Build a set of walky-talky eurorack modules which accept modular level signals trough their electret microphone inputs. To accomplish this I assembled a line level signal to microphone input adapter (following this guide: 20 dB PAD for line to electret microphone input) and included a 47k resistor before the 10uf capacitor. The walky-talky speaker output is routed to a tl071 based line level to eurorack level amplifier (I followed the TrAniModule line1-lineout design). The push-to-talk button is routed to a switch which is mounted on the panel. At first I powered the walky-talkies using 7805 chips (build heat sinks from salvaged aluminum) but they run quite hot so I replaced them with LM2596 buck converters. This also dropped the consumption from 200mA to around 80mA (~2mA on the negative rail) but this is dependent on the amount of signal amplification the units uses (which seems to be a automated process, based on some kind of feedback between the devices). The power supplies have reverse-polarity protection. I got the idea for building them from a youtube video.

The sound is interesting, like in megaphones but they are still unstable. One feature of the unstable behavior is that in some tests, some frequencies of sine waves would cause the unit to glitch and go silent. Once a different frequency is transmitted the connection is re-established. Very high frequencies cause a morphing glitchy interference space. The units distort sounds in interesting ways, almost like wave folders and I can also pass clock signals trough. Bass drum tones get removed but low frequency clicks pass. I think the glitches are a power-supply issue (my bench power-supply is very noisy), also there are a lot of loose wires and dodgy connections. I’ll rework the connections and set the rattling wires with hot glue, after I receive on-off-(on) switches (I’ll use them for the push-to-talk button). Also had the idea of adding voltage to control the push-to-talk button but it wouldn’t work as the devices make a loud beeb every time they establish a connection. When nothing is inserted to the input the microphone can be used.

The walky-talkies are Exibel FX-27’s, which we got from Kiasma and used with the xxx_group back in 2009. They have been collecting dust for 11 years! They have 8 channels and I’m currently using 446.00625MHz (the same as baby monitors, which I can now use as inputs for my modular!). I’ll have to wait until the libraries open to laser cut pretty faceplates for them and I also want to mount their antennas properly. Currently the PCBs are attached on a dodgy plywood sheets and the antennas are located in the back. They look like bombs. Sending wireless signals has been a longtime fascination. The last time I’ve worked with wireless audio of this type was in 2006 when we established Storijapan with Kristian (a layout of the our wireless setup is still on our server homepage). Transmitting signals from and in a eurorack system feels like a dream I had a long time ago.


I have a strong urge to assemble a Elektrosluch. It is a “open-source device for electromagnetic listening”. The design is by Lom audio, which seems like a very fine organization. I’d like to attempt to develop a binaural unit and to experiment listening to the electromagnetic properties of water (when it is electrified in some way) to confirm that different batches of Faux San Pelligriano have the same consistency. I attempted to make an electromagnetic microphone last night (and to listen to it with my new Lm071 preamp) but the loose 3,5mm jack picked up more noise then the coil.

I’m feeling empowered by my new electronics skills but I lack a clear focus. I’m get inspired by everything. I’m trying to keep grounded and set my bearings by listening to still & stretched: a mute tumult of memories (2017) by Heather B. Frasch. Her gig at Control last autumn set a trajectory for my current sound work. Perhaps I should take my eurorack and other loose projects to Jesse’s smithy and attempt to formalize something in relation to the Sound of Work series. There is also the possibility to develop something with Kristian (kettlebells?) or to possibly drone out at Kontula Electronic.

I skipped the Zodiak “men’s advanced dance course” this fall. I have some plans for bodybuilding and holistic kettlebell moves. Here are some inspirational videos.


Call for Action: Key Moments in Estonian Performance seminar at Kiasma by Anu Allas (Kumu) and Maria Arusoo (Center for Cont. Art Estonia) was a tad unbalanced. The presentation felt like a marketing event and suffered from technical difficulties.

Allas opened the event by explaining that Estonia was “The West of the Soviet Union” and that artists generally enjoyed the protection of the state and their experimentations (influenced by John Cage and the Fluxus-movement) were condoned and encouraged. She presented Pirita beach as an important venue and explained how the artists of the 70ies were influenced by Western art: “They just heard what artists in the West had done and tried to do something similar”.

The humorous nature of early performance art was underlined but unfortunately the political nature of this humourness was not identified as a method for organizing soviet underground art (Crusaders’ School of Pure Humour Without Joke in Prague is one example, Natalia Lach-Lachowicz from Poland an other). Allas claimed that there was no underground arts in Estonia. She mentioned artists Jüri Okas (Water Man, 1971), Siim-Tanel Annus and Raoul Kurvitz. The last two were presented as key figures of the post-soviet performance scene: “The Western art world expected that after the collapse of the soviet union these kinds of physical artist, manifesting raw creativity would emerge. They thought that this kind of expression had been suppressed by the soviet regime and wanted to witness it being liberated”.

Jaan Toomik (my guru from 2007) was mentioned as a god-father figure of Estonian contemporary art. He was framed as an “export artist”, a male hero of his time. We saw extracts from “Dancing Home” (1995) and “Dancing with Dad” (2003). I like both works (A lot of Estonian classic performance art can be found online). His work was presented as “responsive”, in comparison to feminist artist of today whos practice was presented as “reflective”. Valie Export Society was referred to but unfortunately the presentation didn’t cover their work in detail.

It occurred to me that “location sensitive art” made in post-soviet / peripheral-west countries is a perverse form of nationalism. Artist utilize western proven styles to exhibit their personal freedoms (which is often framed as creative violence against status quo). In this process their audiences can identify how these styles differ from the local culture and values and feel different (from the west) but the same (as the westerners). Post-soviet artists are celebrate for their creative independence but their value is judged based on how they received by western audiences.

Note: “Location sensitive art” came about as a concept in a discussion with Kristian. He told me about his trip to Ahmedabad and explained that locals navigate the city (and their lives) following a contextual map. Their caste, profession and religious prophecies determine what is possible for them, where, how and at what time of the day they can move. Kristian explained that westerners are “not location sensitive”, they believe that they have the responsibility to test the world.

The rest of the presentation was off balanced. Arusoo referred to Ene-Liis Semper, Flo Kasearu, Kris Lamsalu and Maria Metsalu but their work were presented in a form of a sales pitch: “She has refused to perform this work many times […] you at Kiasma are very lucky to have her here…” etc.

The history of Estonian performance art came off as a narrative on how a fringe ex-soviet society became an incubator for generic western aesthetics and styles: “Now we are equal to every other european country, many artists who work locally feel left out.. This is why there is now interest to developing collaborations with other ex-soviet countries”. Non Grata was not mentioned (as a member of the Estonian performance art family) and for some reason events between 1970-1990 were not discussed.


Response for the Berlin Wall Distortion has been great! The demo video has received over 1000 views in under 24h and the response on Reddit has been warm. Rasmus Hedlund shared the video on his Facebook and Kristian said he’d show it to students at the National Institute of Design (Ahmedabad) where he’s teaching.


Submitted the terms deep time Marxism and the institutional horizon to the Bureau of Linguistical Reality database.

Work on the SOW: Blacksmith ed1 metadata is progressing steadily. I’m currently authoring a .csv table with descriptions, filenames, tags etc. for freesound.org. The work is very tedious. The table has 324 rows (each with eight columns). Also added ID3v2.3.0 & RIFF INFO metadata to the files. Unfortunately I couldn’t sync the data automatically so the details are a bit different between the .csv and the metadata embedded into the files. Got the Sound of Work: Blacksmith edition 1 webpage on Ore.e Ref. site ready. Prepared a collection of one shot sounds for Kristian, so that we can start rehearsing with them.