We are publishing Oodi modular video teasers in preparation of our Kontula Electronic presentation on Saturday. The first is out on Viktors youtube site and another will be hopefully published on Kontula Electronic FB-site. (I posted the video on /r/synthesizers too, people have responded to it well) My 0-coast & Arturia Beat Step Pro studies are progressing steadily. Updated the devices and build a batch using both sequencers. I’m having trouble configuring the different midi modes (arpeggiators, latching, legato etc.) on the 0-coast and Beat Step Pro is very complicated too. Fun but complicated. I haven’t hooked them up with my Drumbrute yet… But I tested the lfos of my Kastl on the 0-coast.

Wrote a proposal for a techno-gig-talk at the Exhibiting Sounds of Changes seminar in Tampere (in June). My proposal for a Sound of Work: Blacksmith presentation was accepted into the program, which is nice! But I feel cheated. They made their call with an obscure text: “Participation is without a fee; however travel, accommodation and daily living are at your expense.“. I had read “[…] at our expense” – Thinking that they would have covered travel expenses and offered a lunch for people presenting at the seminar.

I’m down for throwing a gig for the love of art, research, labor issues and sounds but paying for the travel is too much to ask. Their project is founded by the Creative Europe programme and the event is organized by Werstas the Finnish Labor Museum. I send them a message asking for a confirmation on how the expenses are handled and got a reply: Speakers are expected to pay for their own participation. No food, no promises of coffee… Nothing.

Their project is about archiving and presenting sounds of work. I offered them a worker making sounds (referring to labor struggles through techno and critical views to samplers and their relationship to appropriation). The Finnish Labor Museum as a culture factory (as defined by Steyerl) producers workers as dead echoes of the past. #☭


Sound of Work: Blacksmith is linked as a “sound publication” on the Finnish Society for Acoustic Ecology website. It’s right next to publications made by Meri Kytö – Which is very flattering! Her article on modern cities as acoustic spaces (Moderni kaupunkilaisuus akustisena järjestyksenä 2011) was a very influential text when I worked on the Hear and There+ project for Ihme-days.

Also discovered a EU funded labor themed audio archive project Work with Sound (my favorite sound is Pump). There is going to be an international conference in Tampere in June Exhibiting Sounds of Changes. I send them a proposal for a gig!

Send a grand-application for Frame. Asked for 500€ to have my Land- and Environmental Art Conservation article translated into English. I proposed to make it into a A5 size booklet (like Gastroeconomy 2014) with bw illustrations (like in Reseptejä Kemistä 2013).


Finland. I hate it.

A control-state which has mistaken “innovation” with “best selling hits”. Angry Birds is a clone on Scorched Earth, Uber is a echo of community transportation systems typical to Easter and Southern countries which lack institutionally managed public transport.

In Finland urbanization is a hillbilly effort highlighting in violent self-colonisation. Public discussion is a series of lectures managed by national news corporations. Contemporary art is combination of these elements, with the added elements of shame and guild.

Where design is mistaken for crafts, crafts is mistaken for art, art is mistaken for a hobby, hobbies are mistaken for professional work and ultimately work is mistaken for life.

Where guild over privileges is steered into the production of clever artworks, presented in fancy galleries and festivals for privileged audiences. Where self-criticism is used to affirm positions and keep the winds of changes at bay.

SOW is being used for a relaxation video: Skyrim: Relaxing in Riverwood | Nature Ambience Sounds ↟ Relax, Study. Blacksmith sounds found at 5:41, 10:37, 24:58, 29:39 min and towards the end!


Selected 36 samples from the SOW: Blacksmith sound pack which I think are fitted for granular synthesis using the microGranny 2 (Found a good guide for mG2 sample workflow on Muff Wiggler. Also discovered a decent macOS utility NameChanger). I plan to prepare a horse sound selection which I can use as an acoustic element during Trans-Horse lectures (as seen in Pori 2014). Made a some small updates the SOW site.

Edits with FCPX are progressing slowly. Navigating between the viewer and timeline using keyboard shortcuts makes me feel like a pro.


Molly Sauter’s Instant Recall – How do we remember when apps never forget? (2017). In short: Our potential for change is being smeared with algorithm inflicted nostalgia.

As the work memory keeping is offshored, Instagram by Instagram, to social media companies and cloud storage, we are giving up the work of remembering ourselves for the convenience of being reminded.

There are three different “memory” systems that I’m talking about here: predictive text […] reminiscence databases like Facebook Memories […] and data doppelgangers constructed for ad targeting […] Each interacts differently with the data it collects, representing it to guide or nudge you according to different models.

[…] predictive text systems push the user in two directions simultaneously: be more generic — that is, adhere better to the corpus of generic source data —and be more like you have been in the past. […] Be more like the cliché of you.

[…] the ad-targeting data doppelganger is more like a data echo […] a better phrase would be data homunculus, the homunculus being the exaggerated, misshapen model of a human being intended to show the distribution of nerve endings in the human body. […] the data homunculus can only reflect those aspects of yourself that are legible to the systems that seek to model you.

The databases exist outside of time and outside of narrative. […] Social media posts are designed to be in and of the moment, and, when presented back as “memories,” carry all the authority of eyewitness testimony.

Memories change with the remembering, and evocative objects change as we age together. […] Digital memory objects, on the other hand, although they might abruptly obsolesce, do not age in the same way. They remain flatly, shinily omni-accessible, represented to us cleanly both in the everlasting ret-conned context of their creation and consumption.

[…] if living in one present moment is good, living in endlessly arrested presents must be even better. A continual living in the present means there is no space for reflection, for coherence-building.

The approach reminds me of 3D Printers Effect on Environmental Thinking text from 2012 (which is a crazy rant). The point in both texts seems to be that EULA’s are pushing for a culture were we’ll give up on authoring ourselves (with tools that we own) and grant corporations to the right to build our identities.

Come to think of it.. EULA’s and artworks are in a weird relationship: Artworks belong (mentally and legally) to the artist and the owner cannot repair/change the piece without destroying it. Artworks are dependent on specialists, they inflict nostalgia and hinder our potential for change too! Tangible artworks are easy to protest against (they can be burned and we can turn our backs to them). Events and performances are more hostile, they claim to be ephemeral but are mediated on our personal social media feeds and their untouchable aura lingers in spaces.

Composer Ville Raasakka is working on a piece called Hammer, hammer, on the wall, who’s the fairest of them all?. Wondering if he’s using Sound of Work: Blacksmith ed1? I should drop hin an email. Send him a message with links to SOW and some hints on how the sound library relates to the concept of new-work.