Editing the first interview of Honkasalo-Niemi-Virtanen for Grey Cube Gallery / Helsinki Zoo residency project. Hard work. Majority of artists I’ve interviewed over the years have refused to provide clear answers. I remember working on “The Second Forest Team” interviews back in 2010. The 5 min video required nearly 2 hours of footage and a week’s worth of editing. Artists seem to fear that they’ll lose something when they provide simplified answers about their work. Perhaps they see interviews as magical rituals which set a course for their processes.

Ironically the more obscure answers artists give the more power is passed to the editor, who is left to craft senseful statements from partially answered questions. When artists work obscurely they empower art institutions. The more complex an artist presents him/herself is the more staff is needed to build sense (Similarly, the less organized and offbeat an artist is the more legitimate professional art institutions appear). When an artist and a group become self organized, the economic balance shifts and they possibly begin to compete for the same funding.

Getting funds for making both art and sense about the art should be set as a goal for counter culture projects. Often organizations work with either art or sense but both remain victims.


If I die on Rome give my gear to peers.

Edit: We visited Brian Eno’s exhibition at Galleria Valentina Bonomo. It felt cheap. Seeing contemporary art in the historic setting underlined how dependent it is on advanced techno-infrastructure. Also saw a very commercial looking exhibition by Richard Long at the Galleria Lorcan O’Neill exhibition in the centre. A better examples of contemporary art in Rome were found at the Frutta gallery in an exhibition by Fabio Marco Pirovino and Sam Porritt. We also visited an opening and afterparty at Monitor gallery but I didn’t get to know local artist.


If a band consists of only multi-instrumentalists it’s not a band. #ॐ

Found some tools and a tutorial (from 2013) to advance the idea of using Novation Circuit groovebox as an external controller for FCPX or Premiere Pro.

All sampling is a form of cultural appropriation. The technology used in sampling superimpose a worldview that everything can extracted from their context, scrambled and reused. Sampling has nothing to do with samplers – Sampling is an approach to others. It’s musical roots are in notation which was a technology used to appropriate gregorian chants and folk art, all for the service of centralized regimes.

Samplers serve the modernist status quo. They are anti-taboo and make a mockery of religious and cultural orders which maintain their ethos by disallowing remixing. Samplers serve capitalism. They flourishes on the idea that nothing is too holy to be chopped to bits and resold in new packages. Samplers are totalitarian, you are either all in, share everything or get marginalised.

The remix-culture does not give a voice to the oppressed – It is extracting voices and compiling them to samplepacks and styles that can be easily analysed and controlled. The profits gather to an elite which benefits from having access to a quantized, processed and simplified data.

The open source, copyleft movement only benefits silicon valley. Besides the big companies, only open source evangelists make profits from open source. Majority of the people making profits speak English. Technology is not shared for free, it is distributed to subjectivity users. Richard Stallman drafted his manifestos in the same universities that innovated the musical sampler technologies.

Samplers serve a conservative cultural movement which stores, categorizes, appreciated and remixed iconic sound. Samples are a mockery of nature because they cling on the past. The museum is the ultimate sampler.


A pleasing and nearly comprehensible video: “P vs. NP and the Computational Complexity Zoo“. Draws a solid connection between art, philosophy, computers and math.

Send a grant application to the City of Helsinki Cultural Offices to fund a short documentary about the Mounted police of Helsinki. The text was largely the same which I used for application for the Arts Promotion Center of Finland. I feel optimistic about getting this smaller (3500€) grant. I’ve been in contact with the Mounted police in Helsinki and they have agreed to interviews, so if I get funded this make for a really interesting summer job.

Wedding ring is a thing in tutorial videos! Currently learning about Novation Circuit and control surface supports on Premiere Pro. While browsing at the videos I noticed that across the tutorials the hands of the hosts feature wedding rings.


“We no longer have a linear time, in the sense of the past being followed by the present and then the future. It’s rather the other way around: the future happens before the present. Time arrives from the future.”

“We are in a future which has surpassed the conditions and the terms of the past.”

DIS magazine on what happens when accelerationism reaches full pace.

Visited the “Yövuoro/Night Shift” protest and talks in a park close to the Kiasma museum and the Parliament House. The invitation read: “What would you like to do? In which ways can artists take part in political debate? What should be discussed right now? What should one do right now?”. People were tasked to give 5 min creative introductions on matters they felt important to address. The meeting was inspired by the #GlobalDebout events. The PA was loud but I still failed to make sense what people where talking about. Ended up gossiping about art with colleagues.