Participated in a field recording workshop by Alan Courtis at Solu. The event was a little bit too short but it still rewarding to participate in. Courtis offered a fast introduction to the topic and shared an interesting observation: Before the invention of studios, every recording was a field recording. We listened to some of the earliest captured sounds and worked ourselves up to recent bioacoustic releases, discussing the relationship of human made and natural sounds. Francisco López and Jana Windferen were mentioned as examples of artist whose work is hyper-real, meaning that they use technologies which allow them to capture events in the unhuman spectrum. It was noted that field recordings have become accepted as an artform in their own right following a similar trejectory as photography. It was particularly fun that Courtis mentioned a few railway related releases. Both work as great references for making something out of the Trans-Siberian sound collection.

The mazizone will prepped and I made a sign to guide bypassangers to join the network. Used my own handwriting for the texts and cut the text out of vinyl. While working it I was reminded by my mother who opposed learning page layout programs arguing that her handwriting is perfectly fine. She mustered trough the 90ties making print layouts by hand.

Notes on Craft (2020) Jem Calder. A motivating story on how to keep developing as an artists, while grinding a day job. The text ends with a warning: As we loose leisure time, art making will be (yet again) made a leisure activity of the rich.

Unable to angle my monitor away from prying administrative eyes […] I wrote in the address bar of my web browser, in spreadsheet cells, in emails I addressed to myself.


Polttava taide [Burning Art] (2020) Jenni Nurmenniemi. The text is passionate and echoes a strong commitment to the development of ecologically sustainable curatorial work. Nurmenniemi wants to engage in situated and localized practices. I like the part where she underlines that environmental matters should not be addressed as a “theme” because ecologies are about relations and connections. My presentation on Land-Art Conservation at SOLU is referred, which feels nice. Towards the end of the text she brings up a Haraway-ian idea that art could serve as a compost: It returns ideas into circulation. I believe art can help in creating containers for obsolete concepts (nation state, capitalism etc.) and help in disintegrating them into less toxic models (eu, socialism etc.).

But I think the process is challenging because, actual artworks have a weird relationship to the future. Many artistic gestures are imagined as eternal – Which is why they don’t make for good compost. I’m not talking about materials (Bronze or Wood). I’m talking about concepts, which I believe can be more harmful because they refuse to degrade. Concepts are zombies. I guess this idea is derived from a weird reading of Serres: He argues that objects are made to prevent social change. I don’t know if Serres views concepts as objects but I think bad habits, like eating meat, should be understood as such. The resources needed to maintain the habit rely on and bind to particular infrastructure (fossil fuels).

A performance artwork is defiantly an object. It is used as such and can even be commissioned as a classical monument. Gestures, like walking on the moon make for great monuments, they align perfectly with neoliberal fantasies of future service economies (More specifically to the postwork without communism -utopia). More work should be done in developing ways to digest and compost concepts and the habits they are bind to. This might be a useful expansion to the popular process of decommissioning modern authorship. Paradoxically: The best way to compost a concept might be to make it into a object, so that it can be destroyed. I’ve tried to write about this before.. Exploring how documentation of live art, situates it and makes it conceptually malleable (less modern).

Interestingly, if concepts can be objects then humans (with their skills) can be infrastructure! #ॐ Makes complete sense to me.


Buchla – Electronic Music as Performance Art (2019) Under the Big Tree. A near hour long lecture on the history of the Buchla (Bemi) design company. The talk isn’t analytical, it does not excavate what it meant for Buchla to interface with a synthesizer or what motivated Buchlas dissentient and anti-government attitudes. But it offers some interesting historical details and explains the heterogeneity of his layouts (Save a click: Users don’t need to see a module to recognize it, they can identify it by feeling the knobs!).

Designing the Make Noise Erbe-Verb (2019) Tom Erbe/Soundhack (a video by mylar melodies). A very detailed history of reverbs and a thorough look on Erbes design process. He shares his insights openly and offers concrete tools for reverb design.

Heading to Buchla and Serge territory myself. Swapped my Monotribe for a Variable Slope VCF by Random*Source. I’ll have to build an inverter to help it resonate. Also got a Sense module from Bastl, to develop my mineral water audio analysis toolkit.

Visited Mental Alaska back2baSICs PARTY in Kannelmäki yesterday. Heard Viktor Toikkanen, who played a live programming gig using Tidal. This was the first time I’ve seen live programming (other then our Masku Movement sessions in ~2008) and it was great. I could identify some terms in the score (it was projected on the wall) and anticipate changes, which made the performance feel analytical. Bought a cassette from him too. Actually… There weren’t that many live coding moments. Toikkanen mainly triggered events he had programmed for the record. Some triggers pushed his computer to the limits and we could hear soundcard buffer overload crashes and glitches. I think this digi-materiality was an important part of the presentation. Glitches felt like real grains pushing trough the code. It echoed hardcore rock moments when artists push their amps to max.

The Internet’s Mid-Life Crisis (2019) The Agenda. Cory Doctorow argues that the internet is not broken, everything bad we see happening to it, such as facebook etc., corporate control of the infra and espionage of citizen, is a result or symptom of capitalism. After some weighing all guests seem to agree that some kind of legislation of the internet is needed to move forward (I think this would make the internet a part of the democratic domain).

Our exhibition opening at Oksasenkatu 11 was nice. A lot more people then I expected and mainly new faces. I’ll be on site to meet visitors for some glögi, sound lounging and fun. Dates: 18.-20.12 (12-18:00), 27.12 (12-18:00). Crossroads launch & seminar at SOLU went well too. Had the pleasure to meet Leena Valkeapää, she felt like a wild thinker. There were around 20 people at the event, which was just enough the make the space to feel crowded (at times). I got a lot of nice compliments on my talk on Earth Art Conservation.