Heard Belorukov & Zherbin, Filter Feeders and Pasha Rotts at Akusmata gallery last night. A warm and noisy evening. Saw a Make Noise 0-Coast and a SP-303 in use. Also a brilliant electronic music gig hat (by Pasha). Petri Kuljuntausta offered some guidelines for the upcoming Ore.e Ref./Storijapan: Sound of Work exhibition/gig. He wants us to prioritize on audio. We’ll possibly also present audio pieces from the Ore.e Ref.: Meta- Collection (Record Singers, Topi Äikäs 4’33, Wuolio usb stick?). Particullary Äikäs and RS serve as solid references. Came up with the idea of making a helmet xylophone (like the one Ewoks play in Star Wars) and using the same styles of exhibition display techniques we deployed for SIC (2014).
Ore.e Ref. on a winning streak. Washington Post writes that The hottest trend in Web design is making intentionally ugly, difficult sites. Apparently web brutalism is a thing.
“‘Prism House Complete Percussion Vol. I‘ is a compilation of 320 found sound samples gathered from field recordings made exclusively in New York City”. It works well (The music the band makes is sentimental). Sounds of the Junk Yard (1964) Michael Siegel is a better reference for sound of work! My favorite is “Alligator Shear” (201). Siegel’s Sounds of the Office is a classic (Perhaps it inspired the PO-24?).
I’m not sure if SOW: Blacksmith ed1 is offering anything new to the continuum of groove oriented musique concrete. I guess the publications openness (direct availability through archive.org / freesound) is it’s best merit. But there are so many great free sample packs already out there that it’s impossible to stand out. I’ve been bragging that SOW is a True-Marxist sound publication: It is NOT a representation of labor or a glorification of the labor force – It is a tool (Which can be used to to make techno). The grooves of the machines can be yielded to move our semi-unemployed bodies struggling through post-industrial landscapes.
The idea that techno is the music of the working class was announced by Jori Hulkkonen in 2011. I got to interview him during Kotimaan teknokatsaus vol 3 (16:41). Similar views are present in Jeremy Deller’s Acid Brass project. In 2011 Hulkkonen described techno as a “Human soul with the frame of the machine”. He talked about Detroit and how the cities empty industrial spaces were appropriate for social gatherings. Abandoned factories filled with bodies moving to the rhythm of machine made music. He believed that Kemi’s development as a city forged him into the artist he is today. After factories were closed and parents were unemployed, their children occupied the factory facilities, filled them with mechanical sounds and developed new cultural expressions (and industries). Techno served as a gateway for learning how to work with computers, to organize gatherings and to work creatively. It was born from necessity.
The response for SOW has been ok. People have celebrated the release on Reddit. Apparently “Industrial sounds are so hot right now” and the Novation Circuit tailored .syx has is well received (52 likes). Also got in touch with Petri Kuljuntausta who invited me to host an exhibition at Akusmata sound art gallery in the summer. I’m moving steadily into towards sound arts. The transition of migrating from performance art to post-marxist sound art has taken two years and a little under 800€ in gear investment. I regret that we didn’t explore the sonic possibilities of Jesses forge in more detail. The sounds are pretty straightforward. I guess I should apply funding for ed.2? I could ask Hulkkonen etc. to produce songs from the sounds too.
Interesting audio slicer, loopers and scratch emulators as VST: kammerl.de/audio/. Beat-Repeat Effect is also available for
Mutable Instrument’s Clouds.
Visited Ars17 at Kiasma. Not as scary as I thought. Simple stuff. It felt homemade and I was only scared by Ilja Karilampi.
Visited Hybrid Matter symposium at TeaK last Thursday. Jennifer Gabrys gave a talk concerning animals as sensors. She referenced projects that had embedded animals with sensory technologies to collect data on weather conditions, migration routes etc. The approach is of interest for our Trans-Horse project. We’ve investigated the possibility to set the horse’s views and environmental requirements as a premise of urban planning in hopes of crafting more environmentally engaged and versatile environments. Gabrys approach was critical and she argued the majority of animal aided data is used to confirm human perceptions. She is currently working in a project called citizensense.net. Her talk gave me the idea to use the horse care-journals of the Mounted police of Helsinki as data to study city development!
Steen Rasmussen gave an interesting talk about BINC economics (bio-, info-, nano- and cogno.). His talk was a useful reminder of the historical importance of the middle class: The empowered, wealthy and democratic middle class of the last century was a unique historical glitch and automation of labor is it’s biggest threat. He was optimistic about 3d printing and other “new” manufacturing technologies and urged the audience to engage with new technologies open mindedly. Unfortunately many new technologies categorically renunciate agency of the makers. This renunciation is embedded in modern worldviews – Factories and 3d printers are equally bad! There are no new technologies.. New tools fuel the same old colonization. After the symposiums I came across the concept of Critical Making which I’ll have to study more. Critical Making seems to fit many Ore.e Refineries projects neatly.
On Friday I joined a dinner organized by the Union for Rural Culture and Education. The dinner completed my involvement with the Grey Cube Gallery project. I was seated next to Päivi and sound artist Petri Kuljuntausta. Kuljuntausta was kind enough to share field recording techniques and motivated me to continue with sonic experimentations. We talked about the Ihme audio-guide project I completed last spring and he had some ideas on whom to contact concerning the future of the project. I had to leave the dinner early as I rushed to Turku. On the buss I read some of Kuljuntaustas texts on sound art. He has used a KaossPad in his live setup.
In Turku I met with Jesse and we made 232 separate machine/tool sounds and two binaural recording at his smithy (The binaural equipment is on loan from Circus Maximus). The recording went as planned and we worked on site for eight hours. The majority of the sounds are high pitched and we’ll possibly make additional recordings next year. Jesse had the idea of fitting the smithys floor with piezo microphones, so that we could hear the bottom end sounds. We’ll likely call this sample-pack “Sound of Work: Blacksmith vol.1”. I’ll demo the sounds for Jesse next weekend.
I’m meeting students from the Kankaanpää Art School online this week to discuss their upcoming graduate exhibition and art projects. Also met with Antoine Pickels concerning possible Trans-Horse engagements next year.