Practising with human silhouette targets at a shooting range does not help you to shoot more accurately, it helps you to shoot humans like you’d shoot silhouette targets. #ॐ
How to remove a Community Page about me (When I’m not on Facebook)? There is apparently no way to contact fb directly and I can only make copyright/trademark claims to have it removed (which they’ve declined because the texts and photo is ripped from wikipedia). Made a new trademark claim:
Continue reading “20180424”
On route to Vyborg by invitation of Miina Hujala & Arttu Merimaa. Learning about Ruinenwert (it’s in a troubling relationship to Deep time Marxism). Reading The Value of Ruins: Allegories of Destruction in Benjamin and Speer (2003) Naomi Stead.
Continue reading “20180310”
My biggest concern about the normalization of sex-robots is that capitalist will use them to provide the labor-force with ad-hoc emotional and sexual companionship, at the same time they’re advancing working conditions which make long-term human-to-human relationships difficult to arrange and maintain. A dystopia where AI’s serve capitalist interests is portrayed in the Blade Runner 2049 film. The protagonist K condones humiliating working conditions thanks to the loving support of his AI hologram girlfriend Joi. K is motivated to work so that he can afford to upgrade her with a piece of tech that will allow her to move outside their house. Joi’s character can be read as criticism of processes which seek to commodify feminist movements. The device she uses to move outside (or project herself outside) looks like a futuristic ipod nano.
It’s not freedom if you need to buy something to achieve it #ॐ
Lakeus kutsuu nyt sinuakin (2018) Mikael Mattila. From enough distance irony (and possibly criticism) appears as sentimentalism. #ॐ
Beyond Biohazard: Why Danger Symbols Can’t Last Forever (2018) 99PI.
Aikamme estetiikka: kapitalistinen realismi (2017) Anna Tuori & Aleksis Salusjärvi. The criticism of boring artist is appealing but the rest of the text is silly and echoes a besserwisser mindset. It fails to provoke because many of the claims are inaccurate. The text is fueled with a hatred towards computers and tactical artist who succeed in renewing and maintaining their practice despite current cultural schemes. I don’t think we need culture journalism which attempts to convince audiences about the intrinsic value of art – We need cultural journalism to make sense of the world (with art as a collaborator when possible and sensible). Salusjärvi has made a career as a protector of the autonomy of the arts, but I’d much rather read texts in which he would analyse the world in an equal partnership together with artworks. Art it not a weekling. The text makes me think that culture journalists frame themselves as champions for the autonomy of arts primarily because it helps them to protects their jobs.
Culture journalist need art more then artist need culture journalists. #ॐ
Listening to noise or ambient is scary. I’m sometimes afraid that the musician is faking it and tricking me, playing games with my lack of taste and testing me. Watching a noise/ambient gig live doesn’t help.. The PA of the venue alone has such a powerful impact that I can’t recognize which part of the acoustic experience is rooted on the musicians expression and what is a result of the volume/acoustics/resonances. The best way to experience music is by participating to it by dancing or playing along. Unfortunately opportunities to do this are rare. I guess this is why I’ve grown fond of instrument demo videos. They feel honest.. I like videos in which musicians experiment with the technical properties of effects pedals etc. My position as an audience is clear and the sonic experience is not presented as “art”. This makes it easy to enjoy new sounds. Listening to effect pedal demo videos is the best route in developing acoustic awareness which is not dependent on interpretation of the artists motives. Effect pedal demo videos form the basis of a natural ecology of un-natural machine made sounds.