SOUND WORKS
First, I want to situate the context which structures my sound art practice from its origin. After the text, you will find the chronological development; from very experimental electronic audio design back in 2001 with the creation of audio record label Tuulanauhat, the various exhibitions, to my interest in score within audio performance to more formal approach toward sound practice.
My works integrates always electricity as the central role both at the conceptual and practical levels. The sonic element within the artwork does not disolve into an unecessary technological aspect,neither for the improbalble hidden sake of its own. it does find its form from critical, political stand and expand to sensible.
My works integrates always electricity as the central role both at the conceptual and practical levels. The sonic element within the artwork does not disolve into an unecessary technological aspect,neither for the improbalble hidden sake of its own. it does find its form from critical, political stand and expand to sensible.
While being a student of electrical engineering, a major decisive incident happened that would form the core of my future practice. In the laboratory, I was working on the end of a study project that would finally prove my skills after many years in the classroom. This was the time to apply in industry what I had learned in books and scientific formulas. For the purpose, I had many tools at hand to design and develop the prototype among them an oscilloscope, voltage-meter and low frequency generator; a full set of scientific instruments in order to translate into visual information what was actually happening in the circuit. In this application, the low frequency generator was used to simulate an analogue output from temperature and accelerator sensors. This analogue signal was sent to an analogue-to-digital converter, beginning the chain towards a complex digital data process. Besides the coding aspect, an important part of my work was to design the overall related schematic.
A laboratory is always a very active space and its available time must be shared and well prepared in advance. A previous group of students working on a similar project left behind the materials from their own work, which included a speaker. As this object was not in the direct scope of my research, I decided to put it in its regular place on their shelf without any specific attention – as I would have with any other electronic components. However, once in my hand the simple black and round object triggered not only my interest, but obviously a certain will to experiment with what I knew only as an emitter, or source of music. In the language of electrical engineering, a speaker operates as an inductive dipole3constituted from a wired coil, a permanent magnet and an elastic paper membrane connecting these two elements. According to related engineering literature, the only important characteristic of a speaker lies on its impedance value. The book mentioned only that a speaker possesses this strange effect to produce sound waves on request, usually as an alarm warning.
I decided then to connect the found object to my own prototyping equipment. Once my industrial electronic design was disconnected from the low frequency generator, I plugged in the speaker instead. The effect was immediate on the speaker, and I took a couple of seconds to comprehend the situation. The device used to develop my engineering project can generate the proper signal for producing audible content. What used to be a piece of equipment for electrical simulation of the real world (in this case temperature) became an instrument for producing electrical signals similar in shape to audio waves. And what used to be a simple passive dipole based on electro-magnetic properties turned into a device capable of activating the hearing sense. Electricity is the medium. I could hear my tools. Laboratory instruments can operate as musical instruments by generating electric waves. After so many years, I could sense the tangible manifestation of my work. Electricity enters the sensible.
In 2001, creation of record label Tuulanauhat together with Samuli Tanner, Markus Koistinen and Gregoire Rousseau. We formed “Gym in the box” band, the instruments are my electronic design combined with low-fi equipment: Tascam 4-tracker and 303SPsampler.The first tape is released in 2001, theh follows the first 7” record:
Dates and facts related:
01.01.03 pHinnWeb's Best of 2002
Gym in the box 7" among the best of 2002. link here.
23.12.2002 ALIGRE FM 93.1
Gym in the box 7" played at the radio in Paris.
21.03.02 Avaruusromua
Jukko Mikkola played No Copyright No Fight at the radio YLE.
=>TUULANAUHAT OLD WEBSITE<=
Dates and facts related:
01.01.03 pHinnWeb's Best of 2002
Gym in the box 7" among the best of 2002. link here.
23.12.2002 ALIGRE FM 93.1
Gym in the box 7" played at the radio in Paris.
21.03.02 Avaruusromua
Jukko Mikkola played No Copyright No Fight at the radio YLE.
=>TUULANAUHAT OLD WEBSITE<=
Side 1
More then jazz 8:15
Side 2
Smuth like jazz 3:53
No copyrights No fights 4:18
More then jazz 8:15
Side 2
Smuth like jazz 3:53
No copyrights No fights 4:18
The two very first audio instruments: Green Box and Red Box and its keyboard.
Image dating back to 2001.
27.05.01
“Gym in the Box” first concert was in Oranssi for Potlach Club.
Image dating back to 2001.
27.05.01
“Gym in the Box” first concert was in Oranssi for Potlach Club.
2006 Visual waves
Audio waves shaped as visual media.
Video and audio installation.
Helsinki, 2006.
Visual waves short movie is based on "what you hear is what you see" concept. Sound waves, through TN LAB equipment, will be displayed on the screen in black and white. From sine wave to polyphonic melody, the video presents audio waves shaped as visual media.
Audio waves shaped as visual media.
Video and audio installation.
Helsinki, 2006.
Visual waves short movie is based on "what you hear is what you see" concept. Sound waves, through TN LAB equipment, will be displayed on the screen in black and white. From sine wave to polyphonic melody, the video presents audio waves shaped as visual media.
Analogue television video signal consists in synchronization messages and the displayed information. The synchronization messages, both vertical and horizontal, frame the actual visual signals seen on the TV screen. This frame repeats itself following defined standard known in Europe as PAL.
I designed the electronic parts in three boards. The board that will convert audio into digital information-with red connector-, the processor board that will implement the video synchronization signal-- the larger one-, then the board to adapt the voltage to match video input-the one with yellow connector-.
The software is coded in machine language, the language the closest to hardware.
Exhibition in Alkovi Gallery.
Distributed by AV-Arkki
To your ears
Sound installation in Bergman gallery.
Helsinki, 2009.
“To your ears” performance for opening.
Originally thought between the two rounds of the 2007 French presidential election, the work functions on a three party’s attraction/fear structure. The repulsive power network, the attractive media and its visible switch creates a critical situation. At once, for one meter, mass power and mass media distribution networks become a single mass media distribution power network, directly available to your ears.
A mass distribution network can be defined as a network able to reach constantly a great majority of the people in a given area. When no area is specified, one can assume the given area is nation or world wide. An electricity socket appears as a front end of the mass power distribution and a TV, or radio, as front end of a mass media distribution.
Sounds:
Sarkozy and Kursk-local punk-.
Putin and my own electronic audio set.
Bush and Ponytail-local electro-.
Sound installation in Bergman gallery.
Helsinki, 2009.
“To your ears” performance for opening.
Originally thought between the two rounds of the 2007 French presidential election, the work functions on a three party’s attraction/fear structure. The repulsive power network, the attractive media and its visible switch creates a critical situation. At once, for one meter, mass power and mass media distribution networks become a single mass media distribution power network, directly available to your ears.
A mass distribution network can be defined as a network able to reach constantly a great majority of the people in a given area. When no area is specified, one can assume the given area is nation or world wide. An electricity socket appears as a front end of the mass power distribution and a TV, or radio, as front end of a mass media distribution.
Sounds:
Sarkozy and Kursk-local punk-.
Putin and my own electronic audio set.
Bush and Ponytail-local electro-.
SolarSisu
Togehter with Anders Bergman, we designed SolarSisu: an audio instrument using only solar energy.
The practical use resembles Theremin, as the hand movement control both the volume and frequency. An other solar cell generates power to amplify the signal.
The project was supported by TULI, part of TEKES.SolarSisu went to New York SolarOne Festival.
Togehter with Anders Bergman, we designed SolarSisu: an audio instrument using only solar energy.
The practical use resembles Theremin, as the hand movement control both the volume and frequency. An other solar cell generates power to amplify the signal.
The project was supported by TULI, part of TEKES.SolarSisu went to New York SolarOne Festival.
Boxes
/Sonic sculpture
/Superposition exhibition, 2015.
The boxes are iron cast of my own electronic audio devices. The boxes are maintained at over 100C from the inside with resistor based heater.
Water drops on the heated boxes and produces sound.
/Sonic sculpture
/Superposition exhibition, 2015.
The boxes are iron cast of my own electronic audio devices. The boxes are maintained at over 100C from the inside with resistor based heater.
Water drops on the heated boxes and produces sound.
To be completed with courses on audio / List of concerts/performances
Technical supervisors
/with Pessi Parviainen, 2011.
Ultra baroque, Live at Suisto club,
/with Pessi Parviainen, 2011.
Ultra baroque, Live at Suisto club,
TOHU-BOHU
Research Pavillon Venice 2017.
Score production answers the need of doing. It is a visual form of commitment to action, together with a necessity of recording, indexing both body and instrument motion. The recording
materializes the answer for two distinct needs. First, a score is a device for iteration of action, and produces an evidence that can be repeated because it has happened before. Then, a score operates within continuity toward a new moment, as a position to articulate or experiment around. It opens possibility for interpretation, or inspiration because of what will happen after.
Research Pavillon Venice 2017.
Score production answers the need of doing. It is a visual form of commitment to action, together with a necessity of recording, indexing both body and instrument motion. The recording
materializes the answer for two distinct needs. First, a score is a device for iteration of action, and produces an evidence that can be repeated because it has happened before. Then, a score operates within continuity toward a new moment, as a position to articulate or experiment around. It opens possibility for interpretation, or inspiration because of what will happen after.
Sound check for Tohu Bohu analogue instrument set up.
First event of 2019
09 January,
Sound performance and polyphonic talk in “Late Lunch with Out To Lunch” program on Resonance FM London, thanks to Ben Watson and All Stars Association of Marxist Musicians.
> Listen here <
09 January,
Sound performance and polyphonic talk in “Late Lunch with Out To Lunch” program on Resonance FM London, thanks to Ben Watson and All Stars Association of Marxist Musicians.
> Listen here <