"I live on the Danish island of Bornholm, which is in the western end of the Baltic Sea. People here share a long, rich history with the Baltic countries, so choosing a field-recording from Tallinn felt natural. The dastardly Russian war feels really close here at the moment, and many of us here are more conscious about our cultural heritage and friendship across the sea now than we used to be. "This is, however, not a work about war, but more about celebrating the fact that we're still able to take a silly walk through the old historical part of Tallinn, not being at war, walking through a town that isn't in ruins - and simply exploring and enjoying what that's like. "As you can probably hear, all sounds heard throughout the piece are from the original field-recording. I've used samplers and various sampling effects (like delays and reverbs), and a ton of manual edits (literally thousands of manual edits made over a two week period). The tonal sounds were made with "frozen reverbs". All this editing mainly serves to enhance the original recording, which is kept mostly intact (the enhanced version follows the original recording closely - and therefore also ahas the same duration). "The effect is a sort of personal interpretation of micro-events along the way, as I responded to them while slowly working my way through the piece. "The idea of doing it this way was partly inspired by reading Wittgenstein's "Philosphische Untersuchungen". At one point the philosopher asks about thought-images: "How does one point twice at the same image?" (PU 382), - and, in a way, this way of working with field recordings is a possible answer to this - presenting the same image twice in two different versions at the same time." Tallinn old town walkthrough reimagined by Samatha Dubs (Karsten Høegh).

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