Visited Ambient Arkipelag 2021 in Tenhola over the weekend and heard Lau Nau & Minea perform in an old church.

Made a well planned build of the Trigger-to-Switch Project by Thomas Henry. This time the circuit is used to power a 12v water pump when the unit receives clock pulses. Works well (and way cleaner then my previous attempt)! Now I have an artificial artesian spring which follows my bpm in my disposal.

Spend a night at the Kurängen spring. Slept in a hammock. Or didn’t sleep rather, woke up at 5 to cycle home due to thunderstorm. Performed restoration work on site by removing a worn canvas from the spring base. The canvas had been set (in the 90ties I suspect) to keep the water clear but over the years naturally eroding top soil, decaying plants and other debris had rendered it useless. It was essentially blocking moss & other plants from establishing roots and preventing sunlight from accessing the bottom of the spring. The mud below the canvas smelled rotten (and was possibly a reason for the faint rotten smell of the water). I’m hoping that by planting peat and moss, which I’ll harvest from a swampy patch higher up the forest, I can establish a natural filter for the to the spring base. The filter is needed to keep the clay and mud settled. There is a lot of grey clay in the spring and I took some with me for experiments. I removed mud and all the debris I could catch during the night.

The spring was revealed over a meter deep. I suspect it has been the “eye of the swamp” which the long ditches in the little forest valley have been dug to dry out. Also found the car mentioned in Metsäauto ja lähde: miete maastoisesta suunnassa-olemisesta [Forestcar and spring: though on being on track in the ] (2015) Marko Leppänen. Dreaming of cutting a piece of the car panel for a spring water related electronics build. It feels prestigious somehow and disturbing it might be a bad idea.


Visited Lau Nau: Wild/Captive at Blank Forms last weekend. Modular synth beats from multiple directions, blended with field recordings from the woods and organ-toned melodies. Many of the nature-sound-trips I’ve heard in the city (Bánh Mì Verlag/Control gigs) have been based on field recording too. They have underlined the differences of technological and natural soundscapes, moving from nature-like-sound towards machine-like-sounds (the narrative contrasts them and makes technological sounds feel disrupting). In Naukkarises’ piece the organ-toned melodies (from an accordion?) blended into nature sounds seamlessly. It was a tad romantic, but welcome. It felt hopeful.

Visited Storm King Art Center last Monday with the ISCP-crew. There were also people from other residents such as Eye Beam at the trip but unfortunately we didn’t have time to mingle (it was so cold outside). The endless display of gigantic rusty metal sculptures was depressing but there were some pretty vistas, fresh air and decent artworks on display too.

Mary Mattingly’s Along the Lines of Displacement: A Tropical Food Forest (2018) is a series of tropical trees planted to the cold New York terrain. The palm trees were intentionally displaced, as an absurd and uplifting response to global warming. They are destined to die during the winter, which makes the piece into a memento mori plant-life arrangement. Being non-native to New York I didn’t understand that the trees were unsuited to the climate (palm trees in New York pass my radar).

There was  a really nice video Wolf Nation (2018) by Alan Michelson on display inside the exhibition center. Michelson had found a remarkable stretch of footage from a disregarded wildlife film, which showed a pack of wolves observing their territory on top of a small hill for 10 minutes. They choreographed different kinds of collective arrangements, reacting to other inhabitants of the site and moved in an out the frame periodically. The wildlife film was found footage and Michelson had connected it with a soundtrack. The work referred to the New York Lenape people (Wolf Tribe).

Visited Remy Jungerman’s Based In exhibition at robert henry contemporary on Friday. I had no prior knowledge of his work and decoding its visual language took a while. Luckily Jungerman gave visitors short introduction to the works. As I understood the pieces were tools for identifying blind-spots that modern art and modernistic thinking has in relation to spirituality and otherness. The sculptures in the gallery felt like miniature models of modern cities or container ships. Each had a few iron-nails hammered into it. At first I thought that this was reference to the absence of materiality (in modern design) but the nails were possibly referring to religious practices in which nails are hammered into figurative sculptures as a sacrifice.

Participated in a Lorre-Mill uTone build workshop at Control yesterday. The uTone “uses CMOS logic, a resistor ladder, and a few other simple pieces to create audio forms. The scale inherent in this instrument is the undertone series, giving divisions of the main clock frequency”. Here is more about the design. We build our uTone units in four hours, hooked them together for a jam and chatted briefly about the topography of the circuit. I learned how to read resistor values from color codes a little better. Unfortunately the workshop was too short, we didn’t learn more about Will Schorre’s views on design and sounds (here is an interesting post on his website on prototyping). I would have also liked to learn more what the uTone is capable of. It has two inputs. I’m in the process of adding an 3,5mm TS Jack -> Banana Jack port/adapter to the device to integrate it with other gear.

We drafted a proposal with Ilari to have a publication on land- and environmental art conservation (Working title: Notes on Land and Environmental Art Conservation – Critical Approaches to Denes, Holt and Smithson) co-published by the Finnish Cultural Institute in New Yorks and the Fine Art Academy of Helsinki.

Synths and eurorack modules we proposed through the Oodi-modular initiative are currently being acquired by the library staff! We are on our way to a people’s-public-modular of Helsinki.


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.

Hevoslinja: Ohi on!

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Kiitos Etelä-Espoon ratsastuskoululle ja tervetuloa Turkuun. Takana on Hevoslinjan tehoviikko. Haemme ryhmän voimin jatkorahoitusta Hevoslinjalle (suuntana Keski-Suomi 2015) ja viimeistelimme Hevoslinja HKI-TKU ratsastuksen. Kaupungit yhdistävä urakka ei näet teknisesti liittänyt Helsinkiä ja Turkua kun Toivotun Pojan tallit ovat Espoossa. Viikonlopulla oli aikeena tehdä 10km lenkki Helsingin rajojen sisään..

Viime hetkellä päätettiin kuiten ratsastaa hevonen McDonaldsin drive-in kaistalle ja tehdä vikana eleenä kaikkein Espoolaisin tempaus mitä keksittiin. Jesse lämmitteli Pojan ja alitimme länsiväylän Pietarin kanssa. McDonaldsilla tilaaminen ei kuitenkaan onnistunut. Poika oli huolestunut, säntäili ja tilausluukku liian alhaalla. Lähdettiin pois. Liitin painamamme reitit kartalle.

Matka päättyi virallisesti Etelä-Espoon ratsastuskoulun pihaan, jossa oli käynnissä myös Päivä hevoselle tapahtuma. Läsnä oli muutamia Hevoslinjan kehittymistä seuranneita talli-aktiiveja ja pidin tunteikkaan päätöspuheen. Poika sai aplodit ja juteltiin yleisölle ratsastuksen yksityiskohdista. Yleisö uteli miten näin alkeellisella ratsastustaidolla varustetut uskalsivat tehdä matkan.

Kiiteltiin hevosta mutta ensikädessä Anna Sulinia valmennustyöstä.

Sulin on tukenut urakkaa hevosen hankinnasta alkaen. Tämä on vaatinut rohkeutta sillä Hevoslinjan ratsastus etapit ovat olleet erittäin vaativia. Vaikka ratsastusseuramme on osoittanut kykenevänsä hevosen käsittelyyn ääriolosuhteissa – Olisi yksikin huonosti käyttäytyvä autoilija (niistä tuhansista jotka ohitettiin) riittänyt tuhoamaan yrityksen. Syy tästä olisi langennut niskaamme. Hevoslinjan seurassa näyttäytyminen on ollut riski mukaan temmatuille yrittäjille!

Ilman Sulinin luottamusta, valmennusta ja teknistä tukea Toivotun Pojan kanssa toimimisesta, projekti ei olisi onnistunut. Etuna on myös, että tämä tuntee Pojan geenejä myöten kun on aikanaan ratsastanut tämän emällä. Poika on ensikuussa töissä talleilla ratsastustunti hevosena mutta jos kiinnostaa vielä tulla tapaamaan sankari Suomenhevosta, ole yhteydessä.

Superviikonloppu jatkui ja harppasin seremonioista Salon junaan, jossa esitelmöin hevosista Polkuja kohtuuteen seminaarissa. Seminaarin pääpuhujina oli mm. Timo Järvensivu, Jarna Pasanen ja Tuuli Hirvilammi. Saavuin myöhässä ja seurasin vain loppukeskustelut. Esitelmäni edelsi Lau Naun akustinen soolo ja kuulin parhaan tulkinnan Juokse sinä humma kappaleesta.

Esitelmäni kesti tunnin. Yleisö nauroi alussa ja lopussa mutta välillä nämä nuukahtivat.

Osuudet, jotka käsitteli (suomen)hevosen asemaa käänteessä kun hevonen teknisenä resulssina kävi hyödyttömäksi, olivat puisevia. Puheenvuoro kävi harjoituksesta. Samainen luento kuulla tänä perjantaina New Performance festivaaleilla Turussa. Hevoslinjasta voi tulla kuulemaan perjantaina Night Vision klubilla Tehdas-teatterin tiloissa Turun Manillassa  (Itäinenrantakatu 64) alk. 21:30.

Luento-kiertue jatkuu ja Hevoslinjasta kuullaa loppuvuonna myös Porissa ja Tampereella.