20220412

Visited the Tuulensuun lähteikkö [Windmouth Spring Opening] in Vantaa (N=6685977.209, E=386036.606). It flows to Krakanoja (ditch) and further to Vantaan river and is featured in Vantaan virtavesiselvitys [Vantaa Current Flow] (2010) Aki Janatuinen. It’s the same site which Tea visited to collect water for the artwork they presented at the Huokoinen ele exhibition in Artsi. The spring opening is located at the east bank of the Krakantie living area, in a small forest behind a Lidl, a highway and apartment buildings. A very urban site. I accessed the water via an abandoned well and accidental dropped some soil to the spring while prying the lid, so the taste was a bit muddy. A rough translation from the document offers details of the site.

The spring opening is an 1x1m open pool, surrounded by a 5x5m mossy & wet swampy patch. The water in the pool is clear and around it you will find ten separate spring vortexes which move the sand on the spring base. The water was 7,1°C degrees even when the temperature outdoors was 20°C. This spring opening is the finest and most valuable site discovered during the survey and unlike other sites which were observed, the water is clear. Northeast of it, there is a well (constructed on top of a spring) and the water from these sites forms a very valuable nature site (also including a separate small wet patch to the east). The entire area might include rare plants and insects, which are specific to the spring habitat. The spring is “natural”. Northeast of it is a “sister-spring” which has been made into a well. The well might be threatened by construction as the area is designated for apartments. Building initiatives could have an impact on the “natural” spring opening and the Krakenoja area which depends on their flow.

Beyond the Flesh and the Real (2020) Morgan. A cyberpunk-transsexual celebration of vocoders as an emancipatory technology. Spotted the article via the sacred cyborg harmony script release thread on llllllll.

We reshape our flesh at will – at least, within the limits of our position within racial capitalism and our ability to navigate Byzantine healthcare systems set up to murder us – and in this way we are the most obvious manifestation of modernity, or so the argument goes. As Preciado has more than amply demonstrated in Testo Junkie, cis people chemically and surgically alter their genders just as much as trans people do, but of course their participation in the pharmacopornographic regime doesn’t attract the same fascination and revulsion.

20210719

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).

20201106

Returning from Anti festival. Our performances (four two hour long spring tours, one featuring local spring water advocate Sirpa Vuori) and the Water Bar during the event gala were well received. Our collaboration with Tea was smooth and were kindly supported by Thomas Berra. I particularly enjoyed the energy we channeled during the 6h Water Bar session. I completely lost myself to the work and we moved around our bar-table in unison – Staying concentrated on our individual tasks: Preparing cocktails from water which bar customers prompted from us. I think we served over 20 liters of drinks (half of which was from the Poukama spring).

Here is a recipe for Moon Mist which was one of the most coveted drink (Discarded Gravestone with Salt did well too). Moon Mists is the taste of the moon crust as it is presented on Geology of the Moon article. We used 2g of substance per 1l water (Carbonated with 65 bars of pressure to illustrate a spacecrafts entry on Earth). The mount feel was sandy.

  • Quartz stone powder (as a supply for silica) 50%
  • Soda-can tab shavings (Aluminum) 24%
  • Limestone (Chalk) 15%
  • Steel tool flakes (Iron) 7%
  • Hit of Magnesium oxide 7%
  • Touch of Titanium white paint (Titanium) 1%
  • Hint of Sodium oxide 1%

We also served: Tap from Genova (Multia spring seasoned with a big chunk of copper), Poukama Spring (raw unfiltered wild water), Faux S. Pellegrino (recipe here), Finlandia Hall Carrara (marble powder from Finlandia hall with Faux S. P.), Wäinö Aaltonen Travertine (travertine from Wäinö Aaltonen museum wall with Faux S. P.), Berlin Wall Carbonated (Ppowdered Berlin Wall with Faux S. P. and salt), Ammonoidea in Limestone (fossil powder with with Faux S. P. and chalk), Sokos Hotel Puijonsarvi Tap, Private Home on the Rocks, Distilled ’n Chilled and Discarded Gravestone with Salt

Also participated in a TAIKE seminar on Performance as Public Art (my contribution is available as a recording ) and before your shows I gave a short interview for Yle. (Edit:  I was told that spring-water restoration was discussed in Savon Sanomat in 17.11.20 and 22.11.20) A busy production and an intensive week. Currently working for Aalto university with Tina Madsen. We are teaching a course called Art, Environment, Education and has little over ten participants. Feels nice to teach. We will be experimenting with Deep Listening next week (as defined by Pauline Oliveros).

Mark Fisher: Capitalist Realism (2019) Philosophy Guy. An easygoing video for staying on track with communist fantasy.

20201020

Listened to James Bridle New Ways Of Seeing (2019) which “reimagines John Berger’s Ways of Seeing”. Felt like an throwback to the past glory days of media-art. Some interesting new stuff too, like terra0 the cybernetic forest (by Paul Seidler, Paul Kolling & Max Hampshire). Their modular, open-source framework is available on Github. The project is affiliated with Moneylab, which is fun as I just helped to stream an event related to it at Oodi. Bridle’s presentation is stuck on gaze. He repeats numerously (and in numerous ways) that seeing is knowing: That by gaining a view to the inner-working of a system, we could overcome its effect on us. I don’t share this optimism. Knowing is not power: Power is power, and the power to employ is the Power.

I’ve visited the Kurängen spring (60.288403,25.214754) area twice after the first visit. We found a wooden-frame which has been build to protect the spring opening (mentioned here). I cleaned the foundation of the spring by removing plant life from the bottom and leaves from the top. Found gray clay in the bottom soil. Could it be used for pottery? While cleaning, the clay tainted the spring-pond, which revealed the exact location where water is gushing out. An incredible site. It’s mentioned on the Helsinki city database of natural resources.

Preparing the Encountering Taste performance with Tea Andreoletti. Preparations are fun and have progressed steadily. Interviewed Sirpa Vuori a Kuopio resident who was witnessed the decay of city springs from 1988 onwards. Spotted her from an interview on Savon Sanomat (Kuopion kaupunki mylläsi lähteensä, 03.03.2014). During our interview I got a detailed witness account of the destruction of the Linnanpelto spring and a thorough mapping of past spring usage by city residents. A small detail:  Her neighbor had a sealed document granting her the right to use the Linnanpelto spring as a supply. The neighbor had received this document when resettling to Kuopio from the north (as a refugee). Suvi from Anti festival got her hands on a great document Lähteet Kuopiossa (2011) Teppo Tossavainen which offer a technical view to the springs. She visited many of the sites mentioned in the survey and it appears that the Poukama Spring is the only one left.

Digging Filament 1 (2007) Sachiko M and planning to modify my Arturia Keystep following Toms Jensens Janko Project 00 guide (also on Thingiverse). Sourced parts for a diy Norns build (the PCB is from Pusherman) but I don’t have time to commit to the build.

Got a temporary teaching gig at Aalto and bought Cobra Biker Hook Jac-Dingo boots from a Finnish manufacture Boot Factory run by Pekka Lahti.