Tunnel Vision (2021) Eyal Weizman. A good update to Weizmans writings on the Israeli Defence Forces utilization of critical theory, postcolonial and urban studies. The article offers a very revealing interview of Israeli chief of general staff Aviv Kochavi (from which the quote below).

This space that you look at, this room that you look at, is nothing but your interpretation. Now, you can stretch the boundaries of your interpretation, but not in an unlimited fashion – after all, it must be bound by physics, as it contains buildings and alleys. The question is, how do you interpret the alley? Do you interpret it as a place, like every architect and every town planner does, to walk through, or do you interpret it as a place forbidden to walk through? This depends only on interpretation. We interpreted the alley as a place forbidden to walk through, and the door as a place forbidden to pass through, and the window as a place forbidden to look through, because a weapon awaits us in the alley, and a booby trap awaits us behind the doors. […] I said to my troops: ‘Comrades! This is not a matter of your choice! There is no other way of moving! If until now you were used to moving along roads and sidewalks, forget it! From now on we all walk through walls!’

A Frame Finland post Reflecting on Gathering for Rehearsing Hospitalities offers two essays discussing the Rehearsing Hospitalities programme. So far I’ve only read the Mike Watson Staying in the Liminal Space Between Politics and Art (2021). They have selected important works from the recent Artsi museum Secured – Politics of Bodies and Space -exhibition for grounding their analysis. Particularly like how they read Sepideh Rahaa’s performance as an effort to motivate Finnish artists and art institutions to begin working with our involvement in conflicts in West Asia. The essay feels weirdly lodged between reading as a proper critique and being a commissioned review.

The long-touted and perpetually delayed invasion of Iran – discussed by multiple US administrations for decades – will likely also be discussed in art spaces should it ever happen, though we would perhaps do better to protest it in front of parliament for its duration. Is our problem as ‘political art professionals’ (a strange and contradictory category that by now surely exists) that we are trying too hard to do art specifically as a means of not doing protest? I think Rahaa intended very clearly to ask this – with the Artsi museum and Frame facilitating the question.

Trying to read Social Ecology and Democratic Confederalism (2020) which is “a reader from Make Rojava Green Again in cooperation with the association of the students from Kurdistan YXK and JXK “. The writings by Murray Bookchin feel less potent then how his work is discussed in the Social Ecology and the Critique of Hierarchy 2020 series by srsly wrong. I like the concept of nature he offers and particularly how it is deployed to prove false the assumption that being indoors and surrounded by technology would somehow separate habitants from nature. Perhaps Kochavi has been reading Bookchin too, because the room I’m in is only an interpretation, working to convince me that I’m civilized.

Human beings always remain rooted in their biological evolutionary history, which we may call “first nature,” but they produce a characteristically human social nature of their own, which we may call “second nature.” Far from being unnatural, human second nature is eminently a creation of organic evolution’s first nature. To write second nature out of nature as a whole, or indeed to minimize it, is to ignore the creativity of natural evolution itself and to view it one-sidedly.

The Tyranny of Stuctureless (1970) Joreen. A manifest urging people involved with working groups aiming for the women’s liberation movement to define clear articulated aims to work towards. The critique Joreen provides works well for maintaining focus in politically geared artist lead initiatives too. I’m reading it as a critique of managerialism: Working for well articulated goals, is more efficient (and can be more healing), then using energy for processes which assess the premisses that motivate people to come together.

When a group has no specific task (and consciousness raising is a task), the people in it turn their energies to controlling others in the group. This is not done so much out of a malicious desire to manipulate others (though sometimes it is) as out of a lack of anything better to do with their talents. […] When a group is involved in a task, people learn to get along with others as they are and to subsume personal dislikes for the sake of the larger goal. There are limits placed on the compulsion to remold every person in our image of what they should be.


Talked and played waters at Kiilan äänipäivät. I had a wonderful time, stayed up way too late and made new friends. I enjoyed all the performances. Particularly liked Ahti & Ahti (perfectly lowercase guitar tremors) and .oO ensembles interpenetration of the four scores they had commissioned. Out of these a poem by Pauliina Haasjoki was my favourite and I also liked Leena Kelas piece titled “Ode to Soil and Elegy for Extinction”. In their interpretation the ensemble focused on distance, perhaps to draw emphasis to our experiences of the phenomenon of extinction. The performers were really far (across the wheat field) from the audience. Three small black dots in a vast plane. They begun executing the score but what they actually performed was impossible to see or hear. Suddenly they produced a lot of noise banging metal barrels and right after a sound clip of generic audience applause was played. The clip was treated with a phaser effect and slowly morphed into a squarewave bleep. This amplified our the distance to the performers. The field felt like a stadium concert. From a far the loud noises they had performed were effected by the wind and atmospheric gasses, which made the noise they produced wavery. Phaser effect morphing to squarewave was a nice discovery. The score for the piece (revealed later at an after party at Kiilojentalo where we hear two compositions by Pauline Oliveros, interpreted by the Truckfuckers) was very detailed and revealed that the drumming segment was produced from the prompt “AIM FOR JOYFUL CACOPHONY”.

I performed with the Kiila village spring (60.2372, 22.8633) which is a plentiful water source that produces drinking water for the village. It is situated between two fields (wheat and rye) and produces a small creek heading towards the sea. The spring opening is protected with five big concrete rims (covered by a plastic lid) and the enormous overflow (from under the rims) was covered by willows. Roope said the spring has a chalky taste… I think there was clay in it too. I think there were over 50 audience members and I had to use the full range of my voice to be heard. Felt messianic to shout next to a flowing creek. Water Lab (version 2) operated very well using batteries. I chained two lantern 6v’s (for 12v) to power the VC122 Gieskes which produced a small water jet by interpreting the amplitude of the voices the system produced (I’m pushing my usb power supply to ~410mA! and the only error is occational drops in the output when there is no signal). I polished my diy allflesh pads before the gig, felt like a proper way to prepare (also made a special t&r unit). I passed the map which the director of the Kurkijoki village museum drew us to the audience but I didn’t receive it back. The revolutionary dance poses and stretches were well received and the entire audience partook in my efforts. Being inspired by the The French Revolution, Pt. 1 & 2 podcasts by SRSLY WRONG I added French revolutionary poses to the mix. They worked great as bodies are off balanced and facial expressions amplified. See the statue for the French Revolution in Maubeuge as an example. The legs are arched back and if the riffle would be changed to a guitar the pose could be from a stadium gig. The revolutionary stretches feels like a worthy physical activity to explore further (also reminds me of Shadow Boxing Revolution, 2010).

Handed out a few copies of our (by Tea Andreoletti, Thomas Berra & me) Tasting book which is now released as a part of Museum of Contemporary Art Toronto’s Shift Key: Protection Spells program curated by Native Art Department International (Jason Lujan and Maria Hupfield). Bundled the booklet with a plastic knife which the audience could use to tear the sheets open and to perform one of the recipes in the book (also had some Sriracha sauce available). Tasting is the process of comparing two or more ingredients to each other (2021) is available for view for two weeks (and after this on youtube).