Heard a good gig on Tuesday. Heather Frasch & Koen Nutters performed at a Pennies from Heaven #7 event organized by Control & Bánh Mì Verlag. Frasch used surface transducers to resonate glass & copper jars and a plywood sheet. She then suspended small objects, pinecones, dry fruit shells and pencils above the resonating surfaces. Objects hitting against metal surfaces produced  nanoscopic, near silent melodies and objects resonating on the plywood sheet produced barely auditive rhythms. She produced some very intensive techno beats and I felt a new paradigm opening for sonic exploration (we have planned something similar with Johannes and now I can set my bearings). Towards the end of the gig she placed objects that didn’t make any sound on the surface transducers and we could see them vibrate in silence. Nutters complemented the object-sound-play by playing sinetones and reading two text about how the process of hearing is physically intimate.

Found a nice project Midi thru box 1X5 and Robot voice (posted by dnny from koelse.org).

Got a got a fistbump at Frencie’s Gym after performing a reasonable squat series. Found a few videos of the place.

  • Frenchie’s Gym – Person(s) of Interest (2017) Pablo Bujosa Rodríguez (Most recent footage from the site)
  • FRENCHIE (2013) thismustbetheplace (A goodvibes street-aesthetic mini-documentary)
  • FRENCHIES GYM II (2008)Trevor Bayack (A touching short introduction to the site and a call to fight “corporate gyms”)
  • FRENCHIES GYM (2007) Trevor Bayack (Regarding gentrification and  short notes on technology)


For awhile I thought that sassy artists & web designers working for sassy festivals and galleries were into brutalist, hard to use web pages because they want to challenge their audiences (See: brutalistwebsites.com ). It seemed there was a design movement which opposed the production of passive audiences. But I’ve now understood that these styles are not rebellious, they are compliant: Artists and organizations have messy web pages only because they rely on social medias. They can afford complicated, even artistic sites – Because they reach their audiences primarily through facebook events.

I’ve been thinking about style and ecology during the past weeks. I’m shocked by the amount of usable stuff I can find from the streets (clothing, electronics, tools and furniture etc.) and the amount of plastic they use in shops (orange juice is sold in solid plastic cans, which are as sturdy as flower watering pots I use in Finland ). In Finland I can imagine having an ecological impact by recycling and wearing second hand clothes. In NYC I understand that my environmentally conscious decisions do not have any impact.

In this city, ecologically steered design and arts, are reduced into mere fashion statements. Ecological orientation serves as a class signifier.

How to formulate this critical observation into a style and a movement? I currently think the most equalitarian and ecological style is to have NO-STYLE. Pickup, wear and use anything you find from the streets. When you see a person who is wearing ecobrands: Inform them that they are misguided (possibly by vomiting, like one of my favorite artists Kristofer Paetau during the artforum incident in 2005). The only sustainable way forward is to have NO-STYLE. To go forward we need to consume toxic stuff, learn plastic crafts and listen to algorithmically generated playlists on youtube. Pietari suggested the hashtag #deathhack for these efforts. More reading on class, looks and hiding your class with looks: So You Think You’ve Got Class? (2017) Charlotte Shane (Also related: Sebago docksides rant).

I’ve made a functional and novel sound pedal. The circuit is based on the Dwarfcraft Great Destroyer but I made some mistakes in the assembly, which cause the circuit to behave oddly. It doesn’t work like a bitcrusher, which the DGD is supposed to be. It self-oscillates and creates tunes which are affected by the level of the volume input and potentiometers, it also plays the radio and works like a distortion. A very interesting device (powered with a 9v battery / pedal power supply). As I understand the CD4049 (Buffered) is not grounded and I think the weird behaviour is caused by the signal & voltage working their way to the ground, through the potentiometers. It works great with drums, and creates changing melodic synth and bass lines which follow the rhythm. I added a LM386 amplifier (as an integrated circuit) to the effect to make it louder (The LM386 can also be powered independently so that it acts as a “clean” boost).

The circuit is housed in a Civil Defense V 750 (Model No. 5B) Dosimeter Model No. 5 Charger (C2-2). Serial No. 0005296. Which has been manufactured by the Industrial Electronic Hardware Corp. in New York City (Brooklyn!). The device was intended to reset radiation dosimeter values. If I understand it correctly these kinds of devices were available in fallout shelters during the cold war era in the city. This particular device was manufactured ca. 1962. I repurposed the potentiometer (10k) of the V 750 and used it controls the LM386 output. I’m currently waiting for potentiometer knobs and I’ll make a video of the device after I receive them. I call it the Civil Defence Crusher. It goes well with the Berlin Wall Distortion. Together they form the Sound of Cold War Infra custom guitar pedal series (Ore.e Ref.).


Saw a eye-opening graffiti from the window of the G-train.


I was taught that critical art is “participating in discussions in order to show how unjust particular discussion are”. I was taught to welcome the hurt – So that the audience could witness how unfair and evil the world is. This still makes sense to me… But I know it shouldn’t.

Kassutronic is designing neat eurorack modules.

Why a leading political theorist thinks civilization is overrated (2018) Sean Illing. Interview of James Scott, author of In Against the Grain: A Deep History of the Earliest States (2017). They talk about de-development!

JS: […] the standard narrative is that once we had domesticated plants, then we immediately shifted to an agricultural society so that we could stay in the same place […] But that’s not quite right. Four thousand years passed between the first firm evidence of domesticated plants, cereals, and the beginning of truly agrarian communities that are living largely by agriculture.

[…] hunters and gatherers spend only about 50 percent of their time producing or searching for what they needed to survive. The idea that hunters and gatherers and foragers were living hand to mouth and one day away from starvation is nonsense […]


Schematics and a guide on muffwiggler.com and doepfer.de for nifty 5v gate -> S-trigger converter, which might work on the Boss RC-30 tap tempo (and any other Boss pedal with a tap-tempo). I’m tempted to try this even tough I’m not using my RC-30 as much. Here is a better plan Slacker’s midi clock metronome PLUS tap trigger (S-trigger is not for switch toggle action!). After a furious night of internet search I learned of the Thomas Henry Trigger-to-Switch Project, which uses a 5 VDC dpdt dip relay relay to convert a +5v (5ms) into a switch toggle action. Also considering making a Panasonic/Lumix camera remote using these schematics. Bought a new cheep multimeter.