I got issues with the Discogs database. I met Mikko Kuorinki, talked about the Record Singers empty record cover and learned about Discogs. I entered the artwork into the database over the weekend and celebrated that found a good company. The database enables users to create lists which help to build context for oddballs like the empty record cover. There are lists for “Freakshow: A museum of strangeness” etc. packed with similar inspirational titles. I found Christian Marclays “Record Without A Cover” in one these lists. Inspirational stuff (Now I want to make an LP too).

I entered the empty record cover to the database and contacted some of the list maintainers to suggest it as an entry for their virtual collections. Unfortunately this effort led to a user initiative to remove the empty record cover entry from the database. This was done based on the fact that it is “Not an audio format”. It was tagged “not eligible for this database” because it’s was seen as a piece of cardboard – not even a piece of vinyl or other audio carrier.

I complained about the decision. Record Singers group has presented the piece as a record and that has to count for something! It is a radical departure from the traditions of audible music and makes silent recordings (and compositions) of its time appear superficial. As it was removed it means that the record will remain in the same lonely fringe of music it was made for. I’m feel that the vote on the records validity was too quick but I understand the desire to keep discogs entries in the audible spectrum. I don’t think there would have been many entries like this, so it wouldn’t have threatened the integrity of the database.

It remains in a purgatory state inside the database as only people who have the direct link to the entry can access its: https://www.discogs.com/release/8389026. I felt sad and made a song about my experience with Discogs to cope with the tragedy.



An absolutely fucking fantastic list of silent musical compositions! Check out Sleepify album by Vulfpeck.

It should also include “The Experience Of Silence” from the album “The Experience Of Silence” by Two Witches and “Minuutin hiljaisuus” from the album “Sisäinen solarium” Ismo Alangon Säätiö (I’ll add them later).

I’m sitting next to the Record Singers LP cover which has never included an album inside.. I’m not sure if the eight songs listed on its back cover count as silent compositions. The songs on this record are radically absent compositions. I listed it on the Discogs site.


Post Ihme-days. Waiting for my talks to come online on their youtube and depressurising from the busy weekend by watching Tron Legacy and playing techno. The KP3 can only play 7s long samples which makes it limited as a sampler.

We got organized with Antti, Pietari ja Timo and formed a study circle where we’ll read “In the Flow” by Boris Groys. I’ve read the intro and first chapter (and build by talk for Ihme-days on that basis).

Called artist Jorma Puranen and interviewed him about a vinyl cover he made 1974. The cover shows the Record Singers group. He was excited to talk about his involvement and confirmed majority of details I had heard about the cover. The way he spoke was inspirational and I also learned how he got to study in Pentti Kaskipuros class. Kaskipuro is a key figure in the post-postmodern movement in Finland. Self-educated but traditional, crafty but spiritual. I had the pleasure to meet him a couple of times.


Got the Artsi museum writing gig. I’ll make a 5 500 character text about Record Singers -group (1973– ) for an upcoming vinyl exhibition catalogue. The museum is planning to show the “Record Singers: ¾ – Johdanto ryhmän esitystaiteelliseen toimintaan.” documentary I made 2012. The writing fee is moderate but there is a fee for writing.

Making c-cassettes for the Ihme-days demo, preparing a 20min speak, baking and having a band rehearsal with Pietari.

[En] News: “Skills of Economy – Post Models: Ore.e Refineries (Exhibition and events)”.

SIC Space (Location / Facebook)

7.6. – 20.7.2014 (closed 19.6.-22.6.2014)

Skills of Economy – Post Models: Ore.e Refineries is the first in a series of exhibitions and events that will seek to understand the meaning of artistic practice at a time when the welfare state is in the process of being dismantled. This exhibition explores the work of the Ore e. Refineries organisation spanning the past eight years. The exhibition is part of curator Jussi Koitela’s Skills of Economy project.

Over the past two decades, neo-liberalism has sought to turn the state into a corporation, devoid of values other than those of financial success. This has changed, and will continue to change, the state’s relationship with art, artists and cultural institutions alike and forces the art field to justify its activities and access to funding in a completely new way.

In Finland, the post-welfare state has adopted a neo-liberal model that places prime responsibility for the individual’s welfare on the individuals themselves, alongside outsourced global and local providers. The objective of this model is to establish a service provider corps consisting of commercial enterprises tasked to operate as efficiently as possible and, ultimately, provide all public services in lieu of the state. It is, the argument goes, the only effective option currently available and, as such, the only possible means of delivering public services in the current and future demographic context.

“Post-model” is a term used to describe a time when the economy and public administrations along with politics itself will have become fully de-politicised entities, as if we were living in a time devoid of ideologies and the societal models and ideas they engender. The management of our shared public affairs through parliamentary democracy is reduced to a managerial, care taker-like activity governed by rationality, in which values must not be allowed to interfere with the business of actual decision-making.

Seen from a different perspective, the “post-model” in the title of this exhibition could also be taken to mean a time post the model described above. What forms might artistic activity take in the future and what sort of societal models might that activity open up? How can art make a critical contribution to ensuring the equal delivery of services such as transport, manufacturing, planning and archiving in the society of the future?

Ore.e Refineries was founded by artist Eero Yli-Vakkuri and blacksmith and designer Jesse Sipola and focuses on promoting craftsmanship in the digital era. It operates somewhere in the middle ground between art, design and service provision to create both artworks and services that seek at once to resolve and understand the challenges arising from the current neo-liberal, global and digital reality in the areas of precarious labour, commodities, production, consumption, environmentalism and transport.

The organisation’s activities are characterised by their highly speculative nature. Rather than creating art, design and services in keeping with the implicit demands of the current climate, their work generates meaning through an imagined set of new social, environmental and economic circumstances.

Artists presented in the Ore.e Refineries Meta- Collection – Artifacts from the Age of Mechanical Reproduction

Jussi Koitela, Paula Lehtonen, Kalle Mustonen, Eero Nelimarkka, Pekka Ruuska, Record Singers (Heiskanen, Nevalainen, Väisänen & Airas), Iidu Tikkanen, Lauri Wuolio and Topi Äikäs

Exhibition and the practice of Ore.e Refineries is supported by Koneen säätiö and Uudenmaan taidetoimikunta.