20220727

Met with almost all of the habitants of the Degermossa road, the route leading to the Kurängen spring. There was a sense of community and all the occupants had good things to say of their neighbours. Their biggest collective effort seems to be the road maintenance cooperative. An occupant whose grandparents had built the road with the aid of horses, still lives on the site. I spend a few night camping in the forest, habiting a hammock and exploring the area. There is a beautiful cold pond a kilometre north-east from the spring, traces of old paths and endless dark woods. I could hear the east passage cars all the time, so navigation was easy. The spring looks good, I spotted frogs again but the peat I planted last year as a part of my restoration efforts is dying. Only a fraction of it shows signs of life and I think I should remove the unsuccessful re-swampification plants to make room for new growth.

I travelled from door to door and interviewed almost 10 families who live on the road. One of the oldest occupants had lived in their house for 55 years, the youngest had moved in 2016 and new occupants were arriving next month. Some were third generation natives. Most told me that they enjoy the proximity of the woods and perhaps because the forest is literary their backyards, they put in effort to emphasize that there isn’t anything miraculous about it. They collect berries and mushrooms. Some had spotted deer, pug dogs, rare birds and their nests, snakes and rabbits. A few knew members of a local hunting group but none I interviewed took part in it. A few years ago a moose had been tracked north from the road. There are also rare cape frogs [viitasammakko] living in an artificial pond by the road. A habitat active in their protection had housed the frogs in their basement over winters. The pond is marked with a V-sign. It was made in the fifties by the fire department.

Some told about a bear sighting in 2017 after which they had been cautions of the woods. One confessed that they don’t dare visit the forest alone and that they never had gone past the swamp by themselves. There were rumours of wolves too.

To my surprise: None knew about the spring! One occupant had possibly heard a rumour of it but they had never visited the site or had any idea which direction it would be in. I invited them all to visit the spring with me in the framework of Nomadhouse late in September. As it will be a new site for them, it makes sense to invite the occupants there. I will now have to plan how non-Degermossa road audiences (or if) will join the performance.

I’m dreaming of organizing a camping excursion, perhaps inviting five audience members to spend the night with me in the forest. Cycling to the site from Mellunmäki takes one hour and the route is easy. One occupant, who didn’t know about the spring expressed a desire to keep it a secret so that tourists would not block the road. I think this would make sense and on an earlier visit Miina also expressed interest in keeping the site unknown! I should take visitors to the site blindfolded or intoxicated. I asked the habitats for permission to place the clay vessel I made into the spring, so that visitors could use it and everyone though it was a nice idea. Weird fun!

As none of the habitants, some of whom had family contacts with the forest spanning over a hundred years, had any prior knowledge of the spring… I wonder if the spring exists. Assessing the terrain, I’ve suspected that the spring has been the eye of the swamp before a nearby ditch, piercing the small glen, was dug. The spring might be a by-product of a forest industrialization attempt. If I read the terrain right it was dug to dry the forest and to better enable tree growth. The Sipoonkorpi wikipedia article explains that some parts of the forest have been cut to supply wood for the Suomenlinna fortification (by order of Nicholas II) but I suspect that the ditch has been made after 50ties.

20220723

Tuning my Patching Panda Operat (assembled last week) took some figuring. When the symmetry control was set perfectly in the middle and oscillation barely audible, the process failed. After failing numerously, I positioned the symmetry knob not-perfectly and sent a midi C1 from a daw via Keystep 32 CV out to the module. I send the audio back to the daw and read its tuner, turning the multiturn potentiometer (marked C1) until the tuner read 32.7Hz. I then sent C8 and turned the other potentiometer (marked C9) until the tuner read 4186Hz. I then sent C1 and C8 again, repeating the process 5-8 times until each C in between was in tune. I think C8 is the maximum for the Keystep. I could have executed the 9 Oct tuning between C0-C8 but the daw tuner couldn’t reach C0.

After tuning the EXP, TZ-FM, RM-AM etc. jacks ceased to work for a while and it took a reboot to get the module working.

20220718

Converted my Crescent 307 into a single speeder (52/16 for now, will go for a 19t 18t cog later) after fitting it with used Mavic Aksium rims. Got a chain tensioner for it too (might not need it though). Assembled a 7 gear bike by combining four different bikes on a salvaged Helkama Jääkäri frame. It’s got a front dynamo hub and a lamp too. Fixing the Shimano Nexus gears was difficult and I used bits from a CJ-NX10 to replace parts of a CJ-NX40.

The ratio 4 to 1 is interesting. There are one billion bikes in the world, if production halted for 40 years (which was the age of Jääkäri frame) we could still have 250 million bikes!

Learning how to roast Yirgacheffe beans. Bought 25kg raw from Kahvitukku ABI early in the spring. I need a new hot airgun to maintain roasting temperatures.

Fixing eurorack modules for friends and servicing a Neve preamp.

Working as a janitor for our housing company. Yet, living on savings.

Living the 31 year old expat in 2012-Berlin lifestyle.

20220717

The Earthly Community (2021) Achille Mbembe. I think they are framing war as a conservative project and I agree: Its an old mans game, manifestin desires of a past world. Russia started the war to prohibit change and to restore the cold war era patriarchal power dynamics.

This double moment coincides with the rise of heavily-armed, paranoid powers that claim to abolish risks and minimize uncertainty and indeterminacy by protecting their people from all contingencies and dangers. They propose a mode of existence dominated by fear, anxiety, and a search for safety and repose. In reality, what is hidden behind this quest for a stable life is the refusal of a world in motion and the determination to preserve life, to stay alive, and to be biologically safe at any price. The body that these powers seek to manufacture is a body haunted by the ever-imminent possibility of being no more. One of the properties of such a body is to refuse its approaching death and to permanently disavow its precarity and its essential fragility.

 

20220711

Arabesque Time (2022) Katharina Clausius is hopeful in presenting expressions unhindered by the rigidity of form and insists that revolutionary organization is possible and local: “… the arabesque’s revolutionary movement is repetitive and self-generating”. Progress is so complex that we need not fear soiling it with the “matrix of rationality”. The political left’s lack of a grand scheme (alternative to capitalism) becomes presented as its strength: “[…] the “not-yet” quality of the revolution is the furthest thing from an empty point of anticipation waiting to be filled by the decisive action to come. On the contrary, the time of emancipation is an ornate dramatization that tells no particular story but instead “symbolize[s] the commonality of all movements” through a radically decorous choreography”. We cannot imagine what is to come, only contribute to it. All revolutionary work is revolutionary.

Rancière seems to suggest that revolutionary time is concurrent with the matrix that is its complementary opposite. Measuring time – seeing, hearing, and feeling it pass – is only possible because we can simultaneously conceive of time and non-time, of the matrix as positive and negative space. Ticks and tocks divided by silences, where the silence of “non-time” is as much part of the temporal experience as the audible “times” framing the noiseless intervals.

Workers labour in the dead of night on verses and landscapes, not to produce artworks or become great artists but simply to knit themselves into the very fabric of a common aesthetic ground. The revolving movement of the clock no longer divides day from night, work from rest-before-work, those who labour and those with leisure. Instead, revolutionary time makes it “possible for the carpenter to create a spiral which, in the midst of the compulsion of working hours, initiates a different way of inhabiting time, a different way of keeping a body and mind in motion.”