Petri Kuljuntausta

 

 

diary [2004]

 

June

 

[2]

 

I came back from a week long concert trip from Sardinia, Italy. Posted thanks to the organizers, Lucio Garau and Amici della Musica di Cagliari association, who took so good care of me during the visit.

Here's the full program of the festival:

1° FESTIVAL DI MUSICA ACUSMATICA

May 28th - 30th, 2004. Centro Comunale d'Arte e Cultura ExMÀ, Cagliari. Produced by Amici della Musica di Cagliari, Sardinia Italy

friday 28 may, ore 19:00

Elio Martusciello

tu m' [ita]: nine songs (2002)

Ralf Wehowsky: Strictly Untitled (1995)

Michel Chion [fr]: Gloria (1994)

massimo [ita]: mort aux vaches (2001)

Giovanni Cospito [ita]: Teogonia ellittica III (2004)

ore 21:30

Francesco Giomi

Luciano Berio [ita]: Chants paralleles (1975)

Andrea Ferrara [ita]: Disperazione (2003)

Ivana Busu [ita]: Naufragi (2002)

Stefano Trevisi [ita]: Tabula irrasa (2004)

Kilian Schwoon [de]: Umbrische fenster (2001)

Lucio Garau [ita]: Trasformazioni (2003)

saturday 29 may, ore 19:00

Lucio Garau

Åke Parmerud [swe]: Les flutes en feu (1999)

Theodor Lotis [gre]: la mer

Marco Dibeltulu [ita]: contrasti armonici (2004)

Elio Martusciello [ita]: Presenti successivi (2003)

ore 21:30

Bernard Fort

François Bayle [fr]: Tremblement de terre très doux

Marc Favre [fr]: Le beau corps d'Éther

Petri Kuljuntausta [fin]: 2997: Deep Blue

sunday 30 may, ore 19:00

Giovanni Cospito

Arne Nordheim [swe]: Pace (1970)

Riccardo Bianchini [ita]: Canciones para las estrellas (1997)

Luigi Ceccarelli e Nevio Spadoni [ita]: L'amore di Alcina (2000)

Bernard Fort [fr]: Silence radieux

ore 21:30

Petri Kuljuntausta

Patrick Kosk [fin]: Plastique sans titre [1994]

Jo Thomas [uk]: Dark Noise [2000]

Jukka Ruohomäki [fin]: Scratches [1995]

Francesco Giomi [ita]: con brio [2003]

Rodrigo Sigal [mex]: Friction of things in other places [2002]

Ryoji Ikeda [jap]: Matrix 10 [for rooms, 1999-2000]

When I came back home there were Lucio's email waiting for me: "Dear Petri, thanks to your concert. I am very happy to had meet you, and I hope that we can collaborate in the future."

I also got infos from Ralph Hopper, playlists of the Acoustic Frontiers radio shows [airing on Canadian CKCU-FM, www.ckcufm.com]. Two compositions of mine had been broadcasted recently, on May 3 and May 31 programs.

 

Mark Roberts emailed me, asked help concerning his next CD and about how to get some fundings, grants, for it. I emailed him a long letter, tried to help him in the matter as well as I could. It is good to remember that some organizations, for example, give money only for making so called 'master tape', and they give not for CD printing costs.

Some 2-3 months ago Mark told me that perhaps they're moving back to Helsinki, lets see what happens.

 

Emailed back to artist/curator Hans Sydow, from Denmark. He invited me to send a proposal for a sound art project, it should be a collaborative work between sound artist and poetist/writer: "...focus on dailylife and dada - keywords: Text/sound, concrete sound and dada." I think I answered too late cause there was not so much time left to start the project [part of NordScen], I couldn't answer earlier because of my one week long trip to Italy.

 

Markus Reuter emailed me, informed about the server address from where I could dload the mixing of our last April's concert performance. The band was Reward: 10.000 Ants, and the members were: Markus Reuter [Touch guitar, beats], PK [electronics, live processing], Pat Mastelotto [drums].

Lee Fletcher did this mixing, he had mentioned one month ago: "I'm poised and ready to mix the recent live performance of Reuter & Kuljuntausta (aka: Reward 10.000 Ants) featuring King Crimson's Pat Mastelotto on drums. Sadly Pat's stereo tracks failed to record on the night, therefore I'll have to rely on the audience mic / ambience recordings for his parts - Still, the quality is more than good enough to produce a reasonable "official bootleg". I know Markus is keen to release this in 'some form', be it CD, download, or some other media...".

 

Tommi Keränen emailed and asked proposals for the next year collaboration w/ Musica Nova contemporary music festival. We just invited Francisco Lopez to give a concert, this was part of the this year's MNova festival -- and it was a success. Tommi's idea was to invite Andrew McKenzie, I agreed. I am not so familiar about McKenzie's solo works, but I have listened The Hafler Trio quite a many years. It is one of my favorites on that genre. Tommi also asked opinion about Trevor Wishart. I told him that he is interesting too, but he just visited here some time ago. TW has his own style, nothing to do with the mainstream of electroacoustic composers - and that is always great cause there are lot of them! I also heard updates that there will be some changes concerning Merzbow's gig, but he is coming. Also discussed about the possibility to invite AMM, with this band we would have a possibility to arrange some extra gigs, like John Tilbury's Morton Feldman concert and Keith Rowe's solo concert.

 

[3]

 

Sent email to Jim Nollman "- thanks for the info...! Nice to hear about the update of Belly* project and that you have so much activities going on... :) I just came back from a week long trip from Sardinia, Italy, where I had a concert. I really enjoyed incredible beautiful landscapes, local food was excellent and people were so polite there... and the festival itself was very interesting, nice repertuare from traditional electroacoustic music to contemporary noise."

* [Belly of The Whale is a composition project organized by Interspecies.com and greenmuseum.org. I was invited to compose a piece, the Navigator was ready in April, and Jim received it on Friday 16th.]

 

[4]

 

There is nothing special going to happen during this summer in my calendar, cause I must concentrate from now on on my book writing. I already have enough text for the book, but it need quite much editing. The name of the book is Vroom, Buzz & Bang. It will be published during end of this year by Like Publishing, in collaboration with Kiasma Contemporary Art Museum.

 

[8]

 

Found information about interesting sound art records: "Eatable record in the flavours "cocos", "vanil" & "cacao". Of each flavour 10 numbered copies."

 

[11]

 

Got information about NPR radio [neighborhood public radio], hosted by Lee Montgomery. It is community radio in San Francisco, specialiced on sound art and experimental projects. The idea is to exchange experimental programs and sound art works between San Francisco and Helsinki, an idea proposed by artist Sirpa Jokinen.

 

[15]

 

I had a meeting w/ Yrjänä Sauros. Discussed about an idea to make a work together; something for YLE Television. We had emailed and phoned about the idea before this day, but this was our first real 'brainstorming session'. Just talked about what we could do together, and what kind of sound worlds we are going to create. Decided to use long strings. I didn't know that he has used so many times those strings, he even had a 'string group', and ruined piano 'harp'. The idea is to use long strings, contact these between different surfaces [like between floor and roof], and play them by hitting, and amplify the sound. I am going to process those sounds live, with my mixer, KaossPad and Toneworks processors. Also I am going to use feedback sounds. Yrjänä will play the strings and use his voice. I thing we're going to create something interesting! Yrjänä will be performing at KOKO theatre's space every sunday during July. I am going to see his performance first, and then I'll join him and we are going to do something together. After that we're going to find director for our project, who has fresh ideas about the visual part of our performance.

 

During the meeting radio editor Kaisa Osola / YLE called me, wanted to make a radio interview. The subject of her program is 'Soundscapes of the Bars'. We met next day 3pm at the Ilves bar. She taped long discussion on the subject.

 

Got a CD from Markus Reuter, sounds great...

 

[16]

 

A composer needed information about the CD release of Antonin Artaud's "Pour Finir avec le jugement de Dieu". I emailed him:

I have this one [2xCD]:

Antonin Artaud: "Pour Finir avec le jugement de Dieu" /

Marc Chalosse: "Artaud Remix"

CD1: A.Artaud: "Pour Finir avec le jugement de Dieu" [48:38]

CD2 : Marc Chalosse: "Artaud Remix" [37:10] - 3 musicians & DJ [+ video & bio material on the CD]

Signature SIG 12008/9, 2001. c&p: Signature / Radio France / INA, 2001. Distributur: Harmonia Mundi

 

[17]

 

Wrote back to Phill Niblock: - Hi Phill, thanks for the news; great to read your activities. Just recently I came back from Italy [Sardinia], I had a concert there, at the 1° Festival di Musica Acusmatica. This was arranged first time and it will be annual electronic festival from now on. My cd Momentum has done well - I have received good feedback, reviews has published in many papers as well as many radio stations has broadcasted it!! At the moment I am preparing two DVD releases, the first one has three experimental short films by Sami van Ingen, music / sound by me. On the second DVD will be my compositions and sound works from the last 10 years. I am also composing Aurora Borealis concert [w/ video part included] for the ISEA2004 festival and after that fall performance my next book [VROOM, BUZZ & BANG] will be released at the end of the year. So it looks like I can't go far away from the computer during these summer months... :)

 

[18]

 

Quote of the Day: “My sister uses my records as ashtrays.” — Fred Frith

Another quote: Joe Pine (60's talk show host who sported a wooden leg) to Frank Zappa:

"So, with your long hair, I guess that makes you a woman." Frank Zappa's response:

"So, with your wooden leg, I guess that makes you a table."

 

[19]

 

Travelled to Turku, we had an acoustic ecology meeting there. It was a festival time at Turku, Middle Age Festival was going on, there were incredible huge amount of people wandering all around at the streets of the city. Later on we went to Simo and Tuike Alitalo's birthday-party, we gave a whistle cuckoo as a birthday present. Nice garden party, food, drinks... there were poetist Markku Into and I also met Kiasma Theatre's ex-organizer [now working as a producer at Helsinki Festival] Sanna Rekola. I didn't know that Sanna was an old schoolfriend of Alitalos.

 

[21]

 

Steve Reich and The Musicians at UC Berkeley University Museum, November 07, 1970. A live performance of four early works by Reich, including “Four Organs,” “My Name Is,” “Piano Phase” and “Phase Patterns." http://www.archive.org/

I dloaded this whole concert document, it took whole night because I wanted CD-quality sound [in wav-format]. Especially I was interested to hear Reich's very rare piece from the 60s, 'My name is'.

 

[22]

 

Audio and radio artist Chantal Dumas from Canada sent me a new CD called radio roadmovies, composed by Dumas and Christian Calon. Today she asked if I got the cd, so I emailed back. She was also interested to hear the latitudes of Helsinki: "then it could have a real meeting point on the air." I tried to help her: "I don't remember it, so I checked from the internet... Kiasma [Museum of Contemporary Art] is at the heart of the Helsinki city, and at the Kiasma's website the "address" is informed at this way too:

GPS KKJ | 60°10,29' / 24°56,41'

WGS84 | 60°10,30' / 24°56,22'

Finland is between ca. 60-70° latitudes. I think the both latitudes cross the Canada too..."

 

[26]

 

During my Italy concert trip Lucio Garau asked me details about the microphone that Unto K. Laine has used in his Aurora Borealis sound recordings. I almost forgot to email him back, so now I did it: "the microphone [that expensive one, 10.000e] that Unto used in his aurora recordings was b&k. he told me that only this one was good enough and captured sounds quite close as human ear hear them. also dish that he used increase dynamics some 20dB at 1 khz freq. area. But I remember that he has sometimes used also another kind of microphone in his aurora recordings too, I can't remember what was that, perhaps AKG..."

 

[28]

 

Mare Tralla [programme chair, ISEA 2004] emailed me and asked about the speech that I am going to give in Tallinn during ISEA2004 festival. I replied that everything is ok. No problems with the date, and we agreed about the subject too: aurora sounds, recording and research of the aurora sounds, and something about how I have created pieces from these sounds.

 

[29]

 

Antti Ikonen from UIAH [The University of Art and Design Helsinki] emailed me and we confirmed the date for the next season's "Sound and Environment" workshop, that I will give in November at UIAH.

 

Emails w/ Markus Reuter:

PK: "- just remembered that one session that we did, the recording that we made in my house. you have the DAT tape, can you burn me a cd? i would like to hear that some day...".

MR: "- yes! i already played the tape into the computer. i am going to do some editing and will then send you a cd! i think there is some really cool stuff there!"

PK: "- perhaps we should release a small CD/CDR print from our recordings that we did here...? the quality of these recordings was excellent! [I really hope that some day i could find time to arrange my own archives too, cause I have huge amount of great live recordings / sessions on the tapes/disks, but difficult to find time to arrange all these... but maybe I have time to start that job after this busy summer, during dark winter nights...]

MR: "- yes, i agree. let's do that. i am sure we will find a good way to release a disc. we can always use www.burningshed.com as an outlet. it is tim's cd-r label with good reputation and good other artists."

Markus also wrote that he could easily come to Finland so we can continue, make new recordings and compiling stuff for the disc.

 

[30]

 

Many things happened at this very same day. I got a few copies of the Détonants voyages CD from Philippe Blanchard, France, including my piece This Is Piccadilly Circus, and also Rodrigo Sigal's new CD. I must listen to these soon... Détonants voyages was released last year. There is also Rodrigo's piece on the same CD too and he also got his own copy at the same day, what coincidence...! Just recently I played Rodrigo's piece in my concert in Cagliari, Sardinia Italy. Rodrigo sent me email and told me that he got his copies of Detonant, I emailed back about my news, and Rodrigo answered immediately. "Hi my friend. Well, what a coincidence! I am glad you got my CD, I hope you enjoy some of the work I did while in London. Now I am already halfway with my next CD project that I hope to release in a year or so. I am going to compose a piano and computer concerto for a Mexican Orchestra. That will take me a long time but I am very excited about it! I am so glad Italy went well. [...] It would be great if we can meet and maybe even better to do something together. I would love to see you again my friend. Take care and I hope you enjoy my music... see you soon. Rodrigo"

 

Some 10 years has now passed with emails and Internet connections. Even still now I sometimes really stop to thing about the best sides of net communication. I am really bad in writing letters or keeping contacts with telephone, but can easily write kilometres long emails to my friends -- and sometimes strangers too... :) No matter where they live, near or at the other side of the globe.

 

July

 

[1]

 

It was seven years ago, in 1997, when Cassini-Huygens spacecraft was launched from Cape Canaveral, Florida, to reach Saturn. The final destination of the Huygens probe is Saturn's moon Titan. Inside the Huygens probe [on the CD-rom] is my sound performance piece (text piece for non-human performers) Charm of Sound. I wanted to compose a piece which is not too complicated to be performed and which is without complex, or man-made, special notations other than English text.

http://www.esa.int/SPECIALS/Cassini-Huygens/SEMAMG25WVD_0.html

ESA (European Space Agency) wrote on July 1st:

"After a seven-year cruise through the Solar System, the joint NASA/ESA/ASI Cassini-Huygens spacecraft last night successfully entered orbit around Saturn. The Cassini orbiter is now ready to begin its four-year survey of the planet and its moons, while the Huygens probe will be prepared for the next major mission milestone: its release toward the largest moon, Titan, in December. [...] Cassini-Huygens was launched from Cape Canaveral, Florida, on 15 October 1997, atop a Titan 4B/Centaur, the most powerful expendable launch vehicle in the US fleet at the time. To reach Saturn it had to perform a series of gravity assist manoeuvres around Venus (April 1998 and June 1999), Earth (August 1999) and Jupiter (December 2000).

 

[2]

 

Editor Kare Eskola from YLE Radio 1 emailed me: "I listened the record [Momentum] and liked it. By the way, Jukka Mikkola has played it quite much in his Space Junk broadcasts [YLE radio]..."

 

[4]

 

Recreating Old Recordings - How to preserve old vinyl and wax cylinder recordings? "Researchers using optical-scanning equipment have made exquisitely detailed maps of the grooves of such recordings. By simulating how a stylus moves along those contours, the team has reproduced the encoded sounds with high fidelity." - ScienceNews Online 06/03/04

 

Just for fun I tried to check if there is still that three year old bootleg-recording on the Internet. Somebody had recorded three live concerts, Atau Tanaka, PK and Richard Lerman, made remix of these, and released the whole thing on the internet. Long time ago I found this remix, listened it once, but address didn't worked anymore.

 

[5]

 

Jo Thomas [England] emailed me an info about her new work. "...Less is being premièred at the Guildhall Open Recitals this Tuesday, 6th of July at 2pm. This is a work for Baroque Flute and Electro Acoustic Sound. The work is being performed by Amara Guitry as part of her DMA end of year recital." Just few weeks ago I informed Jo that her piece was broadcasted in Canada, just saw info somewhere and forwarded it to Jo too.

 

Worked the whole day hard with the CD master of Timo Vartiainen's Tsurraa soundscape CD. 10pm I gave a version to him, but when I was back at my studio and listened the pieces again I found two sudden 'pops' on two tracks?! Must correct those and make a new CD. After I finished CD mastering work at 2am, the cleaned new version was ready then, I decided to listen ABC - Radio National Quiet Space realaudio broadcast June 19, 2004, from Australia. Editor Paul Gough started the broadcast with my piece In the Beginning, actually remixed it with the other pieces at the beginning of the broadcast. I wanted to hear it before they delete the ra-version of the broadcast from the site. Paul also played / mixed music composed / performed by Oren Ambarchi/Martin Ng, Tim Catlin/Mike Cooper, Stars of the Lid/Jon McCafferty, Gimmik, Pretty Boy Crossover, Clare Cooper. Went to sleep at 4-5am.

 

[6]

 

Slept only 2-3 hours last night. Timo rang the door bell at 7am. He had listened the version of the soundscape CD during the early hours on this morning, so we discussed the CD-master project and I continued with some 'problem pieces'... Worked with the CD mastering till afternoon. The master-CD should be sent to CD plant today. The material is basicly ready now, but finally we decided that we need more time for some problem pieces, so I am going to make the final corrections and editings tomorrow.

 

Uploaded my work Navigator to the server so Alison Gerber could download it for upcoming Underwater broadcast project, that she is organizing in Malmö Sweden. It is part of the project “karta/terräng”, happening in August 2004. At this swimming pool concert audience must go to water, just lay there relaxed and experience the works.

 

Jarkko Lahti [Rihmasto] called and asked if I am interested to go to Pauanne electronic festival with them [Jukka Andersson, Jarkko, Mirja etc.] and perform at the festival. I was excited about the idea, "absolutely I'll come", I said, "but first I must be sure that I am free to go" [some meetings during the next week are still open]. Jukka and others has loaned two busses so there should be enough room for extra passangers! Pauanne is near Kaustinen, the happening day is Saturday, July 17, and there are going to perform at least Rihmasto, Nemesis, Gamma, Ihokas, Lauri Luhta, and me, as a last minute addition to the list... :)

I mentioned to Jarkko that I just listened our duo recording [living room recording we did some 2 months ago] and I really liked what we did then. It is 70+ min long recording, three long takes. I also promised to burn him a CD from our trio performance recording [w/ Lauri Luhta] that I have. It was taped at May 8th, 2004, at Cable Factory.

 

Called soundscape researcher Noora Vikman. We both are interested on water recordings and the possibilities of hydrophone. Every now and then we have changed information about the thing [and soundscapes too, of course!] but now I proposed that we should really try to build our own hydrophones! So we decided to do that and try it together! I already have particle list including all the needed components so after Noora is back from her Estonia travel we'll start the job!

 

David Rothenberg and Jaanika should be in Estonia too! I remember that David emailed me long time ago and said they'll be there in July-August, and will be visit in Helsinki too. I recently got from him a CD-long collection, 'highlights' from our last year concerts that we did as a trio Liberated Sounds. The band was David Rothenberg (clarinet, overtone flute, laptop), PK (live electronics, sampling and processing) and John Wieczorek (tabla, frame drums, udu (clay pot) and assorted percussion). David has sent the recording to some record companies.

 

Got email from Pauline Oliveros. Through Al Margolis [Deep Listening | Pogus] I proposed and asked what if we do a recording session together as she is coming to ISEA2004 in August. Unfortunately I misunderstood ISEA's information, Pauline is not coming: "Thanks for your invitation regarding Helsinki ISEA. Actually I will not be present personally. Stephan Moore will be performing with my system that he has programmed. Perhaps you would like to meet him?" I emailed back: "it is pity that you're not here, it would be great to see your own live performance too... perhaps next time... :) I will contact Stephan."

 

Got new CDs from Al Margolis / Pogus. The first one was Roger Reynolds' Process and Passion. It is a double CD, the 2nd CD is binaural version for headphone listening. The same three pieces have been given distinctive 6-channel spatialization. The second new release was Trios cd, the performers are: Tom Erbe, Chris Mann, Larry Polansky, Douglas Repetto, Christian Wolff]. I wanted to thank Al and wrote back, mentioned about Chris' project too: "Just recently I discussed w/ chris mann, and how to get him here to do his multichannel Plato performance [Plato Songs] and also to make a concert together as a duo. Let's see if we could do this concert in November [or begin of 2005] here in Helsinki."

 

Got a new CD Uneksija from No Xivic, Henkka Kyllönen. Very atmospheric music. I have HK's earlier pieces from the late-90s, based on street soundscape recordings. I met him early-2004 when he was listening my concert at Kaiku02 festival and a lecture at University of Lapland. During this visit he gave me his previous CD and also a vinyl single, which was published in Germany, if I remember correctly.

 

Tommi Keränen called me, was just coming back to the city. He wanted to loan active PA speakers for the Charm of Sound's Monday 12th concert Summer Noise Dream. The place is a new club here, Korjaamon Baari, the performers at that night are Maja Ratkje, Emi Maeda, Anton Nikkilä, Alexei Borisov, Hotguitars and Pink Twins.

 

[7]

 

Dan Warburton [Editor-In-Chief / Paris Transatlantic Magazine] emailed me today. Last week I sent him a letter, a short story and some details about Terry Riley's projects in Finland in 1960's. He was interested about those early Riley projects, so I decided to write him some details. Dan wrote: "thanks for your CD and fascinating letter! Do you still have a copy of this on computer? With your permission I'd love to put the text of the letter on the PT letters page (but don't feel like typing it all out again!!)."

Here's the story:

Terry Riley - on his early works in Finland during the 60's

After Terry Riley had toured in Europe as a member of Ann Halprin's Dancers Workshop Company, he came to Finland for the first time in the summer of 1963. Together with Ken Dewey [also a member of A. Halprin's group] and Otto Donner they organised several avantgarde happenings in Finland. I have a copy of the plan [graphic score] for the street happening 'Street Piece Helsinki', by Dewey-Riley-Donner, 1963, where is included Terry's composition [in circular stave, like in early Keyboard Studies] as part of the performance.

I gave copies to some musicologists [John Richardson, Keith Potter] who have researched minimal music in depth but they knew nothing about the piece. Perhaps it was composed 'on the spur of the moment', and then forgotten, or maybe it's just Terry, who said to me: "I would love to tell you my Finnish brother something about those days, but the problem is that I remember nothing." Obviously there are few reasons why this is so... those wild years of the 60s!

Anyway, Terry took part on making here, in Helsinki, a street happening ['Street Piece Helsinki', 1963], radio happening ['Studio Sleeper', 1963] and also TV happening ['Pasila Piece', 1963]. During his stay in Finland, he also visited in Russia, then he went to Sweden and there he contacted composer Folke Rabe (they are still in touch). In 1965 Folke visited in San Francisco, composed music there and interviewed Riley (copy still exists). Folke remembers:

"I first met Terry in a Finnish summer cottage in 1963. He had just arrived from Paris along with Ken Dewey, the late playwright, theater director, and happening creator. In Paris they had staged a version of Ken's The Gift with music by Terry in which he had collaborated with Chet Baker. A part of this music called She Moves was produced using tape loop and feedback techniques and opened up to him the potential of repetitious sound patterns."

Morton Subotnick told me that when Terry went back to USA [at the end of 1963], Mort proposed him a concert at San Francisco Tape Music Center. He should compose that kind of piece that the composers around the SFTMC, could (technically) perform. Terry was excited about the idea and this was the start for 'In C', which they performed in November 1964, as a part of the SFTMC's monthly concert series. Steve Reich was one of the players and was very excited about the piece. His concert in early 1965 was when he realized first time his early phase shifting ideas. About the dawn of Minimalism Terry has said [I]:

"Well, it happened a long time ago and it's surely difficult to say exactly what happened. I was searching for new solutions in tonality and music, because I was interested in tonal music, but at that time in the early '60s tonal music wasn't very fashionable, most people weren't doing it and the compositional processes that I arrived at, I think, resulted in what's called 'minimalism' today."

Terry was also invited to make a studio recording session for Finnish Radio YLE in May 1967. I met and interviewed Reijo Jyrkiäinen, who recorded the session. He also recorded John Cage and David Tudor session in 1964 at YLE (Cage and Tudor visited in Finland w/ Merce Cunningham's dance company). Their version of Atlas Eclipticalis will be released later this year by Charm of Sound association). Unfortunately the 1967 Riley tape was erased after the broadcast, but after my research it seems so that the 32' long piece (titled in radio archive as 'Piano Piece 1967') was a version of his 'Keyboard Studies'. Minimal music before the term was even invented! Recording technician Jyrkiäinen commented about this studio recording to me:

"I remember Riley's visit, we did something at YLE's Studio 2. Riley played piano, but I can't remember whether we mixed to the recording something [effects], or not. It is possible that he played many times, overdubbed parts, or music was partly edited / processed with tape-loops, filters... Unfortunately I don't remember more details. But I still remember that he visited during springtime."

Writer Ilpo Saunio heard the piece after the recording session and wrote shortly about it in a pop music history book. In this context the name of the piece was Piano Studies 1967

"[Piano Studies 1967] ...where the composer create half an hour long variation from a musical slogan, with almost unnoticeable changes. At the end, after the metamorphosis, the piece is something totally different than what it was at the beginning. But it was impossible to say at which point the decisive change has happened."

When I asked Folke Rabe's opinion about the piece, and I also gave him a translation about this description, Folke was positive about the piece.

"After reading this very fine description [by Saunio], it is clear that at the YLE studio session he played one of his Keyboard Studies. Keyboard Studies were improvisations from one or several short motives, which was repeated over-and-over again in a fast tempo. When these were recorded, sometimes the pieces got numbers [Keyboard Study #_] or sometimes totally different name. For example the first vinyl album, including Keyboard Study, was called as Untitled Organ. The whole idea of Keyboard Studies were later developed in the much progressive keyboard works, like in A Rainbow In Curved Air."

Riley stayed in Scandinavia many weeks in 1967, and he also did some concerts in Sweden. His Swedish concerts have been released by Organ of Corti, but Gary Todd's accident has cancelled future Riley CD projects. Terry also visited in Finland as a member of Pandit Pran Nath's group in 1970. Also well-known minimalistic composer La Monte Young visited and performed in Scandinavia almost at the same time.

 

* * *

About phase shifting - I am very interested about the acoustical phenomenons of phase shifting, tried it many times in my compositions since 1996, and later on I have invented a way to realise phase shifting works with a help of computer. In my very first phase shifting pieces I used a keyboard sampler. 'Violin Tone Orchestra' (1996) was at first composed for sampler, but since the original version wasn't possible to realise anymore, after the data-disc [flobby-disc] was broken, I realised it again with a computer for the Momentum CD. The other piece on the CD which is based on phase shifting is 'When I am Laid In Earth'.

It is also interesting what theoretically has happened before the first phase shifting realizations. A Few years ago I found an article from the 1950's, it was written by Finnish philosopher Eino Kaila. In this paper ['Hahmottuva maailma'] he demonstrated relativity of time by using metronome tickings, two slightly different tickings happening at the same time. With this example he actually predicted the idea of phase shifting music, which was realised first time few years later, in the 1960s [Terry Riley, Steve Reich].

* * *

 

Finally the master of Tsurraa soundscape CD is finished and posted to the CD plant!

 

Sami van Ingen called me. He is coming to Helsinki for interview tomorrow and asked if he could stay at my place. We'll go out on Thursday evening and check what is the situation of our projects [film DVD, Aurora Borealis performance at ISEA2004, etc...].

 

Meri Kytö called me. Wanted my 'info of 2003 soundscape activities' which she needed for Acoustic Ecology association's annual report. I sent her text with a mention that it would be nice if there are activities mentioned from the other board-members too. All are so active persons... soundscaping allaround...

 

Noora Vikman emailed me about hydrophones - three long emails! Looks very detailed infos that she has collected from hydrophone professionals.

 

Emu [Ilkka Lehtinen] from Digelius Music shop called me. He wanted more copies of the Momentum CD. The Finnish Music Library organization [BTJ] wanted to buy nice amount of copies so I promised to go the shop tomorrow and give Emu these ones. There were good review at Aksentti magazine, published by the same organization. Emu also mentioned that there is going on a music festival[?] at the shop, but unfortunately no audience. I said, "But it is July, there is no people at the city." Emu told that usually this is not a problem, even during summertime there is always visitors.

 

John Richardson emailed at 22:30pm. I was just going out to the city, when I noticed the message. He invited me to his birth-day party. Unortunately the date is impossible, August 16th. The following day I have a speech to give in Tallinn, it is part of the ISEA2004 festival and the week is already busy - on Friday is my Aurora concert and it needs time to prepare [especially the video part w/ Sami van Ingen]. I was even more disappointed after I heard that at the party there will be also many old friends of mine that I have not seen for many years...

 

Went to a dance club, female DJs that night and surprise... there was also a model show during the night. Got a copy of Koneisto festival program book. Nothing special... no risk-taking, no "dangerous" acts... Unfortunately Koneisto seems to be a very typical mainstream electronic dance music act nowadays. On the other hand, I prefer small dance clubs, where have a good and tight sound system, good acoustics [and good atmosphere, staff!], not messy festivals with too many drunken people.

On the program book there was Sam Inkinen's writing about 'the techno summer' in Berlin, in the summer of 1993. I met Sam just a few weeks ago at a local club. Went to the VIP room w/ him but it was so boring place [all too drunk] that after a few minutes I decided to go back to the main hall.

The following day I discussed with other Sam, Sami van Ingen, about the bad sides of the techno culture. I can't trust anymore what so called "music writers" write nowadays. Just empty words without meaning - too many "ground-breaking", "best act", "underground", "great-whatever" things going on, and when you finally listen to these shows, uuuuhhh... I don't want to mention the names, but situation is simple quite sad -- all for marketing, all want to take your money, no care about the music... But this is the way how it goes. And on the other hand, there are also so many unfamous DJs and electronic artists who does an unbelievable great job, but audience / writers just doesn't listen to them, cause they stop listening [and thinking] after the "great Star show". During these years I have many times wondered where are those so-called professionals writers, cause you never see them at the clubs and concerts. Do they educate themselves only by reading texts from the promotional packages... :)

The most interesting new acts could be found from the real underground context. These are usually arranged only for a few listeners, and most of them invited personally. There is 'the real thing', at small clubs, galleries, bars... No star-making, no words (sounds) without meaning.

 

[8]

 

Radio editor Kaisa Osola / YLE send me a SMS message, informed me about recent radio interview that will be broadcasted today. The subject is 'Soundscapes of the Bars'. She wrote: "story about non-music bars will be broadcasted today 2.40pm, frequency 94.00. I had to focus on the subject strictly, but I saved the whole taped discussion with you for future use."

 

Got address change message from Juhani Liimatainen. He has moved w/ his new girlfriend to a new flat at the city centre. Just a few days ago I thought that I should contact him... last time we met at Radio Festival [Tampere], early-May, where we both were sitting at the jury of Experimental sound works.

 

Went to the city centre and met Sami van Ingen at the railway station at 7pm. We decided to go to a bar terrace for a beer. Waited there for video-artist / researcher Kari Yliannala, discussed eg. about Avantoscope screenings that Kari is curating for Avanto festival. I was interested to hear is DVD nowadays more popular format than vhs, when the question is about promotional material of video art? Kari told me that it is fifty-fifty, and also noticed that the most of the last minute video proposals were on DVD. During the following day Kari is going to interview Sami for our upcoming video-DVD's booklet.

 

[9]

 

The first job at this morning was to make an extra copy of mastered Tsurraa CD for Timo. He was going to Kiasma museum and wanted to change the old CD version of his exhibition music to this new one, that will be published in a few weeks.

 

Got invitation from Yrjänä Sauros. His Saurofon solo performance is on Sunday 11th, 8pm, at Bar Loma.

 

Jarkko Lahti emailed an info about the Pauanne concert project. He had put my name to the list. The other performers at this special happening [July 17th] are Rihmasto, Nemesis, Gamma, Ihokas, Lauri Luhta.

 

Went to jogging to Central Park, almost were shocked when a person walked to my direction and... he was identical copy of Morton Subotnick! Must remember to write Mort soon... long time has passed now without a word.

 

I should go today to Digelius music shop, I promised to give Emu more copies of my CD Momentum.

 

During this evening I should transfer sounds from Sami's DAT tape to hard disc and burn a CD for him. He doesn't have a digital line at his own portable DAT machine, so I promised to help him. These sounds are film machine's motor sounds that Sami has recorded for his next film. He is going to stretch those sounds, as well as "stretching frames" is the main technic in the visual side too. Once he told me that eg. 2 sec. long take should be stretched up to 2 minutes.

I just told him that with audio programs you never know how good (or bad) the sound might be after stretching. It depends on the texture of the sound. I have my own favorite softwares for stretching, but all depends on what are you looking for. Sami is going to do his video stretching with an old film machine, cause modern video softwares can't do this processing fine. So there is still power and potentiality in the old analog machines!

 

At the city centre I met Tapani Rinne [Rinneradio] in a music shop. Went to Digelius where I met Emu. He gave me some money from my CDs that he has sold. I bought an interesting book from the shop. It was called as 'Sounds of the Animals', published in 1966. And what was more interesting was the vinyl EP record at the same box, including sounds of many wild animals.

Suddenly Emu remembered something. He said: "Have I ever played you that one mystery record?" "No", I said, "What is that?" Emu went to the backroom, and came back with an old vinyl single. "I have played this old record to Pekka Gronow [head of the Finnish Radio YLE's record archive] and Timo Aarniala [visual artist who activated during the underground movement in the late-60s], but they both didn't know the record or the composer. I have forgot to play this for you... but now...". He played the record but I was quite sure about the origin of the record before he played it. The glue was Emu's comment about different room acoustics used at the piece on the single. And that it finally was, very-very rare recording from the year 1968, "Untitled EP", published with the UIAH's [The University of Art and Design Helsinki] year book at 1968. The composer behind the single was Kari Rydman, who thought film class at the school [between 1960-70] and started to teach 'concrete music' in early 1960s for the school's film students. I met Kari some three years ago and I asked details about this record but Kari has forgotten all. He told me: "The idea of the piece, on that record, is to reseach different acoustics. So it is a collage, during the piece we go through different kind of room acoustics". There were also second piece on the Ep, but the flip side is empty. Here are the details:

"Untitled EP", 1968

1) "He who twist (elokuvamusiikkia parranajokoneella, kellolla ja hiustenkuivaajalla)"

["He who twist - film music with shaving machine, clock and hair-dryer"], (0:30)

2) "Akustinen harjoitelma" ["Acoustic etude"], (4:20)

Emu was really excited, and surprised, that the mystery of the mystery record has solved at last. He said to me: "I think this record is in better hands if I give it to you." So I got it, a very rare record, and very exciting part of the early Finnish experimental music history.

 

[11]

 

An aeroplane flew over my house. I heard two distinct sounds:

1) really low rumble sound [without Doppler effect],

2) higher sound w/ Doppler effect [when passing the listener].

 

Sent email to Kari Rydman, informed about his early experimental recording that he did in the 1968, and which I just got. He doesn't have a copy himself...

 

Sent email to Folke Rabe, informed about the Paris Transatlantic magazine's review of his recent concert. Perhaps he is not aware about it.

 

Noora Vikman sent email to me. Wrote that she is coming back to Finland on Tuesday or Wednesday, and asked if then is possible to check the hydrophone matter in Helsinki. I emailed back. I promised to check the hydrophone components from the local electronic shops at the beginning of the week, before she come.

 

Unto Laine called me. He just wanted to inform me about the meeting w/ Sami van Ingen, at Helsinki University of Technology. The meeting was about our ISEA 2004 project, concert at Kiasma Theatre. "Everything went well at the meeting", he said. "He is a good guy to collaborate with". Unto promised to send a DVD for Sami, including video recordings of Aurora Borealis, that Unto has captured at the field. He also promised to send me more audio material, new Aurora sound recordings from Koli. Actually he went to Koli to record reference material, silent ambiences, but suddenly Northern Lights activated! So he recorded all that happened during that night. There were some new kind of sound material, something that he hasn't heard before. Soon I'll get the recording so I can listen to it myself too.

 

At the evening I went to Bar Loma, Yrjänä Sauros was performing there. He just started his show when I went in. Nice amount of people there! I performed at the same place almost 4 years ago, when the Koko theatre [and the bar] started at this place. Then I played w/ Juhani Nuorvala as an electronic duo, the evening was the first screening of Sami van Ingen's new film Days. It was fall-2000.

Yrjänä played his long string instrument, or 'Saurofoni' as he call the instrument. Suddenly he hit the string so hard that it broked. While putting the instrument together, he started to tell stories - very typical for him - and very creative ones, and humorous... sometimes brainstorming, clever hooks, sometimes like lullabies for adults. After the show I discussed with him and checked his effects. Last time when we discussed about the long string instrument, I proposed that perhaps we should add some guitar effects to the sound of long strings. And now he did it. There were Boss' distortion and delay/reverb pedals, Cry Baby wah-wah, and Vox amplifier. Next time we're going to perform together at the same place, on Sunday, July 25th.

 

[12]

 

Wrote and sent texts to Sami van Ingen for the video-DVD booklet. Just facts about the sound studios where I composed the music and also information about the recent remasteration project. The films on the DVD are Days, The Blow and Texas Scramble.

 

After a four week long pause I started to work again w/ my book Vroom, Buzz and Bang. I have a few hours time to do that today before I go to the city to look at hydrophone components. Later today there is also a club concert at Korjaamon baari, starting 7pm. I promised to organizer Tommi Keränen to take my video camera with me and record the performers.

 

At the context of pop music, record industry is interested to give prizes for the most popular artists based on the amount of sold records. Yesterday I invented prize categories for experimental music.

III. Price - Silver Record (1.000 sold records)

II. Price - Gold Record (500 sold records)

I. Price - Platinum Record (300 sold records)

Naturally the amount of sold records is based on global sale.

 

Composer Kari Rydman emailed me, after I had sent him information amout his lost 1968 experimental record. "Hurrah! That's the CD!", he wrote. "Last May I met my former students from the UIAH's filming class, and they still remember how we did the record. Great that the treasure is now in good hands. Best, Kari"

 

Alison Gerber was sorry about that she couldn't dload my piece earlier, "No problem", I emailed back. She informed me about the August Underwater concert in Malmö, Sweden: "We are now planning to do 2 events, on the 6th and 8th. I will let you know stable details at the end of the week..."

 

References and bibliography on spatial audio - more than 200 papers and books on WFS, binaural, perception, SD, OSD, ...

http://www3.sympatico.ca/philippe_aubert_gauthier/biblio_1.html

 

Went to Korjaamon Baari, where was Charm of Sound's [Äänen Lumo] Summer Noise Dream concert. Performers: Maja Ratkje & Emi Maeda (Nor/Jap), Alexei Borisov & Anton Nikkilä (Rus/Fin), Hotguitars (Fin), Pink Twins (Fin) + dj Tommi of Finland. The evening went well, good performances from the groups. I videotaped same takes from every group. Especially I liked the energy of the new duo called Hotguitars, after the concert I went to buy their CD, but they left from the place before I had time to ask it. AB&AN surprised me about their rich sound textures. PT had a dynamical set. MR&EM's start was really beautiful. Unfortunately at this point of the evening too loud PA-sound spoiled the gig: higher middle-register was too dominating and, at this volume level, the over-all sound was most of the time messy. So unfortunate, cause it was impossible to hear any details.

Met Emu and Pekka Airaksinen at Korjaamon Baari, were sitting at the backspace of the bar. Emu thanked me about the information that I sent him concerning the 'mystery vinyl record', lost Rydman's 1968 record. When I sat down Emu asked if Pekka know me. Pekka said: "Yes I remember Petri. I think it was 10 years ago when you contacted me and asked if I am interested to give a concert at Vanha student house." At first I didn't remember that this has happened, but then I realized that it was true. It was in mid-90s. Pekka hasn't gave any live performances for many-many years, so I asked if he would like to do something now. But it wasn't right moment for him then, perhaps stage-fright was the reason or something else, so we forgot the idea. During those years I got huge amount of Pekka's self-made CDs, in my collection there must be some 20 different albums, music from the early-70's to late-80s.

I said to Emu: "I remember that you played trumpet, long time ago...?" Emu and Pekka smiled, Emu commented: "Yes, I played at The Sperm's record. My highlight as a musician was the book of Finnish rock history [written by Lehtonen, published by Soundi magazine in the 80s], where was one line mention about me, reference to the Sperm."

I also met many active electronic music enthusiastics during the evening. Nice to see that so many of them was at the city. Monday evening in July is terrible date to arrange experimental electronic music concert at the city. I discussed with Juha Valkeapää [had just moved to a new house] and Erkki Pirtola. With Erkki we discussed about self-made art. He was in a TV just a few days ago, talked about the subject. We wondered why there is nothing done on the area of self-made music. There are many instrument builders and musicians around, which should be noted. Sophea Lerner informed me about upcoming sound art radio project. This station, called Aaniradio, will run during the ISEA festival in August. She asked if I would like to collaborate and give proposals. I informed her about San Francisco based community radio, especialised only on sound art. The head of the station would like to exchange programs. This kind of program exchange would be perfect for that kind radio station.

Hepa Halme visited at the concert but he left quite early. Gaetan Lorho has came back from Denmark where he was doing his audio research for six months, unfortunately didn't had chance to discuss with him during the night. Long discussions w/ Jarkko Lahti & Mirja, about upcoming concert at Pauanne during the next weekend, and also discussed on the subject: "Why people listen to noise music these days?" Had a few thoughts about aesthetics of noise music. Met Vehviläinen brothers, etc...

 

[13]

 

Wrote my book few hours today. Went to shopping to buy missing parts for the hydrophone. This is something, I need only a few parts for this tiny microphone, but it seems that all of them must bought from a different shops, incredible. So tomorrow I must go again[!] for shopping and try to find the last missing parts, some nylon screws.

 

Got email from David Rothenberg: "What are you up to? Playing anywhere?" Wrote back, also infos about my speech at ISEA festival, August 17th, in Tallinn. David is in Tallinn until mid-August. If possible, perhaps we'll play together somewhere...

 

[14]

 

GOING WILD by Gino Robair Apr 1, 2003 12:00 PM http://emusician.com/daw/emusic_going_wild/

“Ever heard a tree singing?” asks noted composer and bioacoustician Bernie Krause. “It's 70 kHz,” he adds as he reaches for a CD-R in his spartan Northern California studio (see Fig. 1). The CD that accompanied Krause's recent book, Wild Soundscapes (reviewed in the December 2002 issue), included singing ants, aquatic insect larvae, and the hair-raising growl of an Amazonian jaguar. The singing sand dunes and the calving glaciers mentioned in the text didn't make the CD, so they were first on my request list as our interview wound down. Nonetheless, I was not prepared to hear the sounds of a tree. “We were listening for the sounds of bats,” Krause continued...

 

Meri Kytö informed that the homesite of Finnish Society for Acoustic Ecology [Suomen Akustisen Ekologian Seura] http://www.akueko.com is back again. From now on all emails that has previously sent to the akueko-list should be sent to the website's chat forum.

 

Met artist Teemu Mäki at the centre. He just came back to the city, and is busy at the moment, writing his book, which will be part of his PhD degree. He told me that at just right now he is writing a section about art therapy. I proposed him a book that I have, the name of the book is 'Mind and Art' [Taide ja mieli]. There are many articles, all of them giving a different view to the subject; therapy in music, visual art, dance...

 

[15]

 

Just recently I sent an email to Folke Rabe, informed he about Paris Transatlantic's review of his concert. Last night Folke wrote back: "Thank you for the hint about the review. Yes, I know who wrote it; a young enthusiast in Norrköping. It was a nice event, I think. I hope everything is fine with you. It is interesting to be informed about your activities through the promotion mails..."

 

Today I am writing my book. Tomorrow I am going to Pauanne for the weekend, so later at the evening must start to prepare my stuff for the trip.

 

Suddenly I realised something: no outside sounds! There is a break at construction site at the neighbour building. But not even street sounds either!? Really special moment, on Sundays this kind of silence might be possible, but not during the working days. All right, now it is over - somebody started to drill... back to reality... :)

But somehow I need the city sounds, marks of activity. It is surprising hard to motivate myself to work without activating sounds around me. On Sundays this is very clear. Streets are then quiet here, no activity, and this affects immediately: no interest to think about work during the day. But on Monday I am hungry again... :)

 

[16]

 

Went to morning jogging, and started backing for Pauanne trip. The guys will come with two busses sometime during afternoon.

 

[19]

 

The Pauanne festival was great happening, so relaxed atmosphere, nice people, it was like an 'ambient picnic'. At first we went to Jarkko's summer place, a sea-side cottage. We were there at 1am, started to make food, barbecued, made drinks, stayed up until 7am.

On Saturday afternoon we went to Kokkola, loaned PA-system, and drove to Pauanne. Little by little the system was ready for the night. Gamma started [played many times during the night], then played Lauri Luhta, me, Nemesis, Ihokas and Rihmasto. I joined w/ Rihmasto and played w/ them for a short moment, later during the morning I played more with Rihmasto's Jukka. Mainly processed his keyboard playing. It was 9-10am when we, the last ones!, finally stoped playing music. And it was so unreal moment when turists came to the hill at the morning and wondered "what is going on here?" We just told them that it was a concert night here... :)

Went to sleep and woke up 4pm. Met the owner of the Pauanne, he really enjoyed the festival, and invited we all back again during the next summer! He described his visions: "When I walked up to the hill, the music on the top was like from heaven, like the angels were singing there." I must say too that the context was really something. And the sound was really full and broad, despite the fact that we played outside. Our equipment were behind small water pool. During the morning hours we saw a performance at the middle of the concert, when one of our group dressed a plastic 'dress' and went to swim. There were many guys taking pictures and videos, so we might have a change to get some documents of the festival later. After a few hour sleep it was time to back all things to the busses and go back home. Back home in Helsinki on Monday 5am.

 

Sophea Lerner emailed information about the Ääniradio http://aura.siba.fi/aaniradio. The project will be active in August: "ÄÄNIRADIO is an experiment in public broadcasting which will run the gamut, from the sounds of the stars and planets down to the sizzling of your local grilli kiosk."

 

Got an email from Bernard Fort. He emailed two pictures that his wife took in Cagliari during the last evening of the festival. Nice that he remembered! At the picture there were: Bernard Fort, Lucio garau, Francesco Giomi, Giovanni Cospito, and me.

 

I found sad news from my other email account. An electronic composer has died few weeks ago. I wonder what really was happened, this memorial message left so many questions behind... His sister now contacted people who had knew him, wrote that she has collected email addresses from her late brother's address book, but couldn't open mobile phone because she didn't know the pin-code. So sad to read all about this.

 

Joni Lyytikäinen sent an email. We discussed about our web music project. Unfortunately he doesn't have time to work much with this project during this summer, cause he has many other works to do and also must finish his MA degree for UIAH. It is very interesting project, by the way. With his friend he is going to make sounds from Sun's activity, if I understood the idea correctly. I have heard some older demos and they sounded great! Concerning this project he asked advises about the SOHO, a research project which investigates activity of the Sun. I didn't know so much about that project, but proposed that he should check VLF [Very Low Frequency] softwares from the internet. With VLF soft it is possible to record geomagnetic data. This data could be converted to sounds or videos, or... It is just data, not acoustic signals, but usable material for many kind for artistic investigations...

 

Juha Valkeapää updated his new address. Someday we must collaborate, he is nice guy and also incredible voice virtuoso. Hepa Halme actually proposed this some six months ago, after our performance [Jan. 31st] at the Ateneum Hall [Finnish National Museum]. Juha actually arranged this concert and invited us to perform there. It was trio performance, Hepa, Jukka Orma and me.

 

[20]

 

Tapio Mäkelä from ISEA called me. He wanted my program text and also some pictures for the tabloid paper and magazine. I didn't had any pictures so I contacted Unto Laine and Sami van Ingen. They promised to provide images to ISEA. Sami informed me that his "Aurora visual" preparations for the ISEA concert is going well. He just need to buy some electronic components more, but basically the whole thing is ready. We're going to arrange several pre-concert sessions before the final show [August 20th, at Kiasma Theatre].

 

[21]

 

Yrjänä Sauros called me. He just asked if everything is fine for our next Sunday duo concert at Bar Loma [Koko theatre]. All is well. Only worrying think is that I just realised that one of my sound processors is missing, but I think my friends has found it from the Pauanne bus when they arrived back home. I just send note to Jukka Andersson and he promised to check the matter.

 

[22]

 

Underwater concert update:

News: July 2004

Underwater broadcast in Malmö

Hosteller Alison Gerber is curating an underwater broadcast of audio works to take place at the beach at Västra Hamnen in Malmö August 6 and 8, 2004. The broadcast is part of the project karta/terräng initiated and organized by the cultural organization Laika.

Artists whose work will be broadcast include Abinadi Meza, Ann Rosén, Enrico Glerean, Johan Sandsjö, Jon Eriksen, mAggIE mAYhEm, Mathias Kristersson and Trygve Luktvasslimo, Petri Kuljuntausta, Plakto Needs Lint, and Stein-Olof Hellström.

On August 6 and 8 bathers at Västra Hamnen will be able to listen to works made especially for the event. The works will be broadcast only underwater, so viewers will need to swim in the ocean off the south coast of Sweden to listen.

For more information on the broadcast and on the karta/terräng project visit Laika at http://www.laika.nu

 

Just listening:

Giacinto Scelsi: Quatro Pezzi per Orchestra (ciascuno su una notta sola) [1959]

Four short parts, each based on one note, long notes. Variations of the note are mostly focused on dynamics and colours [orchestration]. Only tiny colourings with additional notes [one half-step above the basic pitch]. Brilliant work.

 

Posted gig images to Juuso Koponen, who was making final changes to the ISEA tabloid [deadline today].

 

A Message from James Harley:

XENAKIS: His Life in Music

by James Harley

Publisher: Routledge (www.routledge-ny.com)

ISBN: 0415971454

Pub Date: 01 JUL 2004

Type: Hardback Book

Price: $85.00

For over forty years Iannis Xenakis has been one of the major figures in contemporary music. In all that time, there has not been a study of his music published in English. This volume leads the reader along the trajectory of Xenakis's compositional development, presenting the works together with the technical and conceptual innovations he has introduced along the way. Particular works are examined in greater detail as signposts marking new stages in the composer's creative journey, from the early, unpublished works to the breakthrough pieces Metastasis and Pithoprakta, through the oft-discussed decade of formalization to the evolving styles of the succeeding three decades.

Harley approaches the music from the point of view of a musician; his thesis rests upon the conviction that Xenakis's theoretical formulations can be explained and understood without recourse to complicated mathematics. This "scientific" feature of the composer's own explications of his work has baffled and often alienated many who have responded strongly to the music. The book also includes an up-to-date bibliography, and links to a current discography and list of works.

 

[23]

 

Today I got back my missing SFX processor. Jukka Andersson found it from the gig bus and posted it back to me. I sent thanks to him, now I could use it at my next gig, on Sunday at Loma Bar w/ Yrjänä Sauros.

 

Got post from Ami Hassinen [Nemesis]... listening Kraftwerk's live concert. Great recording... In fact it sounds better than another recording taped exactly one year before this one...

 

I was just searching some old information and found few interesting emails that I have got. The first one is Leif Inge's email July 28, 2002. He wrote:

"Id like to inform you of my recent project now available streamed on the net. 9 Beet Stretch is Beethoven's 9th symphony stretched to 24 hours, and as a good starter I would recommend the 5th movement. It sounds like a fusion of LaMonte Young's Second Dream and Györgi Ligeti's Requiem... Enjoy.

http://www.notam02.no/9

The piece is at the moment a part of an ongoing exhibition in Frankfurt, under Sal Randolphs contribution to Manifesta 4.

Sincerely, Leif Inge

 

The second email was about Luciano Berio's "mystery piece", his early electronic composition. I found a tape copy of this piece from radio archive, it was broadcasted in 1958, but the information on the tape doesn't fit with the information on Berio's worklist. So I contacted Italy in Oct. 2001, and asked help with the problem. I sent mp3-copy of the piece to Lelio Camilleri, Nicola Bernardini, Alvise Vidolin, Francesco Giomi, Damiano Meacci. But finally I solved the problem by myself and tracked the origin of the piece. Here is the exact information about this very rare vinyl recording, which was originally made only for the use of RAI.

PK: "I just want to inform you all that at last I succeeded to solve 'the Berio problem'. The electronic piece 'Harmonic and nonharmonic sound combinations' was originally:

=====================================

L.Berio: Strutture di timbri armonici e disarmonici

=====================================

It was released [-56?] by RAI ["Prospettive nella Musica", 17cm/33rpm], this recording included 9 el-music examples made by Berio."

Nicola Bernardini from Centro Temporeale emailed me and was quite sure that Luciano himself doesn't remember the work:

NB: "Thank you Petri, You always learn something about the man. I'll go and ask him: I am ready to bet a dinner to all of you he won't know what I'm talking about :) Is this record anywhere to be found? It would be interesting to hear the other examples... :) ciao, nicb"

PK: "Hi Nicola, here are listed all the pieces at the Berio record "Prospettive nella Musica"/RAI:"

- Voce di negro e tambura africana

- Campane

- Bach: canone IV a 2 dall "Offerta Musicale"

- Gaccia d'acqua

- Rumore di ferraglie

- "Piano-tape music"

- Sequenza simmetrica di impulsi

- Sequenza asimmetrica di impulsi

- Strutture di timbri armonici e disarmonici

 

[25]

 

I had a concert w/ Yrjänä Sauros. It was a great happening! We performed 1 hour long set at Bar Loma, the bar of Koko theatre [Koko-teatteri]. The audience was listening carefully, and participated nicely. Yrjänä played his long string instrument, or Saurofoni, as he call it. It was installed / connected from the floor to the roof. He used Vox amplifier and some guitar FXs with the string. He also told stories and used Shure mic. for that. All his sounds went to my mixer, so I had a chance to make more processing with my own equipments. I mainly sampled, looped and distorted Ykä's sounds, and also played my own feedback sounds that I generated live. I recorded the concert.

 

[26]

 

I got email from Acoustic Frontiers' host/producer Ralph Hopper. He broadcasted today my piece In the Beginning on CKCU-FM (www.ckcufm.com), 93.1, Ottawa, Ontario, Canada.

 

While writing my book I am listening:

alan lamb's original masters [Dorobo], music based on long vibrating strings, actually it is environmental recordings of telephone wires. Also listened a few tracks from the cd alan lamb & sarah hopkins sky song (1989). Later on listened:

florian hecker: [r] iso-chall, incl. mixes by several composers [I liked Lopez's piece]

oren ambarchi: suspension

 

[27]

 

During the last days I have written my book, nothing special, just sitting in front of my computer and writing... :)

Listening Music created from DNA and Protein.

At the moment I am collecting more stuff concerning the subject of DNA music, it is about music delivered from DNA and protein sequences... Next time when I go to a library I must absolutely remember to loan this one:

Douglas R. Hofstadter: Gödel, Escher, Bach: An Eternal Golden Braid (1979). It is very important book about genetics, mathematics, virtual intelligence, art, music.

 

Found from the net an audio example of Shepard effect, it is question about auditive illusion. In this example the melodic line goes up, and ends one octave above the starting note. But actually this wasn't true: after listening carefully it was the very same note that was in the beginning.

 

Listening today:

charlemagne palestine: jamaica heinekens in brooklyn. Nice combination of drone textures and city recordings.

deep listening band: sanctuary [mode]

pauline oliveros: Applebox Double, performed by pauline oliveros & david tudor, live electronics. This 17' long piece is from the recording: VA - Music from the Once Festival, 1961-66 [box set], disc 4 1964-66.

 

Brainstroming; checking different sound possibilities and strategies for my Northern Lights concert, which will be at ISEA festival, Kiasma theatre, on Friday 20th in August.

 

I think I have quite positive attitude to the life. I have born many times, but I feel I have never died...

 

[28]

 

Why I am still making so much music and writing all the time...? I just have not found any better things to do during my lifetime.

 

Sophea Lerner sent an email, told about the Sound Radio [Ääniradio] project that she is arranging, and asked kindly if I am interested to curate a slot. Sounds absolutely interesting. The project starts at the beginning of August. I sent email to a local community radio NPR in san francisco. Some time ago there was an idea to collaborate, so this is a good moment to start it - exchange some collections of experimental music and sound works between san francisco and helsinki.

 

Yrjänä Sauros called me, thanked again about our last weekend performance. He was really excited about the way how I treated his stories: I sampled live some phrases / words, and played them back, used samples here and there. Sometimes processed, sometimes played back the original way. The audience really enjoyed about that too, cause these fragments gave totally new meanings to the text performance. Sometimes the repeating text phrase might sound silly after many repeats, but after really many repeats it will start to create new meanings, cause the story itself continues above it.

So, we will continue from this point forward and play a duo concert together in the near future. We also decided that during the fall we will write the final plan, concerning the proposal on our TV-happening.

 

Listened an old CD Austral Voices [New Albion], including music for ruined piano by Ross Bolleter and Warren Burt's composition for tuning forks. There is also a very powerful 'wire music' piece from Alan Lamb.

 

Got emails from ISEA organizers, Hanna Harris and Andres Kurg, they wanted to check that everything is ok concerning the festival concert and speech.

 

[29]

 

Unto Laine and Sami van Ingen called. We discussed about the upcoming Aurora Borealis concert. Everything is fine, no problems...

I also told Unto about a scientint called Karl Selim Lemström. Unto knew the name. I found information that the professor Lemström build a machine to generate Northern Lights - in 1900s! But finally it didn't worked. But despite of that disappointment he developed the machine and used it to grow bigger vegetables... :) There were strong interest especially in Germany and England. I don't know how many machines he build, or was it just an experiment...

 

[30]

 

An electronic music community Klubitus's description about my style: petri kuljuntausta perform mostly at something (50%) and chill (50%) kind of happenings.

 

[31]

 

Sent thanks to Patrick Kosk and Jukka Ruohomäki. Actually, I forgot to told them how nice my concert trip to Italy was, and how I was really proud to play their pieces at my concert.

 

 

 

August

 

[1]

 

Got email from Pekka Gronow. He just came back from summer holidays so he couldn't read my July email on 'Early Avantgarde Record by Kari Rydman' [1968] until now. He told me that he knew that this record has done, and actually it is in the collection of Finnish Radio YLE. He also knew that American multimedia magazine Aspen from the 60s gave some influences to do that record w/ book.

 

Jukka Andersson emailed and told me that he and guys from the Unihäiriö group are moving to my neihgbouhood. The place is Taivaskallio at Käpylä, it will be a media community, as Jukka described. These guys were also at the Pauanne trip: Mikko "Mx" Mäkitalo (driver), Kalle "Vikuri" Lahti (dj) and Risto Karhu (driver)

I proposed that after our recent Pauanne Festival we should arrange a GardenTour just for fun, just a few places where we could easily play music: like at my place, Taivaskallio and Jarkko Lahti's garden. Lets see...

 

 

[2]

 

It is time to keep an acoustic ecology meeting with our association SAES. Unfortunately August 18th is impossible to me, it is ISEA2004 festival then and I must be in Tallinn on 17th and give a speech there. That week is very difficult cause must prepare the friday 20th concert too.

 

Unto Laine sent me his new aurora borealis sound recording. Very effective strong sounds! I think I am going to use these at my concert.

 

John Richardson asked about Stockmann store's environment music. I told him once that Stockmann play classical music during evening/night time. The reason for that is: young people don't hang around the store [middle of the Helsinki centre] if they play classical music from the speakers. There some place in Tampere that use this same method too... John was just interested to hear more about the subject...

 

Got post from Gallery Jangva. It was their's 10 year catalogue, a history book. All about their axhibitions and other projects. And Hey!, there were also my name mentioned! In 2003 I played solo at the gallery. It was La-Bas evening during springtime, I think. I sent thanks to the gallerist, beautiful book.

 

[3]

 

Tuuli Lempa from Finnish broadcasting company called, she wanted to interview me, now or tomorrow?, she asked. I just came in from jogging, and couldn't breath normally, so timing wasn't the best possible for interview. Tomorrow was better to her too. She asked example of my music, so I gave her two web addresses from where she could download my piece. Two versions from which to choose, mp3 or wav versions.

 

Editor from STT [News Office of Finland] interviewed me.

 

Alvin Lucier emailed me. I was interested to hear about his very old writing called New Soundscape. Unfortunately he was away from his office and couldn't remember so old thing: "That article was so long ago, I don't really remember the contents. I am away from my office for a month and do not have access to the text. Sorry. good luck with your project. Cordially, Alvin Lucier"

 

Sent email to David Rothenberg. I was interested to hear how long time he is in Tallinn. Perhaps we have chance to meet there in August 17-18.

 

Archive on the web:

Birds and All Nature Magazine from 1897-1907

http://www.birdnature.com/birdsandnature.html

There is many interesting old articles, eg. NATURE'S ORCHESTRA.

 

[4] Rodrigo Sigal commented the performance of my piece in underwater concert:

yes!!! I want to hear this!! please!!! well I am sure your piece with whale sounds is going to be amazing!!

 

Gary Ferrington is going include an info about my piece In The Beginning in the next WFAE [World Forum For Acoustic Ecology] newsletter. The piece is based on bird nest recording, and is the last track on my cd Momentum [2004].

 

A Friend of mine gave me an interesting bird tip, it is included on a piece at a mid-70s proge rock album Nightingales And Bombers by Manfred Mann's Earth Band.

"The title of this album was inspired by a recording made in Surrey, England during the Second World War, by an ornithologist intending to record Nightingales. The bombers flew over at the same time and were recorded by accident. The recording has been incorporated in 'As Above, So Below'."

 

[5]

 

I wrote the first text version (performance text) for my new piece called:

Music for Crane, Drill, Saw, Hammer and Passing Planes, Trucks and Cars

The first taped version is based on environmental recording that I just recorded from my window. It was simple fantastic performance, unbelievable rich sound phenomenas. I want that this kind of piece could be performed again some day, so that is why I wrote the text.

 

Pat Mastelotto commented about my underwater performance:

- underwater?? wowieee!

I was interested to hear if he is going to publish on CD their recent live recording in Finland:

- yes we hope to release a LIVE Kluster TU cd. . .if that tracks sound strong enough (i have mixed about half so far). and had hoped to release TU in russia but the russian cant seem to find the audio tapes (bootleg?:-) enjoy that short summer up there, xx, p@

 

[6]

 

My interview was broadcasted at YLE Radio 1.

The Underwater concert in Malmö was today.

 

[7]

 

David Rothenberg emailed. He and Jaanika are still in Estonia. We are going to see after my ISEA speech in Tallinn, August 17th.

 

Read a story concerning copyright fight between James Newton and Beastie Boys. The latter took a sample from JN's record, they asked ECM's [the publisher] permission, but forgot to ask JN. Huge amount of money is involved in this case. I don't know... for me this is not so big problem, there is that 6 sec long sample used in the piece, put they definitely do their own thing. It is not a question about stealing a piece from JN, after all. It is only a short motive they use.

In western culture we have a tradition to make variations, composers took other composers themes or themes from folk songs, and did their own music from that. Why we should stop this tradition now? Making variations is not stealing.

 

I wrote the first text version (performance text) for my new piece called:

Discussions with a Flower. The idea is to interview flower, show some questions [on queston board] and wait for an answers. The changes on leaves' surface electricity should be recorded or amplified for the audience. All the questions are serious questions, about the life of a flower, meaning of life, the role of a flower in the universe...

 

Read some old texts about the music of Nam June Paik. Also read report about Documenta 6 media art festival, which was arranged in 1977. The first satellite live-art project was arranged during this festival.

 

Viljami Ovaskainen called me. He told me that the opening of his gallery will be on Tuesday, August 10th, but unfortunately I can't go to Tampere. Galhalla gallery will be focused on sound art, that's something! Viljami also asked if he could sell my works at the gallery, and use my name on the opening flyer. I said yes, absolutely, and promised to send him some music on Monday...

 

Hepa Halme called me. He arranged a gig for us, place is Forum Box gallery, the date is Saturday, September 4th. This gig will be the second version of our last December gallery project under the name: SoundHappensTM [Äänitapahtuma]. Third member in our band will be Dj Spinner. We have an idea to use three rooms in this performance, each of us will be playing at a different room. We all have our own PA-systems. We play together but the audience could move, and listen different sides of our space music.

Hepa has an idea to play only processed, very long wind sounds. He has new Pro Tools software and he want to use that at the concert. I am going to play my feedback system. I also proposd an idea, that I should try my two small megaphones, that I just recently got. I haven't tried those yet, but I heard that the sound of these megaphones should be great!

 

[8]

 

Read a few sections from the book called "Shake of Machine Flesh" by Jukka Sihvonen. It is about history of media art.

 

Went out to see the final concert of hip-hop / dance festival URB. Saw few bands there at the Kiasma museum's outdoor stage. After the show went to see Timo Vartiainen's Kiasma exhibition, at the gallery room Studio K. This was the final day of the exhibition, and Timo was there. Discussed with him about the exhibition, watched the works and listened the soundscapes. It was those same soundscape recordings that I worked with last month and which was released on the CD. After that I decided to check all Kiasma's exhibitions.

 

[9]

 

John R's reaction to my water music:

You're really a strange guy, but in interesting way... Keep it that way. :) I hope everything is ok.

 

Erkki Kurenniemi sent an email, he couldn't respond my earlier email cause he was at country-side, far away from computers and emails. Today he came back, we will have a meeting during next week, I want borrow some material from him. Long time ago we discussed about music based on mouse DNA. I had (somewhere) two articles and I promised to show these to Erkki, but I haven't founded these yet. I have hundreds of photocopied articles at my garage but not in so good order, unfortunately... :) Anyway, from the internet I found a source of that one article, which is:

Susumo Ohno & Midori Ohno: The all prevasive principle of repetitious recurrence governs not only coding sequence construction but also human endeavor in musical composition. Immunogenetics 24, 71-78. 1986.

Erkki worked many years at Heureka science centre and I wanted to hear more about the rare CD that was buried under the Heureka building. The CD Heureka 1987 - Foundation Stone Record included some very interesting tracks. Erkki still had a few CDs left and he promised to give me a copy. Erkki told me about the tracks: "You remember correctly, the record was made in 1987. HIV virus was arranged by Pekka Tolonen. I think he has quite lot of recent biomusical material too. That material [music on the 1987 CD] was based on 1985 published partial genom of HIV... translated to melody tones and bass lines... On the same record there are also some other curiosities, like whale songs and earthquake transposed seven octaves higher..."

 

Antti Ikonen sent info about Phonographic Migrations (SoundscapeFM) project.

 

David Rothenberg emailed, wanted to hear about my ISEA speech and concert. He asked if I am going to Koneisto festival, so he could come to Finland and we could go together. I wasn't interested and I was too busy with my works - mainly with preparations for the Northern Lights concert at ISEA. So David decided not to come to Finland, instead of that we're going to meet in Tallinn, on August 17th, after my ISEA conference speech.

 

Alison Gerber sent a message, info about the underwater concert in Malmö, Sweden. "the broadcast went great", that was nice to hear! She also sent some pictures taken during the concert. Later on she will sent me more details about some technical questions that I asked her.

 

Went to the centre, at first to the railway station. I sent my music to Viljami Ovaskainen by train. This way Viljami will get my packgage during the same day.

 

After that I went to a small radio repair shop. Really interesting place! I heard that this guy sell record-player's needles, so I wanted one for my old machine. The owner was really polite person, actually the shop was closed, but the door was still open. I went in and we talked quite a long time. I bought an old and really beautiful record-player from him. The machine was from the year 1955, it worked, he had checked the machine is ok, and he sold it to me, asked only 10 euros!!

He also promised to check my old 4-track reel-tape machine, which has not worked for many-many years. With this machine I made some early multitrack [overdub] pieces durng the 80s.

 

Cause I was already at the centre I decided to call Erkki Kurenniemi. He was at home so I went to see him at this same trip. He gave me that Heureka CD and a book [Foundation Stone Record] and he also mentioned Lauri Gröhn, from the Finnish sceptics' association, who has created music from images.

 

[10]

 

Sophea Lerner sent info that Ääniradio [Sound Radio] will be soon start. She already invited me to curate a programme. It is netcast, also at radio 103.1 FM [Helsinki area]. I invited some friends of mine to send me a pieces for my show.

 

[11-12]

 

Last days I had been busy with my new composition from the sounds of Northern Lights.

 

[13]

 

I got pieces from my friends for Ääniradio [Sound Radio]. It seems so that I will have at least two programmes, so many wanted to participate, which was great. The first netcasting / broadcasting date is not confirmed yet but the pieces are:

01-mnortham_subduction

02-atau_tanaka-promethee_numerique_p1

03-rihmasto&jason-in_distance

04-justin_winkler-vichorevka

05-markus_reuter-swallowed_cold

06-petri_kuljuntausta_vroom

07-chris_mann-double_standard

For the second set I already have pieces from Shawn Pinchbeck and Lee Montgomery [NPR - Neighbourhood Public Radio, in San Francisco]. Also Al Margolis and Richard Lerman promised to send me some new material. Richard will send his piece when he is back in Phoenix, he wrote nicely about my invitation and the project: "I always trust your judgement..." Richard had a gig in NY, great to hear that he has started to give live performances again: "I had a concert in NYC in June--it went very well and was kind of a test for me... I have been invited to participate at a festival in Czech Republic next June. If you know of any festivals in your area, please let me know so that I can start to contact them. I sent him some contacts...

 

During these days many friends of mine from abroad are visiting in Helsinki or Tallinn. David R is spending there his summer holidays. Mnortham has a performance somewhere in Estonia. I decided to wrote him after 6 year long silence, I didn't know that he was coming here. Michael answered: "very strange you write - we are now at an artist festival in mooste, estonia - so we return passing via helsinki on the 16th - perhaps i can give you a CD on that day and learn more about your projects". Nowadays he lives in Switzerland. He also promised to email me his new material before he come, these might be pieces that he performs in Estonia.

Atau wrote: "It's great to hear from you. I will be in Tallinn for ISEA - performing with my new trio SSS on August 18. so maybe see you during ISEA?" He wrote a few words about his recent piece: "Promethee Numerique / Frankensteins Netz is a hoerspiel for radio and internet... a radio piece I did back in 2002 for the German radio. It is 39 minutes long, in 5 movements. If it's too long it's fine to play individual movements. I have published a description of the project in the book "Surface Tension", http://www.errantbodies.org/surfacetension.html."

 

Shawn Pinchbeck was in Tallinn, and he wrote: I'm in Tallinn at the moment! I'm showing my installation "Sonic Spaces - the kinetics of sound" at the Arts Academy for ISEA. I'll be in Helsinki and on the cruise too. I'm hoping to get a little material together for Sophia's What are we eating? project, and who knows what else might happen over the week! I've attached a 5 minute piece for you to play on your show. I'll look around for more material for you too. I hope we bump into each other over the week! I'll give you my mobile number in case it helps facilitate such a meeting."

 

Lee Montgomery described his recent sound art works: "Signs is people at a protest in San Francisco before the U.S. invasion of Iraq. They are reading their signs. Faves is people in the financial district of San Francisco being asked "What's your favorite song?". It ends with a long, but appropriate silence. Jan 16th, Mooney is evidence of ex-Can singer Malcolm Mooney visiting the gallery during the first Neighborhood Public Radio broadcast in Oakland, CA. ( http://www.conceptualart.org/npr )... lets be in touch about exchanging sounds for our event in September.

 

Phill Niblock is in Helsinki. He has an installation at MUU gallery. Art researcher Arja Elovirta invited my to a dinner yesterday with Phill Niblock + friends, but unfortunately the date wasn't good for all the invited people, so we decided to arrange meeting some other day.

 

[14]

 

Went to see Juhani Liimatainen, he and Katariina has moved to their new home just few weeks ago. It is really nice place, spacious rooms. They'll have a party at the end of this month.

 

Phill Niblock asked me to go out with them this evening, Tommi Keränen called 10pm. Unfortunately this night wasn't good either, I was working at my studio and must finish my composition and make some rehearsals and other preparations before Sami van Ingen comes to town. Phill told that he is going to Tallinn as well, so I am sure we're going to meet there. Our timing is the same, he arrives at Tallinn on Tuesday and leaves on Wednesday.

 

The Soundscape part for the Northern Lights concert is ready now. It will be 48 min long one continuous piece. Everything is ok now, tomorrow I must make some notes for the live realization. also I must "tune-in" my amplifier modelling FX-processor, cause I want that my feedback sounds [generated from Aurora sounds] really sounds good. It would be great add some harmonic distortion.

Sami is coming to Helsinki on Sunday and will stay few days at my place. On Monday we are going to Kiasma and check the technical equipments for the Friday concert. I am especially interested to know about low sounds of the PA system of Kiasma Theatre. I know that they have there DTS [Digital Theater Systems]. But on my material there are really low sonds, way below the thresold of human hearing. The low sounds start from 1-2 Hz. It is important that these works well, people don't hear them, but they feel it in their body.

 

[15] Sophea Lerner emailed that they have had some problems with Ääniradio, some softwares stopped working. It would be great to know the timetables of the programmes but it seems so that they can't automatize the broadcast system.

 

Warren Burt sent a message that he has moved to the new home.