Tunnel Vision (2021) Eyal Weizman. A good update to Weizmans writings on the Israeli Defence Forces utilization of critical theory, postcolonial and urban studies. The article offers a very revealing interview of Israeli chief of general staff Aviv Kochavi (from which the quote below).

This space that you look at, this room that you look at, is nothing but your interpretation. Now, you can stretch the boundaries of your interpretation, but not in an unlimited fashion – after all, it must be bound by physics, as it contains buildings and alleys. The question is, how do you interpret the alley? Do you interpret it as a place, like every architect and every town planner does, to walk through, or do you interpret it as a place forbidden to walk through? This depends only on interpretation. We interpreted the alley as a place forbidden to walk through, and the door as a place forbidden to pass through, and the window as a place forbidden to look through, because a weapon awaits us in the alley, and a booby trap awaits us behind the doors. […] I said to my troops: ‘Comrades! This is not a matter of your choice! There is no other way of moving! If until now you were used to moving along roads and sidewalks, forget it! From now on we all walk through walls!’

A Frame Finland post Reflecting on Gathering for Rehearsing Hospitalities offers two essays discussing the Rehearsing Hospitalities programme. So far I’ve only read the Mike Watson Staying in the Liminal Space Between Politics and Art (2021). They have selected important works from the recent Artsi museum Secured – Politics of Bodies and Space -exhibition for grounding their analysis. Particularly like how they read Sepideh Rahaa’s performance as an effort to motivate Finnish artists and art institutions to begin working with our involvement in conflicts in West Asia. The essay feels weirdly lodged between reading as a proper critique and being a commissioned review.

The long-touted and perpetually delayed invasion of Iran – discussed by multiple US administrations for decades – will likely also be discussed in art spaces should it ever happen, though we would perhaps do better to protest it in front of parliament for its duration. Is our problem as ‘political art professionals’ (a strange and contradictory category that by now surely exists) that we are trying too hard to do art specifically as a means of not doing protest? I think Rahaa intended very clearly to ask this – with the Artsi museum and Frame facilitating the question.

Trying to read Social Ecology and Democratic Confederalism (2020) which is “a reader from Make Rojava Green Again in cooperation with the association of the students from Kurdistan YXK and JXK “. The writings by Murray Bookchin feel less potent then how his work is discussed in the Social Ecology and the Critique of Hierarchy 2020 series by srsly wrong. I like the concept of nature he offers and particularly how it is deployed to prove false the assumption that being indoors and surrounded by technology would somehow separate habitants from nature. Perhaps Kochavi has been reading Bookchin too, because the room I’m in is only an interpretation, working to convince me that I’m civilized.

Human beings always remain rooted in their biological evolutionary history, which we may call “first nature,” but they produce a characteristically human social nature of their own, which we may call “second nature.” Far from being unnatural, human second nature is eminently a creation of organic evolution’s first nature. To write second nature out of nature as a whole, or indeed to minimize it, is to ignore the creativity of natural evolution itself and to view it one-sidedly.

The Tyranny of Stuctureless (1970) Joreen. A manifest urging people involved with working groups aiming for the women’s liberation movement to define clear articulated aims to work towards. The critique Joreen provides works well for maintaining focus in politically geared artist lead initiatives too. I’m reading it as a critique of managerialism: Working for well articulated goals, is more efficient (and can be more healing), then using energy for processes which assess the premisses that motivate people to come together.

When a group has no specific task (and consciousness raising is a task), the people in it turn their energies to controlling others in the group. This is not done so much out of a malicious desire to manipulate others (though sometimes it is) as out of a lack of anything better to do with their talents. […] When a group is involved in a task, people learn to get along with others as they are and to subsume personal dislikes for the sake of the larger goal. There are limits placed on the compulsion to remold every person in our image of what they should be.


Preparing a workshop for Pori Art Museum. I’ll host a seminar for kids about p3rm46r4ff171 and serve them dirty waters. Later this week I’m running a workshop for Frame at the Experiments on Togetherness: Herding in Helsinki Central Par event. Exited to present my work in junction with Mari Keski-Korsu’s herbal-horse audio-meditation session. I’m preparing light gymnastics bundled with horse-behavioural theories and anecdotes about the Helsinki Mounted Police. The mounted polices night shift are planning to pass by to offer their greetings. The upcoming RH3 Frame publication, where I contributed a text titled “On the Other Side of the Paddock”, marks the closes I’ve gotten to Eyal Weizman. We are listed as contributors on a list which is organized alphabetically. Being the two last entries, we are only separated by the conjunction “and”, which is more then a comma but feels more intimate.* I’m referring to Weizman in two upcoming texts (the other will be out on the 17th and the later published in a book on performance pedagogy).

DIY electronics are way more expensive then buying instruments used. I will have to put this hobby on hold. I decided to build Paths RYO a cycling sequential switch for developing my system towards a cybernetic device, possibly using the electronic qualities of different waters as inputs. I sourced the pcb from an online shop in the US, electronics from Digikey, some rare components from Banzai Music (Germany) and odd bits and bobs locally from Uraltone. Just the mail, vat & service fee expenses of the packages would covered the costs of a used unit. Making by hand is more expensive then getting the same factory built. It might also be more ecological. I think I’m diy-ing stuff only to make myself feel better about being a consumer. Also sourcing parts for an Aperture unit (and I want it just for fun).

DIY-ing new modules
to hide all traces of my

Today is an anniversary of EWS 1# and someone called “Petsamo” has added it as a tourist attraction to openstreetmap! I’m proud to say they have classified it as an artwork (a mural to be specific).

*edit. Got to ask Weizman a question on a Frame/RH3 related discussion & chat! Bassam El Baroni conveyed my question: Does intuition have a role in investigation? Weizman explains that they don’t know what intuition is but that investigations are involved with imagination. They explained that truths are simple and lies require imagination. Does this make counter-investigations processes where imaginative effects are removed? They continue depicting imaginations as having a fogging characteristic, which is obstructing the truth. I’m disappointed by the response. I don’t think truths are rational (simple) #ॐ. I don’t think counter-investigations necessarily reveal  rationalities (indoctrinated racism and biases etc.), they reveal something horrible: War machines are not liable because they don’t make any sense.


Had the pleasure to participate in Forest Dreams – A critical conversation around the work of artist Agnes Denes -event at Melbourne Design Week. The talk was initiated by Jock Gilbert and Sarah Hicks whose approaches to land art and land conservation, I learned trough their 2015 article Forest for Australia: Challenging Loyalties. Our talk was fast but I appreciated the event. I prepared a pre-recoded intro to my bit on the topic. Hoping to continue exploring ruins-as-beauty.

Helped in streaming/managing the Frame Knowing with(in) Limits -event. Had the pleasure to be introduced to Jenni-Juulia Wallinheimo-Heimonen and her praxis.

Performed in the How To Do Things With Per­for­mance Grande Fi­nale. Got on stage right after Jamie MacDonald, so I inadvertently visited my first stand-up gig. MacDonald was great, well planned and smart. It was embarrassing to perform after him. I had planned a co-authoring performance in which the audience and I would have written an artistic review of the event for Mustekala (the performance was titled “This is the Great Review We Write for Mustekala”). But being inspired by Tan Lin earlier that week, I started off with a vote were I presented two options: The first option was framed as being a potentially stressful bit, which would have lead us towards a burnout (writing an article in an hour). The other option was described as ambient, boring and inverted (Titled “OISAC”, with an inhale). The audience voted for the latter so I ended up reading the Casio watch module qw2271 manual and followed the different choreographies it suggested for operating the compass, barometer and altimeter settings. Both options mirror some kind of post-covid-post-burnout mode of creativity but OISAC worked better in sparing joy in exhaustion.

Prepared two wooden benches for an installation which will be shown in the Helsinki Biennale. It was nice to visit Vallisaari. There were a lot of interesting folk at the local lunch bar. Heard a few murmurs about the miniature ecological catastrophe the biennale brings to the island.

Sourced a spare part for my Kaosspad 3 and managed to replace the broken fader. The fader reads b5kx2 and the part number is 510374524026 (Effects Level Fader). There is a service manual online too. Easy fix, not a lot of components to worry about. I could go for touchpad led mods with the unit. The other pots feel worn too. Not using it much for anything.


Helped in broadcasting(?) and managing a Frame event Merpersons: Disability, accessibility, gender and art together with Kalle Kuisma / M-Cult. The event was on Zoom.app from where we streamed it to youtube. We made the stream from a client-machine which was a guest at the event (instead of using the inbuilt Zoom.app yt arrangement) to make the online event more secure (we were prepared to drive “blocking footage” to the public stream if the session would have been compromised). The stream faced a few technical glitches but in general everything run smoothly.  I think Kalle is onto something with the idea of showing “locational footage” as a part of the Zoom session (in between talks on breaks etc.)! The event had a strong community TV vibe. The next event we’ll work on is on the 5th of May.

The water as artistic practice talk (at 2h 23 min) with Marianne Savallampi, Tuuli Malla & Rag Elnyg was really cute but they didn’t discuss water directly. Pollutants and mutations were referred to in a borderline positive light which reminded me of Toxic Progeny: The Plastisphere and Other Queer Futures (2015) Heather Davis.


Made my first batch of Faux San Pelligriano. 1,5l water is added with ~2g of salts and minerals (10l has 0,92g Table salt, 5,7g Epsom-salt, 4,8g Plaster of Paris, 1,5g Chalk). Digesting Plaster of Paris aka. Burned Gypsum feels weird but I’m confident because Gypsum is also used in the production of tofu. Epsom salt aka. Magnesium sulfate is a spooky material too but it is used also as a laxative and it’s health benefits are well documented. Chalk and salt feel more safe to use.

Spotted Too Many Zoos online. The baritone saxophonist is called Leo Pelligriano. I want to drink Faux San Pelligriano while playing techno as Faux Leo Pelligriano.

Build an acoustic piezo preamp using a tl071. Used the toner transfer method to etch a pcb following this design (some traces came off a bit weak). The same circuit can also be found as a vero board design. Works well, sounds very clean and even amplifies the signal enough to trigger Bastl Skis. I’ll possibly make a lm386 audio amp as it’s companion, so that I can boost the signal further. I’m also planning to run the lm386 independently so that I can use it to trigger the second Skis channel. Drum triggers in the works! I designed how the two circuits would be linked while attending the Frame Epistemic Hospitality event.

Meritocracy is a myth invented by the rich (2019) Nathan Robinson.

It’s no secret that wealthy people will do nearly anything to get their kids into good schools. But this scandal only begins to reveal the lies that sustain the American idea of meritocracy.

[…] equal opportunity would require a radical re-engineering of society from top to bottom. As long as there are large wealth inequalities, there will be colossal differences in the opportunities that children have. No matter what admissions criteria are set, wealthy children will have the advantage.