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My first espresso sitting outside at Darcy’s Coffee since last September. Sunshine, city life. Looking at the wonderful trees that align Åboulevard, and imagining what it would be like if it was car free once again.
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And so we come to the end of this lockdown photo project – the coffee corner where it all started 100 days ago – now open to the public, chairs ready, sun shining, ice cream sandwich-sign out on the pavement. Flowers, trees, cushions. The same old graffiti on the letterbox.

And so we come to the end of this lockdown photo project: the coffee corner where it all started 100 days ago – now open to the public, chairs ready, sun shining, ice cream sandwich-sign out on the pavement. Flowers, trees, cushions. The same old graffiti on the letterbox.

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A little Rorschach test with this pavilion, the remains of the West Chapel, converted as part of the Crossroads Project (Stjernevejsprojektet) in the middle of Vestre Kirkegaard. A fresh morning, blossoms sprinkled on the ground. Birds singing. The sounds of nature. And some SPYO graffiti if you look closely.
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If it wasn’t for the bronze-yellow of the car bringing out the yellow of SPYO’s graffiti in contrast to the two blue chimneys reaching up against the grey-blue of the sky, I perhaps wouldn’t have taken this photograph of what is otherwise a generally drab corner of Valby.
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A little stained glass window, unexpected in the doorway of an old factory building, peeking out from behind the grime. Shadow play on the surrounding brick – one of them missing. An off-yellow door light. A ventilation hole. An expressionist angle after all my straightness.
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A few weeks ago, when passing, this building was covered in scaffolding. Today it suddenly stood there, gleaming in the afternoon sun, shiny and new, across the parking lot.
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My daughter exclaimed after noticing the twisty shape of the air vent on the (not so often seen on this area) sub-terrain garage door as we cycled by a few weeks ago. It reminded her of a boiled sweet (bolsje). Today we happened to pass by again and stopped to take some photographs.
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An old Ford holiday camper parked on Jægersborggade on a relaxed, sunny, holiday-mood Friday afternoon.  Stickers in the back window: Copenhagen Historic Grand Prix, Skagen, Dinitrol, Hamburg.
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The ID700 is a modern interpretation of the Buchla 700, and it comes with 4000 tunings pre-installed, one of which is the Partch 43-tone scale. The overlay I created for the SenselMorph has C as its root note but the scales in the 700 have A as their starting point, which means that I have to shift the incoming MIDI notes either up by 9 steps, or down by 34 in order to have them work with the overlay.

I’ve done that using Bram Bos’ Mozaic MIDI filter, and I’ve set up quite a few instances so that I can quickly shift between octaves or play them simultaneously.

One interesting thing about working with a 43-note scale and only having 128 MIDI notes to work with, is that one is just one MIDI note short of having a full three octave range.

So in this case this (21/16) is the lowest note, and if I go to the top register, that’s the highest (27/20), and after that, I run out of MIDI notes.

If I come back to a middle register, one of the nice things about the ID700 is that it offers MPE support, which means that I can shape each note independently of the others. And in this case I’ve mapped pressure to index number 2, so what sounds a little bit like opening up a filter is actually frequency modulation.

One of the joys of just intonation is rediscovering the beauty of these pure, simple triads, and then with the synth one can add a little bit of character.

As I mentioned in a previous video the symmetry of both the scale and the layout are useful to keep in mind when navigating it. So for example a major triad, when mirrored, gives a minor. So there are these music-theoretical aspects that are mirrored in the visual layout.

If one wants a little more fun one could add an arpeggiator… and so on…

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