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.


p3rm46r4ff171 carvings have been executed successfully. Together with Jesse, we managed to produce a little above 45 tags to the Kannistonkallio quarry. Most graffiti we worked on was at ground level, some were reached by climbing and others from the top of the hill. Sizes varied, most text and images being below a meter in heigh and spanning one to three meters. We used mostly chisels and a few outlines were made with an angle grinder. Some stylistic experiments with steel rods were made too. We are currently preparing to print an image of the graffiti for the Performing the Fringe exhibition. There is also a plan to publish some teasers on the Pori Art Museum instagram. Here is a low resolution video showing highlights. Music is by tyops.

Ruosniemi hills are located 7km north-east from the Pori centre. There are a few Bronze Age constructions in the area such as the Ruosniemi metsasarat burial mounts. A corner of the hills called Kannistonkallio (38m high) was established as a quarry in the 1920ties. Granite from the site was used for the construction of the Pori bridge (completed in 1926). During the Continuation War German troops operating in Finland forced Soviet war prisoners to work the mine and to produce material for an expansion of the Pori Airport. After the war the quarry was used by the city for producing gravel and an entrepreneur manufactured pavement at the site. Local kids stole dynamite from the quarry storages and practised ski jumping on the hills.

Some time in the 80ties the pit which the mining operations produced filled with water and became a popular swimming site. The pond is known as “Ankkalampi” (Duckpond) and it is believed that the water seeps from a groundwater source. Crabs and fish have been planted to the pond. The quarry is mentioned in the Geological Survey of Finland database and photographs of the Ruosniemen sepelilouhos are dated to before 1996. Some texts in the current graffiti date the writings to 1987. Illustrations and texts are spread along the over 100m long hill edge. In 2018 a pair entrepreneurs established a outdoor centre called FinnDome to the site. FinnDome houses guest in dome-shelters close to the pond.

The selection of graffiti we engraved was based on intuition and we worked independently to cover the vast area. Initially I was inspired to engrave texts which were made to hard to reach locations. Engraving text to hard to reach spots was a way of connecting with the original authors. In some cases I didn’t engrave texts because the spot had required tremendous courage to reach. I wanted to leave them undisturbed. The majority of the texts we wrote are names and nicknames like ana, anzu, eero, erno, hanna, lepis, limppu, miia, niina, riikka, tero and so on. There was a considerable amount of love confessions and some like emmi <3 samppa got engraved. Others were left untouched because fading-love can be a beautiful process.

Looking at photos from the site most of the graffiti we engraved were written in plain handwriting and a significant portion are names of girls. We were also motivated in engraving asemic utters like pippui, oky-mus-porkka and odd illustrations. Some might have initially been parts of longer texts which had eroded over time. Some focus was also given to proto-global graffiti signs such as zeni, zlim and hamp. These sound like something kids born in the eighties might imagine rappers saying (I threw a tag which read zikke around -93, it was written so that it could be read as zakke and derived from my old name Sakke). The letter Z is exotic for the Finnish language.

We also engraved brand names such as hilux, bimmer (and possibly JAPA). In this context, it felt like the authors had written them as prays of sorts. Or perhaps social pressure had forced the authors to produce brand names instead of opinions. The shape of the quarry formed an opening with two distinct stages. The setting invited a dramatic reading of the original texts. It felt like the original authors had channeled deep feels. There were some crude markings and signs which showed that the authors had been working with their haterade, fears and desires. To reach some spots the authors have performed life-threatening climbs.

I think the audience we made this work for does not resite in our time. The audience we worked for occupies a beautiful ruin, where everything we currently posses has been assembled into piles. This landscape affords them novel tools which surface periodically from the ground. The tools are yielded for unimaginable purposes. I think this audience is what we have been working for when we’ve framed various Ore.e Ref. activities as an “archaeology of the future”. We investigate today as a remain and imagine our stuff from the perspective of an other intelligence. This speculative intelligence is not of our own invention. They are folk of the Pensastuulikansa (Bushwindpeople) as defined by Outi Heiskanen and they don’t live in a particular time. They merge occasionally in the form of good humour (with no joke).

Outi was a kid during the second world war and witnessed how scarcity turned her mother into a craftsperson. Outi’s mother could, for example manufacture soap from anything. Making “soap from anything” is the most innovative practice I can dream of. I think with Jesse, we imagine that the audience we are reaching out to, are folk who have developed mindsets, which afford them skills to use the tools and materials they discover from their surroundings, beyond the semiotic functions these items are currently assigned. A possibility for semiotic reconfigurations has been discussed before during the Performing the Fringe excursions and the process is presented as a core strategy of the Crusaders’ School of Pure Humour Without Joke.

Playing with semantic changes was typical of the Crusader School, as was the unclear delineation of events that grew out of one person’s spontaneous idea and was then developed and variegated by the entire community. In their openness – in terms of both authorship and chronological delimitation – they are happenings in the purest sense of the word, although this term is rarely applied to the Crusaders’ activities.

In our case, the folk of the Pensastuulikansa will be able to read the engravings and make sense or assign meaning to them.

The quarry can be found at Liitostie 92, Pori. 61.50567, 21.87771.


They, a recovering survivalist with limited means, were halted at the border control and tasked to polish their gems for an inspection. Being smart about it they had already disposed, or digested rather the stolen ones before entry and yielded only proper fossils on their wrists. There might have been some crumbs left from the stolen ones but not enough to reveal whose they were. Fake skin bubbles in metal crusts flew past at astonishing speeds and the border officer would have had to shout into the noise to be heard. Not that it mattered, they knew the questions and how to answer, or deliver rather and begun the recitation.

– “All stones are of the same age”. They started.
– “All stones are of the same age, to you” the officer replied in a shallow exhale.
– “Back way back when, when folk still dusted cow brain peels with silver and children sat in silence watching light pass them. A promise was made that a figure would appear which would lead us to a glorious death. I’m a bearer of the peels and the glues.” They handed in their documents and took a step back.
– “I’m a bearer of the peels and the glues, to you” the inspector murmured and performed the stamps.

Both were pleased that the ceremony went easy and so they continued to the queue, waited for their tools and then headed to the antibiotic hills. The work was hard, as expected and drilling took its toll. They proceeded mining through rubble and junk, passing layers of old newspapers but were wise enough not to waste time reading any. Remembering what Outi Heiskanen had told them, that text is not supposed to be read. It is meant to line the edges of the pit, so that it does not cave in.

A gem, which at night returned to them by means of interior circulation, reminded them of a happy summer night. After a glass of wine Heiskanen had asked out loud “Tell me, how do you build a house?”. They remembered replying something, knowing it was irrelevant as Heiskanen knew the only answer: “You start digging… In a day or two a man comes by and they will tell you that you are not doing it right. Then quickly, challenge them and hand them your tools. Go to lunch and wait for the house to be completed. Like this, have a look“.

They had studied the material but doubted that they were building a house now. If they were, the shape of the construction was such that nothing imaginable could survive in it. Unfortunately for them, they were working too close to the shape to see that it was inverted. If they had taken a step back, they would have observed that their efforts were producing a quarry which would eventually serve as a casting mold of the Pori bridge. But they were too concentrated on finding tiny antibiotic particles. The medicine was contained in the droppings of privileged pets of the past. Beasts which had been medicated by high tier professionals of glory days. If the blue rim, surrounding a pile were to be scraped off successfully and digested, it could heal them.

They spend their days working and nights waiting to work. Genuine starlight blessed them trough the ceiling wrinkles of the bubble dome shelter. Having spend two cold days in the pit they spotted the hardend remains of a past miner and a shameless exploration of their dried out dun led to an astonishing discovery. To everyone’s surprise they had breached into a sediment where antibiotics could also be found in the droppings of pet owners! And so they began to scrape around the remains, expecting a glimmering blue rim to appear. They were not discouraged by the sulphuric fumes. Amongst their kin, outlining corpses with furious labor efforts was the highest sign of respect. This kept them working diligently and to top it all, if they had understood Heiskanen correctly, their life would get better soon.

They is Ore.e Refineries (est. 2007) and they offer mineral water made from quarry graffiti (2021). This text is available as a vector-graphic.


Continuing with kettlebells. Working to develop grip and core strength which will prepare me for the physical ordeals of p3rm46r4ff171. Sourced a Lomatex outdoor outfit (Kaamanen Folk-suit desing). The company has an interesting history. A workout for making public artwork is based on a Turkish Get-Up routine (I think the move is an adaptation of routines performed with Persian sangs). Get-Ups are complemented with a rotating set which includes:

  • One Hand Swings
  • Standing Side Presses
  • Forearm Flips
  • Bottoms Up Cleans
  • Snatches (eventually with Bottoms Up)

Digging Robocop Remake – Scene 27 (2014) Fatal Farm. Dick shooting cyborgs to the rescue! Makes an odd fit with the new Can’t Get You Out of My Head (2021) Adam Curtis series. I like the way Curtis links the phases of the Chinese Cultural Revolution with the waves of restlessness which emerged in Europe and USA at the same time. I also enjoy the criticism of managerialism and the consequent interpretation of computers as engines of managerialism. All algorithms, no matter their purpose or whether we understand their workings, are mere servants to managerial ideologies. No matter what, computers obey a logic and this will always make them servants to causal worldviews.


Conservatives are concerned that handwriting its getting worse, when in actuality we are witnessing it being liberated from the shackles of past institutions. Handwriting is revealed as asemic blur, an expression of interior tremors and the body. Eventually we will witness handwriting detaching itself from words  all together. The more we write with computers the more liberated our handwriting is becoming. #ॐ My mother participated in a computer course in the nineties but she refused to learn graphical design with the machines: “What’s the point? My handwriting is good!”, she argued.

The upcoming Performing the Fringe – Vaeltelua laitamilla [Wandering in the Outskirts] exhibition is announced at the Pori Art Museum pages. Preparations for the show are progressing steadily.