Talked and played waters at Kiilan äänipäivät. I had a wonderful time, stayed up way too late and made new friends. I enjoyed all the performances. Particularly liked Ahti & Ahti (perfectly lowercase guitar tremors) and .oO ensembles interpenetration of the four scores they had commissioned. Out of these a poem by Pauliina Haasjoki was my favourite and I also liked Leena Kelas piece titled “Ode to Soil and Elegy for Extinction”. In their interpretation the ensemble focused on distance, perhaps to draw emphasis to our experiences of the phenomenon of extinction. The performers were really far (across the wheat field) from the audience. Three small black dots in a vast plane. They begun executing the score but what they actually performed was impossible to see or hear. Suddenly they produced a lot of noise banging metal barrels and right after a sound clip of generic audience applause was played. The clip was treated with a phaser effect and slowly morphed into a squarewave bleep. This amplified our the distance to the performers. The field felt like a stadium concert. From a far the loud noises they had performed were effected by the wind and atmospheric gasses, which made the noise they produced wavery. Phaser effect morphing to squarewave was a nice discovery. The score for the piece (revealed later at an after party at Kiilojentalo where we hear two compositions by Pauline Oliveros, interpreted by the Truckfuckers) was very detailed and revealed that the drumming segment was produced from the prompt “AIM FOR JOYFUL CACOPHONY”.

I performed with the Kiila village spring (60.2372, 22.8633) which is a plentiful water source that produces drinking water for the village. It is situated between two fields (wheat and rye) and produces a small creek heading towards the sea. The spring opening is protected with five big concrete rims (covered by a plastic lid) and the enormous overflow (from under the rims) was covered by willows. Roope said the spring has a chalky taste… I think there was clay in it too. I think there were over 50 audience members and I had to use the full range of my voice to be heard. Felt messianic to shout next to a flowing creek. Water Lab (version 2) operated very well using batteries. I chained two lantern 6v’s (for 12v) to power the VC122 Gieskes which produced a small water jet by interpreting the amplitude of the voices the system produced (I’m pushing my usb power supply to ~410mA! and the only error is occational drops in the output when there is no signal). I polished my diy allflesh pads before the gig, felt like a proper way to prepare (also made a special t&r unit). I passed the map which the director of the Kurkijoki village museum drew us to the audience but I didn’t receive it back. The revolutionary dance poses and stretches were well received and the entire audience partook in my efforts. Being inspired by the The French Revolution, Pt. 1 & 2 podcasts by SRSLY WRONG I added French revolutionary poses to the mix. They worked great as bodies are off balanced and facial expressions amplified. See the statue for the French Revolution in Maubeuge as an example. The legs are arched back and if the riffle would be changed to a guitar the pose could be from a stadium gig. The revolutionary stretches feels like a worthy physical activity to explore further (also reminds me of Shadow Boxing Revolution, 2010).

Handed out a few copies of our (by Tea Andreoletti, Thomas Berra & me) Tasting book which is now released as a part of Museum of Contemporary Art Toronto’s Shift Key: Protection Spells program curated by Native Art Department International (Jason Lujan and Maria Hupfield). Bundled the booklet with a plastic knife which the audience could use to tear the sheets open and to perform one of the recipes in the book (also had some Sriracha sauce available). Tasting is the process of comparing two or more ingredients to each other (2021) is available for view for two weeks (and after this on youtube).


Wrote a summer text for Mustekala.info Puu kaatuu metsässä – Tunnelmia Kiilan äänipäiviltä Kemiönsaarelta [Tree Falling in the Woods – Vibes from the Kiila International Sound-Days at Kemiönsaari]. An easygoing review which includes a short history of the event and an overview of all of the works presented this year. Includes some fancy casually post-humanistic sentences: “[their piece] explored constructions, which enable the production of sound in bodies, animals and other wind instruments” (concerning a performance by Ragnhild May and Kristoffer Raasted). Also summarized Yan Jun‘s from last year performance which I wrote shortly about. Got to interview Tolvi, Juho Laitinen (got a micro-lecture on art!) and Teemu Lehmusruusu for the text too.

Jesse introduced me to the concept of post-ore (jälki-malmi). He came up with the concept after spotting scum with aluminum and copper traces in the lot of an old foundry. Its a very useful concept for Ore.e Refineries. Post-Timber works too (see this crafty palindrome as a performance). We build a sauna (using post-timbre) with him in two days. Needs insulation but gives a good löyly.

Breadboarded a Microphonie (Music Thing Modular) and made a unit on perfboard too. Turns out my DC 5-24v to Dual Power 12v -12v 5v -5v 3.3v is incredibly noisy. Works ok, not as loud as I hoped and a bit noisy (most likely because of my building skills). Using a battery works cleaner. Tested it with my μZEUS too and begun to build a (water)capacitor (will be dry tomorrow).


Met Antti Tolvi and Laura Naukkarinen at the Kone foundation Lauttasaari manor spring party and they invited me to visit Kiilan äänipäivät in Kemiönsaari (last weekend). We came a late but saw the end of Juhani Nuorvala’s gig (featuring  Jussi Liimatainen aka. Mr. Duo Kaosspad on an oscillator). Nuorvala’s gig was a good warmup for Yan Jun‘s brilliant performance in a garden. Jun used a garden water sprinkler as an instrument. The sprinkler served simultaneously as a sequencer, a phaser effect and a radar/scanner (trough which we could hear how his body was positioned). The idea that a sequencer is a radar is inspirational (particularly grid based sequencers should be approached as such).

He positioned metal pans and aluminium foil on the grass and adjusted the sprinkler movement settings for different beats, then he stood in front of the water rays in different poses (wearing a raincoat which amplified the sound of water drops). After the sprinkler jam he added Pop Rocks candy in water ponds that were formed earlier, he also ate it and changed how it sounded by adjusting how his mouth was shaped (he was signing pop rock). Then he sang atonally and started to dance slowly. The dance turned into a duetto with a mobile phone camera. The camera was set to scan for smiles and every time he smiled the device took a photo (which produced a familiar camera shutter sound). The then turned the camera to the audience and everyone who smiled got their picture taken.

He put the camera away, continued dancing and opened his fists rapidly. His nails dragged against his palms which produced a camera shutter like sounds (rapid high frequency noise with a fast attack envelope). He looked at the audience calmly and opened both his fists creating a panning noise effect that reminded us of the sprinkler sound heard earlier. This last gesture made me think that we as the audience were radar/scanner and his body positions were echoed from our gazes. Or something… A really warm and inspirational performance. I’ll definitely explore the sequencer / phaser / radar approach in the future.

I found a lot of interesting interview on Jun online. In No More “The Other Shore”: In conversation with Thomas Bey William Bailey (February 2015) Jun talks about the history of noise music in China and offers glimpse on his views on noise. He refers to Zbigniew Karkowski and promotes an “experimental art organisation” called subjam.org which I’ll have to follow in the future.

Intuition and thinking are not separated in [Chinese] tradition. No such separation of body and soul etc…but there is, strangely, a trend that takes intuition / body / honesty as a weapon against professional / thinking / rationality [in China]. It’s rather nostalgic: to resist the rapidly unfolding modernity. When I talked about truth and reality, I was actually criticised as not honest, not real. This is similar to someone being criticised as ‘not professional’ in Western culture, maybe..

When I say ‘dry sound,’ I have a context of underground music rather than electroacoustic music. After the development of effect pedals and subwoofers, we are more powerful than before. Not to mention laptops. And the cultural politics. With the distortion pedal noise became easier. With the delay pedal, psychedelic music became easier. But the early psychedelic music was clearer than today’s. It was more about playing by hand, one stroke after the other.