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.



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.”


Assembled a short range short wave transmitter to experiment with the RF Nomad. Spotted into an interesting Frequency Range Mod for the module and a nice introduction to SW antennas by N4UJW (the scale of which is out of my reach). Mic-pre (2022) ramphands would be a great companion for a FM transmitter.

Feeling overworked but not even doing much. I fear I wont have time to fix the Radio Kid revision this summer.

Enjoyed Crimes of the Future (2022) David Cronenberg because it was so close to base that I could snark at the romantic portrayal of artisthood and the blatant critique of art institutions. Portraying artists as snitches for the status quo and opportunist piggybacking on the wings of revolutionary social movements felt accurate. (or perhaps the plastic-eaters manifested the start-up industry) The feeding-machine was a beautiful depiction of lactose intolerance –like hindrances.


Martin Howse gives a thorough introduction (2022) to their line of eurorack modules. I like how simple the functions are: Noise is made from a laser passing smoke, picked up by a light sensitive sensor and amplified. Simplicity makes it easier to digest the conceptual frameworks the modules spring from. And the conceptual frameworks are made accessible using simple narrative hooks. But Howse’s narrative devices are whimsical. They offer anecdotal snippets to research, which spark curiosity – But simultaneously establish an authoritative tone. Loose references to research build up the appearance of an gray-intellectual-figure, a sense that there is deep and firm knowledge underlining the whims. I don’t like this tone because it feels authoritative and non-negotiable, like a ghost.

There was an interesting audience question (1:02:37) whether Howse’s modules make up a system, narrative or an ecosystem. The question is impossible to answer and nice to ponder. Touching and effecting code and electronics with naked birth-flesh sounds complicated and inspiring but thinking about it… It is what we are all doing all the time with our devices. They have also attempted to transcribe fiction into functional code, which feels like a great approach to teach coding! Orca could easily be made into a world building exercise or possibly even a simulation.

I came acquainted to the gray-intellectual-ghost trough the placement of an introduction text of the Skills of Economy exhibition at SIC in 2014. Jussi wanted to attach a curatorial statement text on a huge sheet of metal, left leaning casually against the gallery door. I don’t think anyone read the text because it was placed like a leftover – But the text was critical for establishing a sense of certainty and intent to the array of artistic nicnacs we as Ore.e Ref. supplied.

An easy to read summer horror story and the earth drank deep (2022) Ntsika Kota. I like the tone of the text. Easily written stuff enables imaginative reading.

I should built a Mixor Image by modular-maculata.



Participated in the SKP triennial party assembly in Kotka two weeks ago. The meeting was important because the party manifesto has been rewritten (and was approved by the assembly). In meetings organized by the Helsinki district organization during the spring I criticized early drafts for their tone regarding international relations and EU matters. The manifesto was built on an anti-globalization agenda and utilized binary rhetorics, which reflected mindsets of the late 1990s. In my opinion these tools didn’t offer a route forward. For example for establishing EU-wide collaborations between leftists (and others) working multilaterally for peace etc. Some changes regarding this were made, which I’m happy about. But there is more work to be done.

Most importantly for me, I successfully criticized the general humanistic agenda of the previous manifesto. The past manifesto presented general humanistic values as the end goal of communist progress. In my critique I emphasized that the humanistic values which the party is striving for were idealistic norms, drafted by a class of privileged folk with very utilitarian views of nature and others. I think Marx is a great companion for environmentalist thinking but their premises build on a distinction of human intellect from other natural processes. The way their thinking was used in the previous manifesto, portrayed humans surviving in nature but not necessarily collaborating with the intellects of materials and animals.

To better engage with current ecological development (which I see as a social crisis or a lack of imagination) I attempted to introduce a posthumanist undertone to the text. I think it would for example, enable the party to establish solidarian ties with kin of the other kind. To my delight some steps towards removing the generalist humanistic agenda were made. For now these changes remain rhetoric and I will need to introduce posthumanist solidarity work for the party to set a trajectory for the next three years. Eventually SKP could incorporate posthumanist and de-colonial critique to its agenda.

Thanks to the involvement of the Kommunistinuoret youth organization, the party is well aligned with the Extinction Rebellion movement and strong statements on environmental matters were published by the assembly. Unfortunately these statements hinge on an anthropocenic critique of current affairs. Posthumanist and decolonial (necropolitical) approaches could help to ground this analysis to other rationalities (rationalities which have been suppressed and which are emerging), which are not idealized like the western scientific mythos that the concept of the anthropocene manifests.

It seems I’m still exploring the potentiality of deep time marxism.

My interest in natural springs and the resources they afford, is leading me towards working with the politics of geology. But not from the perspective of human intent. I’d like to investigate how geology informs and guides political agencies. Some terrains afford the emergence of particular thought, which (if we escape universalism and past humanistic ideals) is hyper-local. A particular form of socialism might emerge from a particular landscape.

I submerged the clay cup made from Kurängen spring clay to the Kurängen spring and it made an interesting high pitch squeal, a song of sorts. It appears to me as a non-waste-object. The only waste in that object is my engagement with its materials. I am the waste in the object. It is one of the most energy dense art-objects I’ve been involved with. Making it has required three car trips, heated storage facilities, internet access (for learning to build a kiln etc.) and the firing was very unefficient. The process of firing the clay felt like a celebration of surplus energy.

Human labor is a waste, materials remain what they are. #ॐ #☭