as orifices, pores, mouths, anuses. […] Our species wins out and becomes the master and possessor of nature. (pg.40)

The text might offer me some tools to develop a “performance architectural” / postricturalistic analysis of build environments too. Serres talks about language as a maze, which locks subjects inside it using prepositions (in, for, to, from). These spaces (made of prepositions!) pit us against each other by creating categories of subject/object. Prepositions feel like a great route for developing and understanding of text as space / space as text!

[…] this is how the walls of a dwelling or the partitions of a room function. (pg. 44)

Serres claims that e-waist is send intentionally to “the mangroves of poor countries” to cause disarray and recolonize these sites and that we should see advertisement selling e-goods as exactly the same waste. He continues that mass-media (facebook etc.) makes it impossible to talk to out neighbours (by monopolizing communications): Streams of noisy information appropriate all possible relations, everywhere.

Spatial expansion is becoming total. (pg. 52)

Pollution should be addressed simultaneously as a hard substance and a soft coercive substance. The division between hard and soft pollution (ie. e-waste and e-good advertisement) is superficial: Both manifest the same desire. He does not want to separate nature from culture? Because of pollution “We can no longer enclose a piece of land”. Pollution makes it possible for us to envision collaborations without a need for nationstates!

Consequently pollution, both hard and soft, signs its will to power, its desire to expand spatially – yes, the war of all against all. (pg.68)

Serres believes that we have reached an impasse. Wars are over because there is no space to fight over, our war against the world is at its end. He believes that humans can and will destroy every other species. He does not believe that new species will emerge from pollution.

The war against the world replaces, integrates, summons, adds . . . and terminates all the wars among men. Peace with the world requires peace between men.

Idea: Make waffles out of plastic by melting milk jug lids. #ॐ

20180917

The most important text written by a person of Finnish origins in years (possibly ever).  Linux 4.19-rc4 released, an apology, and a maintainership note (2018) Linus Torvalds.

My flippant attacks in emails have been both unprofessional and uncalled for. Especially at times when I made it personal. In my quest for a better patch, this made sense to me. I know now this was not OK and I am truly sorry.

To tie this all back to the actual 4.19-rc4 release (no, really, this _is_ related!) I actually think that 4.19 is looking fairly good, things have gotten to the “calm” period of the release cycle, and I’ve talked to Greg to ask him if he’d mind finishing up 4.19 for me, so that I can take a break, and try to at least fix my own behavior.

I need to take a break to get help on how to behave differently and fix some issues in my tooling and workflow.

And yes, some of it might be “just” tooling. Maybe I can get an email filter in place so at when I send email with curse-words, they just won’t go out. Because hey, I’m a big believer in tools, and at least _some_ problems going forward might be improved with simple automation.

I know when I really look “myself in the mirror” it will be clear it’s not the only change that has to happen, but hey… You can send me suggestions in email.

We visited Magazzino and Dia: Beacon last week with the ISCP crew. Both sites were spectacular and the trip led to an observation.

At a glance the supermarkets in New York seem to have absolutely everything. The shelves are jampacked with cans, boxes and soft plastic bags – But when one investigates them closely it’s apparent that the shelves are empty. An entire isle can boast a spectacular variety of cans, dressed in different colors and ornamented with different brands but if inspected, they are all the same product. All of the cans have beans in them. Supermarkets house a phantom of variety.

Dia: Beacon exhibition felt the same. When I entered the space I was confronted with 20 meters of Dan Flavin’s fluorescent tubes. At first it felt spectacular. But I felt an eerie stab as I realized that they were all the same art piece. I tried to think of this as a form of critique, but after witnessing the same logic applied to nearly every other artist in the exhibition, it became clear that the function of the site was to celebrate abundances, masses and superstructures which facilitate the production of clones. Minimalist artworks in the Dia: Bacon setting came off as a clone army of proto-zombie formalistic stuff. This was not a disappointing experiences, on the contrary: It felt like strolling past colorful isles at Macy’s. It’s relaxing to see stuff.

Learned about David Hammons’ Pissed Off (1981). A bright sight, sabotage is the way forward. More on the performance Stop And Piss: David Hammons’ Pissed Off (2013).

I had an intensive week. I’m editing my PhD proposal, applying for additional funding for Trans-Horse and met with Lisa Le Feuvre from the Holt/Smithson foundation (concerning Land- and Environmental Art Conservation). Prepared a 4k video of our work on Up and Under (1998) from the still photos I shot in 2013.

 

20180807

Ore.e Refineries is featured on brutalistwebsites.com (here is a short interview and screen grab on flickr.com). Exchanged notes on “facebook-fuelled-complicatedness of fka. brutalist website designs” (mentioned earlier) with the site maintainer Pascal Deville.

I accidentally broke the Civil Defence Crusher. Debugged the problem (it took two days) and now it works even better! The lm386 amplifier circuit is louder then before. I think I suffered hearing damage… During the fix I send a burst of raw interference noise through the circuit to my tightly sealed headphones. I feel a constant pressure on my right ear.

Race and Capitalism – Welcoming Michael Dawson to the New School (2018) Mayra Cotta. See The Race and Capitalism project. There are podcasts too (or listen to Wu-Tang Clan – C.R.E.A.M.).

Continue reading “20180807”

20180806

Bought a book by Michel Serres and started working on an application for the Doctoral Studies Programme in Artistic Research in Performing Arts at the Theatre Academy of the University of the Arts Helsinki. I’ve written a 12 page research proposal called “Horse & Performance” (it’s taken me two-to-three weeks and I’m currently waiting for comments/guidance from friends). The English summary is the last part (I’m having trouble with it). Apparently I want to spy on people, talk to horses and ask them what they think about our perception of them.  I can’t read the the summary without giggling – Which has to be a good sign.

The “Horse & Performance” research investigates “what do we talk about, when we talk about horses” at Finnish horse-stables. The research is rooted on an ethnographic study which analyses how horse-hobbyist and professional construct the figure of the contemporary-horse. The ethnographic part of the research will focus on situations were people explain the animals behaviour trough unintentional utterance, murmured while working with them. I will also engage in an “performance architectural” analysis of the sites, where people meet with horses, trough which I will formulate an understanding on how particular sites (and particular technologies presented in them) affect our perception of the animal. The fieldwork will be contrasted to the work of artists and theorists who have contributed to the development of the “animal-turn”.

From these sources I will develop a set of post-humanistically geared exercises and grooming techniques, through which I will direct the question to the horses themselves and ask for their feedback. These exercises will be presented as public performances, organized in urban spaces. The feedback audiences provide will be used to further develop an understanding of the contemporary-horse. Performing publicly with an animals cause conflicts through which we can access views and assumptions people project on them. Techniques developed through this research, can be used to ask animals for feedback on how build environments should be organized. The research aims to advance the wellbeing of animals and to advocate ethical environmental design.

Here is a list of texts I refer in the full proposal:

  • Barad, Karen. 2003. Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter
  • Butler, Judith. 2015. Notes Toward a Performative Theory of Assembly
  • Cull, Laura. 2012. Theatres of Immanence – Deleuze and the Ethics of Performance
  • Despret, Vinciane. 2016. What Would Animals Say If We Asked the Right Questions?
  • Haraway, Donna J. 2007. When Species Meet
  • Haraway, Donna J. 2013. SF: Science Fiction, Speculative Fabulation, String Figures, So Far.
  • Haraway, Donna. 2016. Staying with the Trouble: Anthropocene, Capitalocene, Chthulucene
  • Hribal, Jason. 2003. “Animals Are Part of the Working Class”: A Challenge to Labor History
  • Hribal, Jason. 2012. Animals are Part of the Working Class Reviewed
  • Ingold, Tim. 2011. The Perception of the Environment. Essays on Livelihood
  • Korhonen, Pauliina. 2014. Ratsastusreitit kaupunkialueella – Suunnitteluesimerkkinä Länsi-Vantaan ratsastusreitit
  • Leinonen, Riitta-Marja. 2013. Palvelijasta terapeutiksi – Ihmisen ja hevosen suhteen muuttuvat kulttuuriset mallit Suomessa
  • Mbembe, Achille. 2003. Necropolitics
  • Mitsuda, Tatsuya. 2007. Horse in European History 1550-1900
  • Kaimio, Tuire. 2004. Hevosen kanssa
  • Malm, Andreas. 2016. Fossil Capital – The rise of Steam-power and the Roots of Global Warming
  • Mejdell, Buvik, Jørgensen & Bøe. 2016. Horses can learn to use symbols to communicate their preferences
  • Morton, Timothy. 2017. Humankind
  • Ojanen, Karoliina. 2011. Tyttöjen toinen koti – Etnografinen tutkimus tyttökulttuurista ratsastustalleilla
  • Salminen, Antti & Vadén, Tere. 2016. Energia ja kokemus: Naftologinen essee
  • Serres, Michel. 2010. Malfeasance – Appropriation Through Pollution?
  • Schweder, Alex. 2011. Performance Architecture
  • Urry, John. 2004. The ‘System’ of Automobility
  • Weizman, Eyal. 2015. The Roundabout Revolutions
  • Weizman, Eyal. 2017. Hollow Land: Israel’s Architecture of Occupation
  • Wright, Stephen. 2014. Toward a Lexicon of Usership

20180905

For awhile I thought that sassy artists & web designers working for sassy festivals and galleries were into brutalist, hard to use web pages because they want to challenge their audiences (See: brutalistwebsites.com ). It seemed there was a design movement which opposed the production of passive audiences. But I’ve now understood that these styles are not rebellious, they are compliant: Artists and organizations have messy web pages only because they rely on social medias. They can afford complicated, even artistic sites – Because they reach their audiences primarily through facebook events.

I’ve been thinking about style and ecology during the past weeks. I’m shocked by the amount of usable stuff I can find from the streets (clothing, electronics, tools and furniture etc.) and the amount of plastic they use in shops (orange juice is sold in solid plastic cans, which are as sturdy as flower watering pots I use in Finland ). In Finland I can imagine having an ecological impact by recycling and wearing second hand clothes. In NYC I understand that my environmentally conscious decisions do not have any impact.

In this city, ecologically steered design and arts, are reduced into mere fashion statements. Ecological orientation serves as a class signifier.

How to formulate this critical observation into a style and a movement? I currently think the most equalitarian and ecological style is to have NO-STYLE. Pickup, wear and use anything you find from the streets. When you see a person who is wearing ecobrands: Inform them that they are misguided (possibly by vomiting, like one of my favorite artists Kristofer Paetau during the artforum incident in 2005). The only sustainable way forward is to have NO-STYLE. To go forward we need to consume toxic stuff, learn plastic crafts and listen to algorithmically generated playlists on youtube. Pietari suggested the hashtag #deathhack for these efforts. More reading on class, looks and hiding your class with looks: So You Think You’ve Got Class? (2017) Charlotte Shane (Also related: Sebago docksides rant).

I’ve made a functional and novel sound pedal. The circuit is based on the Dwarfcraft Great Destroyer but I made some mistakes in the assembly, which cause the circuit to behave oddly. It doesn’t work like a bitcrusher, which the DGD is supposed to be. It self-oscillates and creates tunes which are affected by the level of the volume input and potentiometers, it also plays the radio and works like a distortion. A very interesting device (powered with a 9v battery / pedal power supply). As I understand the CD4049 (Buffered) is not grounded and I think the weird behaviour is caused by the signal & voltage working their way to the ground, through the potentiometers. It works great with drums, and creates changing melodic synth and bass lines which follow the rhythm. I added a LM386 amplifier (as an integrated circuit) to the effect to make it louder (The LM386 can also be powered independently so that it acts as a “clean” boost).

The circuit is housed in a Civil Defense V 750 (Model No. 5B) Dosimeter Model No. 5 Charger (C2-2). Serial No. 0005296. Which has been manufactured by the Industrial Electronic Hardware Corp. in New York City (Brooklyn!). The device was intended to reset radiation dosimeter values. If I understand it correctly these kinds of devices were available in fallout shelters during the cold war era in the city. This particular device was manufactured ca. 1962. I repurposed the potentiometer (10k) of the V 750 and used it controls the LM386 output. I’m currently waiting for potentiometer knobs and I’ll make a video of the device after I receive them. I call it the Civil Defence Crusher. It goes well with the Berlin Wall Distortion. Together they form the Sound of Cold War Infra custom guitar pedal series (Ore.e Ref.).