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20191011

Subscribed to Kusksu a mailing list for sound-art and spotted “Radigue” at Space for Free Arts curated by MIF. The event was a part of Äänen Lumo and offered performances by Clara de Asís & Lauri Hyvarinen, Enrico Malatesta and Thomas Ankersmit. Maletesta played Occam XXVI a composition by Éliane Radigue, which uses two bowed cymbals and a frame drum. The bow agitated the cymbals, forming drones and their resonation transferred between the plates over air. Occasionally Malatesta hover a drum membrane over the cymbals to pickup and amplify low tones. He used sound to play sound over air!

Ankersmit performed “Perceptual Geography” (sample on soundcloud). It was really rewarding to see a serge modular live on stage. There were moments when it felt like he was playing every conceivable sound the same time. He was very loud and the performance was punctual. The execution of the piece felt like an academic study of noise. We were presented with tonal structures and spaces. They appeared abruptly, evolved and then suddenly crashed. It felt like the tones referred to nature. I couldn’t identify what I was listening but I could imagine hearing similar tones in a forest. I only recognize occasional square wave pulses in the beginning and the end of the set.

The piece is based on Ankersmits research on sound artist Maryanne Amacher. Particularly on her work concerning psychoacoustic phenomena and sound spatialization (recently popularized on youtube). During the gig I had the urge to tilt my head, so that I could avoid pain caused by a harsh drone tone. As I turned my head I felt a melody ringing inside my skull. I noticed other audience members bobbing their heads too. The experience was similar to the tingling which high resonance filter sweeps can cause. But this experience was more articulated, like an overtone melody which was forcefully positioned inside my head. The experience was a result of sound spatialization and this was the first time I hear it. I didn’t know it is possible to manipulate the spatial perception of the audience to this extent, let alone intentionally as a part of a performance!

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20191008

Coping with post Trans-Siberian railway blues. It’s been a week now and I’ve yet to unpack. I just pulled everything on my table, keep my stuff in a pile and shuffle it when I need things. Our return trip from Vladivostok to Helsinki took 180 hours. We only had a few daily breaks and a 10 h train change wait in Moscow. I managed to (almost) complete a review of the Ural Industrial Biennial during the ride, made some train ambient recordings and fixed a sock. Despite the discomfort, working on the train felt rewarding. Everything we saw and did fitted into a context. The travel and our group forged a dense social framework which I experienced to be supportive. Back here in Helsinki, I feel vague and I don’t know what to do next. I’m dreaming of new travels and looking for odd-jobs (barista for Starbucks, office cleaning -> edit: got invited to a job interview but the 3h/5d a week gig only pays 550 a month, which is impossible).

I have small gig in a week and I’m preparing for some teaching next month (post-structuralism for kids continues). Swapped my KP3 for a Leploop Multicassa v2. It’s superb and compliments my rack. I’ll miss the KP3 thou.. I had it for 3 years. It seems I’m into electro-acoustics, ploppy filter resonances and organic mutant drum patterns. I’ll try to build a dark techno setup using Multicassa with my softPop. I think they come from the same universe (edit: they really do). Build my first 1u module TRS breakout 1u. The closet I use for work is a mess.

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20190928

Cybernetics for the Twenty-First Century: An Interview with Philosopher Yuk Hui (2019) Geert Lovink. Hui sees the technological dominance of the Global West coming to an end and turns to models found in Chinese philosophy that aren’t rooted on a binary division between nature/culture.

We live in an age of neo-mechanism, in which technical objects are becoming organic. […] Being mechanistic doesn’t necessarily mean being related to machines; rather, it refers to machines that are built on linear causality, for example clocks, or thermodynamic machines like the steam engine.

[…] evolution is creative, since it is fundamentally organological in the sense that evolution is also a process in which human beings are obliged to constantly create new organs (e.g., figures), while not being blinded by them, i.e., by not regarding them as the totality of reality. Mechanism wants to explain life, without realizing that it is only a
phase of life, e.g., a figure.

On the surface, transhumanism seems to want to get rid of the concept of the human. However, this gesture is only camouflage. Transhumanism is a quintessentially humanist approach to the world, since all is captured within a metaphysical gaze

Huis talk What Begins After the End of Enlightenment? (2018) for e-flux is great. He argues that accelerationism is an direct continuation of enlightenment philosophy and identifies recent AI hype as a desire for a sublime man-made intelligence, trough which (western) men hope to transcendent themselves. He looks at technology as philosophy, referencing Heidegger and wants to find an alternatives to the prevailing (western) ethno- and technofuturism from “cosmotechics”. To achieve this he asks us to identify the locality of our technological thought. I think he’s talking about crafts.

I’ve been reading The Question Concerning Technology in China (2019) Yuk Hui. It builds thoroughly articulated links between Chinese and Western philosophy. Almost like an anthology. Tim Ingold is mentioned frequently. Hui is the philosopher cited in Ural Industrial Biennial catalogue by curator Xiaoyu Weng. Works in the exhibition feel almost like illustrations to this book.

In Chinese cosmology, one finds a sense other than vision, hearing, and touch. It is called Ganying, literally meaning ‘feeling’ and ‘response’, and is often […] understood as ‘correlative thinking’. I prefer to call it resonance […] It yields a ‘moral sentiment’ and further, a ‘moral obligation’ (in social and political terms) which is not solely the product of subjective contemplation, but rather emerges from the resonance between the Heaven and the human, since the Heaven is the ground of the moral.

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20190927

I think we still have four night on the train. Some kids on their way to serve the army engaged with us. Most drunk, one sober and hungry for knowledge. He stayed a bit longer asking for advice on career paths. He wanted to learn how to organize studies abroad. We all hugged as he left. Socializing on the train reveals the density of our situation. During a gang-chat with the posse, I made a gesture indicating a flat surface. The person I was talking mistook it as a sign of me making fun of their height.

We engaged in a conversation with the train attendant. Each compartment has one, they maintain order, clean corridors and opened cabins on a daily basis, check tickets on stations and keep the samovars warm. They have numerous responsibilities behind the front. She worked hard to keep the posse constrained, coming inside the cabin, sitting close to them, making jokes, touching the lads on shoulders or calmly on their chests keeping them grounded. Perhaps she knew them forehand but at the time it felt like she was an emotional labor specialist, shifting focus, providing attention and keeping the situation just light enough. Once she laughed hysterically and crouched to wipe tears. I payed attention and noticed that while crouched her impression was numb. Her mother works the train too. Interviewing them on tape would be incredible. Today she’s been locked in her cabin. A cellphone alarm was heard at a station and her mother took the responsibility of opening the compartment doors to let us out.

I’ve been writing a travel-log-critique of the Ural Industrial Biennial and negotiating a synth trade trough a Finnish music gear forum (if it goes as planned I’ll be really happy!). We only get online on stations, for two to five minute on stops and a daily 20-30 minute break. Occasionally the train slows down and I pick up an email. Luckily there is a restaurant cart. I’m developing a habit of sitting there in the mornings for coffee and writing. I’ve been reading Yuk Hui in an effort to grasp “techodiversity” and “cosmotechics”, which are referred in the biennial catalogue.

Listening to Soviet Nostalgia In The South Caucasus (2016) SRB podcast with Maxim Edwards made me think of Donald Trump as a weaponized politician for a hybrid war, a spectacle designed to overshadow Putin.

Later in the night, after Ulan-Ude our train hit a person. The cabin attendant informed us he was taken inside the train to be transported to the closest town. Later we were informed the man had died and he was carried out at a stop. I went to the restaurant wagon in hopes of meeting people effected by the event and met Pavel. I believe we chatted about his career as a fire and rescue officer. He drew a map which showed a planet, much like earth and drew himself in the center of it. Then he performed a pantomime, showing himself carrying people to the surface and performing cpr. We smiled, he asked me to share drinks but I was too tired.

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20190925

Vladivostok was the capital of pirates and brand cannibals. People looked stylish and the city center felt energetic. There was a pedestrian boulevard for tourists with Asian food novelties and gift shops. Visitors were from South-Korea and there was a lot of them. The city revealed itself as the South-Korean equivalent of what 2001 Tallinn was for Finns. Dolce, Supreme, weird Japanise sneakers with self illuminating laces. Referencing construction work and nuclear power. All straight from Chinese factories across the bay. All the goods in open street markets were tainted with a light layer of oil, it was meant to give the vinyl a shine but collected dust.

The cities makings were visible a stroll away from the boulevard. Away from the Kawaii shops, trams raddled like wheelbarrows, the pedestrian paths faded away and broken city heating pipes busted boiled trash fumes across the hilly skyline. Blockhouses like snakes, wrapped around hills as morbid rims. Solidified polyurethane dripping eternally from building seams. Cars moved furiously, using intuitive mutant patterns as lanes, in a choreography which echoed a collective death wish or lust for life. I loved it.

The city made me understand contemporary Russian infrastructure as the decaying corpus of the ex-soviet, presently habituated by a thin layer of privatization. The streets are rubble but people had pretty cars and clean albeit faintly oily Italian shoes.

Our one night show in Zarya felt really nice. The exhibition was more coherent and I enjoyed the videos in the screening more. Total atmospheric mean (2010) by Maija Timonen felt very fitting to the trip. Her analysis of a Shakira music video provided a ground to read styles which women are exhibited in Russian popular medias (that I’ve seen along our route). It has something to do with violent self-objectification and how this renders bodies non-penetrable and non-cavityish. I had some technical difficulties but apparently the audience didn’t notice any. My statue-stretch-poses were perfectly vague and I used my grandfathers voice as an underground cavern. It was porous and missing limbs. A line of men cued to have a taste of the water I prepared.

We are now on route to Moscow. Elina is working with a canvas for a text, photo, etc. piece. She’ll use the train and it’s movement trough the continent as a display. What I know of the work so far makes me think of our group as an Alkovi gallery in motion. Katja managed to aquire her more canvas material. The canvases will be delivered to a station stop on the way! Iona is working on her notes and Miina is reading. I’ll boot up my eurorack after Khabarovsk and attempt to link it to the train using piezos. I’ll also record noises and ambients of the trip.