Copenhagen Sakura Festival 2026: In the upper left, a sculpture of the goddess Victoria atop the Ivar Huitfeldt Column, his portrait barely visible above the canopy of cherry blossoms surrounding the base of the memorial. Below that sea of pink blossoms, a red parasol, and next to it a table – ready for the tea ceremony on the afternoon’s programme.

Over the course of the last decade, I’ve spent many hours piecing together modules in Audulus, a (free) modular audio environment for Mac and iOS. Those patches have been strewn across many threads in the Audulus Forum and Discord and I recently had the impulse to collect them all on my own […]

The graphic score project is an initiative of Mansoor Hosseini, with whom I worked on a Poetisk Podcast production to texts by Shadi Bazeghi a few years ago.
poetiskpodcast.dk/produktioner/flowmatic/mansoor-hosseini-interview

There’s a Nordic Composers’ Exhibition of graphic scores this afternoon at Steel House Copenhagen, rounded off with a concert by KIMI Ensemble this evening.

edition-s.dk/news/graphic-scores-exhibition-and-concert

Afternoon sun on an old brick factory building with large glass windows (each subdivided into smaller panes, 12 × 10 of them). Above, a blue sky with cotton-wool clouds. In the foreground, snow, in shadow, and the bottom end of a playground slide leading into the picture. In front of the building, in the sun, a lamppost, and bicycles, parked.

Another view from between the old factory buildings, now repurposed as modern office spaces. Thick snow on the ground, with a curving path carved though it. Outdoor benches tables still covered in snow. In the distance, against the brown of the bricks, a clear blue sky with white cotton-wool clouds.

A driveway between two buildings. A patch of blue sky – the afternoon sun is out, streaming onto the building on the left, and the tree across the road, whose tangled branches cast shadows onto the building behind it. A lone figure traverses the footpath in front of that building. Behind them the repeated vertical lines of a metal fence. In the foreground, on our side of the road, ice and snow on the asphalt.

An Indian street food trailer, painted purple with large yellow letters announcing CHAII CHASKA above it, parked on a snow-covered square. On the misted windows, above a little ledge on which one can place one’s purchases, various papers, printed and hand-written, spelling out the various menu options. Bottom left in the middle window, a neon sign tracing the letters “We are OPEN” – with “We are” in white and “OPEN” in bright purple. A red and silver trimming rounding off the bottom edge of the trailer.