Visited a children’s holliday singing event. The stage lights were bright and the kids danced while singing, which means none of the kids actually saw their parents in the audiences. I think stages work this way, their design (architecture, lighting / scene building conventions) convert the actual audience into a generic mesh of anonymous bodies. An audience converted to mesh trough design, distances the performers and the audience. Both parties are shielded from individual gazes, which allows them to assume positions their class does not permit. This does not emancipate them because their freedom is a projection, the vividness of which reflects their distance from stage apparatuses (such as backstage, moshpit, surrounding camps etc.).
This is how a performance becomes a ritual. When you don’t see the specific audience, it becomes a projection which manifests the spirit of the event. It can only be supportive, as the stage design only affords meshness and genericness trough its design. A performance can fail, but the failure only celebrates the functionality of the stage! If you accept the stage, you accept modernism. When you don’t know whom you are performing for it is possible to perform for the dead. Which, I think the kids were doing. Performing zombie trad. folk songs for past generations which weren’t present. It was a very modern, very hallucinatory event.
Is France Having A Revolutionary Moment? ft. Richard Wolff (TMBS 120) (2019) The Michael Brooks Show. A good overview on how the yellow vest movement in France evolved into general strikes which attempt to kick Emmanuel Macron out of office. I wish a similar broad overview would be made of the recent Finnish strike & prime minister exchange maneuver.
My son Okko made a game based on true events. Play catch the ball (2019). Update: Here is catch the ball for touchscreens (with a Holliday update).
Miksi netissä on niin hirveää? [Why online sucks] (2019) Iida Sofia Hirvonen. A solid text and eye witnesses account of contemporary social media culture. The text identifies a particular mode of toxic-discussion culture: Toxic pit fight promotion, indicating process where some people stir disputes between different marginalized communities.
Superb vinyl technique: Q-tip is a Beast (2009), fits well with our Bifi wood-records at Oksasenkatu. Q-tip is also rapping on Groove Is in the Heart (1990)! Spending my time as a gallery guard working on my eurorack (sample 1 & 2). Breadboarded an inverter.
Buchla – Electronic Music as Performance Art (2019) Under the Big Tree. A near hour long lecture on the history of the Buchla (Bemi) design company. The talk isn’t analytical, it does not excavate what it meant for Buchla to interface with a synthesizer or what motivated Buchlas dissentient and anti-government attitudes. But it offers some interesting historical details and explains the heterogeneity of his layouts (Save a click: Users don’t need to see a module to recognize it, they can identify it by feeling the knobs!).
Designing the Make Noise Erbe-Verb (2019) Tom Erbe/Soundhack (a video by mylar melodies). A very detailed history of reverbs and a thorough look on Erbes design process. He shares his insights openly and offers concrete tools for reverb design.
Heading to Buchla and Serge territory myself. Swapped my Monotribe for a Variable Slope VCF by Random*Source. I’ll have to build an inverter to help it resonate. Also got a Sense module from Bastl, to develop my mineral water audio analysis toolkit.
Visited Mental Alaska back2baSICs PARTY in Kannelmäki yesterday. Heard Viktor Toikkanen, who played a live programming gig using Tidal. This was the first time I’ve seen live programming (other then our Masku Movement sessions in ~2008) and it was great. I could identify some terms in the score (it was projected on the wall) and anticipate changes, which made the performance feel analytical. Bought a cassette from him too. Actually… There weren’t that many live coding moments. Toikkanen mainly triggered events he had programmed for the record. Some triggers pushed his computer to the limits and we could hear soundcard buffer overload crashes and glitches. I think this digi-materiality was an important part of the presentation. Glitches felt like real grains pushing trough the code. It echoed hardcore rock moments when artists push their amps to max.
The Internet’s Mid-Life Crisis (2019) The Agenda. Cory Doctorow argues that the internet is not broken, everything bad we see happening to it, such as facebook etc., corporate control of the infra and espionage of citizen, is a result or symptom of capitalism. After some weighing all guests seem to agree that some kind of legislation of the internet is needed to move forward (I think this would make the internet a part of the democratic domain).
Our exhibition opening at Oksasenkatu 11 was nice. A lot more people then I expected and mainly new faces. I’ll be on site to meet visitors for some glögi, sound lounging and fun. Dates: 18.-20.12 (12-18:00), 27.12 (12-18:00). Crossroads launch & seminar at SOLU went well too. Had the pleasure to meet Leena Valkeapää, she felt like a wild thinker. There were around 20 people at the event, which was just enough the make the space to feel crowded (at times). I got a lot of nice compliments on my talk on Earth Art Conservation.