Generative music for the space of "InSitu2 – Ibasho" at Espace Louis Vuitton Tokyo (24 October – 27 November 2026). The four speakers in the room are treated as four players of piano and organ; each listens to the others' phrases and responds by tracing them, shifting their pitch or turning them upside down, and now and then all fall silent. The players' ways of playing come from a large set of generative algorithms built by analysing, with AI, the MIDI data of piano improvisations Itsuki Doi has been recording daily, combined with basic music theory. Rather than one strong algorithm, a swarm of many weak ones (sometimes fighting over the rules) makes up the whole. The music is generated in real time and keeps changing with the time, the date and the weather throughout the exhibition.

Music: Itsuki Doi
Space design: GROUP
Weather data by Open-Meteo.com

Website >>>

Music for the fashion label grounds' SS27 presentation "An invitation", shown on 1 October 2026 in Paris.

Designer / Director: Mikio Sakabe
Stylist: Ai Kamoshita
Hair: Hide Saiga (TONI&GUY)
Make up: Ikuko Shindo (SHISEIDO)
Casting: Tanguy Gavignet
Production: Devi Sok
PR: Karla Otto, PR01. TOKYO, heyday company, No Such Agency
Sound: Itsuki Doi
Photo: Luca Tombolini, Elif Gündüz
Video: udocorg

Website >>>

Harsh Listening 2
Artists: Kazumichi Komatsu, Itsuki Doi, Tomohito Wakui, PLG
Venue: LEESAYA, Tokyo
Date: 2026/7/11 - 8/2

また明日 | Same time tomorrow (2026)
Vacuum-tube radio (broken), microcomputer, amplifier, aluminium rod, microphone
A radio plays the sounds that filled the gallery at the same time one day earlier. A microphone at the tip of the antenna-like rod keeps recording the room — including the sound of the work itself — and plays it back 24 hours later, so within yesterday's sound the day before yesterday faintly remains. The exhibition begins in silence; what is recorded on the last day is never heard.

Utopia II (b-stock) (2026)
Wood, jesmonite, model grass, model figures, microcomputer, LCD display, speaker, video and audio data
A miniature remake of the installation presented at the music event "極地からの音" at Spiral, Omotesando (2025). Using OpenAI's now-discontinued video AI Sora 2, archival-style footage of people playing music in the American Civil War era was generated; its audio, extracted, loops deep inside the tube. Peering in, rave-like light leaks faintly from beyond the bend of the passage.

ブランコ | Swings (2026)
Wood, jesmonite, speakers, microcomputer
In stereo recording, once two microphones move beyond a certain distance apart, the sound stops being one sound field and becomes two unrelated monos. From two speakers facing each other on a board plays an everyday conversation between the artist and his daughter, each wearing a wireless microphone while swinging — school stories, talk of height, the rainy season ending. As the swings drift apart the two voices separate into independent fields; as they approach they merge into one.

Photo by Yuki Maniwa, Courtesy of LEESAYA

LEESAYA >>>

三野新×山本卓卓＜あなたは必ず幸せになる＞＜わたしは幸せになった＞
Venue: "Nukemichi" exhibition, Arts Maebashi
Date: 2026/7/4 - 8/30
Mixed media (object theater)

An object-theater work: Suguru Yamamoto's plays "You will surely be happy" and "I became happy," directed by Arata Mino. Sound design by Itsuki Doi.

作: 山本卓卓
演出: 三野新
出演: キヨスヨネスク, 田上碧, 武谷公雄, 李そじん
サウンドデザイン: 土井樹
演出助手: 河合野乃
グラフィックデザイン: おおつきしゅうと
テクニカル・ディレクター: Houxo Que
照明: 富山貴之
マネジメントサポート: 金森千紘 (infans.)
協力: 株式会社キングジム, 有楽町アートアーバニズムYAU, 7ild3, 合同会社範宙遊泳
Photo: Arata Mino

アーツ前橋 >>>

あたらしい天気 / Another Weather
Venue: Civic Creative Base Tokyo [CCBT] (3-35-12 Sendagi, Bunkyo-ku, Tokyo)
Date: 2026/2/20 - 2026/3/1
Solo exhibition

A solo exhibition held as the final phase of the Weather project, which focuses on the microclimates that constantly surround us yet rarely enter our awareness. Starting from microclimate data collected in real time at the venue, the exhibition created a place for thinking about weather that might have been named and measured otherwise — weather that could have been.

Project Direction / Artist: 土井樹
Co-production: 土井一舞 / Alternative Machine
Technical Direction: 村川龍司 (arsaffix Inc.) / 浪川洪作 (7ild3)
Technical: イトウユウヤ (arsaffix Inc.) / 駒木崇宏 / 石毛健太 / 佃優河 / 上田蟬 (CCBT) / 伊藤隆之 (CCBT)
Art Direction: 涌井智仁 (WHITEHOUSE)
Project Management: 金森千紘 (infans.) / 見目はる香 (oar press)
Graphic Design: 加瀬透
Image Production Support: 宇呂映作
Photography: 新津保建秀
Videography: 薛大勇
Operation: 株式会社TASKO
Special Cooperation: 三田豊 (東邦レオ株式会社)
Supported by: Swiss National Science Foundation (Grant No. 10002211)
Cooperation: 株式会社ルミネ / ことの次第 (GROUP) / 渡辺志桜里

Official website >>>
CCBT event page >>>

Garden for Yumeshima
Yumeshima, Osaka (2025)

Creating an Inaccessible Garden on Yumeshima during the Expo.

Development of Yumeshima, the site of the 2025 Osaka Expo, began in 1977 with the construction of a landfill. After the bubble economy ended and development ceased, the reclaimed land became home to plants and birds, including endangered species, creating a unique ecosystem. Now, Yumeshima is cleared for use by the Expo and IR. Based on this history, we will create a garden that reconstructs the ecosystem that was created on Yumeshima, which will be inaccessible to humans during the Expo.

There are 13 restrooms in this garden. Each toilet room has a separate entrance and exit. Users enter the restroom entrance, use the restroom, and pass through the exit to see a panoramic view of the garden, which is a reconstructed ecosystem that once existed. This toilet with entrance and exit, along with the design of the approach to the garden, is also a proposal for a gender-free toilet space that protects the privacy of those who have used the toilet before.

As for the finish, it will be finished with galvanized safety steel sheet, which is also used for temporary construction fencing. The dull, shiny silver finish of the galvanized steel reflects the surrounding Expo site on the exterior and the garden on the interior, each evoking a landscape that might have existed.

In addition, the courtyard ecosystem uses technology to archive the nature of Yumeshima. Soundscapes for non-humans and robotized Yumeshima plants inhabit the ecosystem without human intervention.

By creating a place within the Expo site that will be occupied by non-humans, "Garden for Yumeshima" will be a place where visitors can reconsider the ecosystem that has been lost, still exists, and will be created in Yumeshima.

Design: GROUP
Landscape design: GROUP + Alternative Machine
Sound: Itsuki Doi (Alternative Machine)
Construction: Ochi Corporation
Structure: Steel construction
Total floor area: 80.95 m²
Photographer: Kei Murata

A web artwork that continuously simulates cloths blown by winds in conflict zones. Real-time weather data (Open-Meteo) and armed-conflict data (ACLED / UCDP) drive the motion of each cloth, giving physical presence to abstract statistics.

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Runway music for the fashion label grounds' 25-26 A/W collection "uncanny valley", presented at Paris Fashion Week 2025.

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Music for the film of grounds' 25 PRE-FALL collection "skyline".

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A sound work by evala and Itsuki Doi using the ca. 600 disaster-prevention speakers installed across the Expo 2025 Osaka, Kansai site. Built on this emergency broadcast infrastructure, the piece sounds only at times determined by sunrise and sunset (the pre-modern temporal system 不定時法), changing its expression with the weather and the listener's location — a sound work that also serves as the Expo's time signal.

Website >>>

Harsh Listening
Venue: LEESAYA (Tokyo)
Date: 2025/5/24 - 6/7
Artists: Itsuki Doi, Kazumichi Komatsu, Tomohito Wakui

An exhibition questioning the suppression of hearing by seeing, examining the possibilities proper to listening against ocular-centrism. Doi presented The sounds I couldn't hear and Portable Palace.

The sounds I couldn't hear (2025)

Portable Palace (2025)

Photo by Yuan Shuohan, Courtesy of LEESAYA

LEESAYA >>>

Hyperself / はいぱーせるふ
Venue: 21_21 DESIGN SIGHT「ゴミうんち展 (pooploop)」
Date: 2024/9/27 - 2025/2/16
Artist: Alternative Machine

A machine running three large-scale simulations of "relationships" in real time. Within each simulation (a Petri net, a reaction-diffusion system, and Tape and Machine), "selves" and "poop-loop waste" are defined at various forms and scales, continuously building relationships in which one being's waste becomes part of another's body. The three simulations run on separate computers, but the heat exhausted by the densely packed machines (waste, again) affects each other's computation speed — the physical hardware itself becomes part of the web of relations.

ディレクション: 升森敦士 (Alternative Machine)
アートディレクション: 土井樹 (Alternative Machine)
ALifeシミュレーション設計開発: 池上高志, 升森敦士, 丸山典宏 (Alternative Machine)
テクニカルサポート: johnsmith (Alternative Machine)

Alternative Machine >>>

plantbot
Venue: Ginza Sky Walk 2024, Tokyo Expressway (KK Line)
Date: 2024/5

plantbot is a hybrid artificial life form combining a plant, soil, multiple large language models and a mobile robot. By joining a natural system of plants and soil bacteria with an artificial mobile robot, and making it conversational through LLMs, the project prototypes a "mobile plant" that acts spontaneously on the basis of plant, soil and environmental data and dialogue with people.

Partner: GROUP, Toho Leo Co.

Alternative Machine >>>

A polyphonic LFO device for Ableton Live (Max for Live) driven by a real-time fluid simulation — ripples propagating on a virtual water surface modulate parameters.

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Music for the dance performance まだここ通ってない by Un Yamada × Takashi Ikegami at Kanagawa Arts Theatre (KAAT).

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港 / Manicured Cactuses
Venue: Art Squiggle Yokohama 2024, Yamashita Pier, Yokohama

Design: GROUP
Musician: Itsuki Doi
Plants: Koshiji Garden (Yosuke Nishio)
Researcher: Chikei Hara
Design and Construction Collaboration: Kenta Kashiwazaki・Aoi Kawamura・Maria Shaw・Yuta Yoshida・Colette Leong・Sayak Bhattacharya・Sofiya Babirenko
Photographer: Shinichi Ichikawa

島をつくる | Planning Another Island
Venue: MYNAVI ART SQUARE, Ginza
Date: 2024/5/23 - 7/6

Sound design for GROUP's exhibition "Planning Another Island" at MYNAVI ART SQUARE, Ginza.

Artist: GROUP
Team: Yuri Nakai, Yuma Shinozaki
Collaboration with: Li Jingwen (D-O-U Narimasu)
Sound: Itsuki Doi
Installation: Chie Orisaka, Houxo Que, Iwao Arawatari, Kaito Kojo, Kantaro Tanaka, Keito Shimizu, Nichiho Oyama, Taichi Moriyama
Production Assistance: Kazuya Iwakami, Sakura Endo, Kenta Kashiwazaki, Keisuke Kamo, O Kawakami, Aoi Kawamura, Yuka Saito, Yuta Sakai, Yukiko Sato, Juri Sunaga, Hikaru Takamatsu, Shinya Tanami, Takuro Tamayama, Riona Togashi, Hazuki Minowa, Ryo Yokono, Simon Andri Fischer, Lujza Hostačná, Ines Ostojic, William Frey
Photography: Naoki Takehisa

MYNAVI ART SQUARE >>>

Mastering for Cristel Bere's release L.M.L.

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Research article analyzing spontaneous and information-induced bursts of activity in honeybee hives, based on long-term hive recordings (Scientific Reports 13).

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GOHON

Ima Doi (born in 2018)

Drawings created on B7 size memo pads from spring to autumn 2023.
Drawn at her tiny desk after dinner and bath time, with iPad background sounds.

Titles (20 works):
1. Refrigerator
2. Mom
3. Mama refrigerator
4. Papa refrigerator
5-6. (Untitled)
7. Lamp
8. Mom and Baby
9-12. Papa
13-14. (Untitled)
15. Tree
16. (Untitled)
17. Brother Refrigerator
18. Baby Refrigerator
19. Niji-Neko
20. Me

Credits:
Drawing: Ima Doi
Book design: Itsuki Doi
Design adviser: Shun Ishizuka
Special thanks: Tomohito Wakui, Ikuko Tashiro

Instagram: @imaopus

Enabling Relations
Venue: 「わたしのからだは心になる？展 (Will my body turn into mind?)」SusHi Tech Square, Tokyo
Date: 2023/8 -

Living bodies are always entangled with other species. Enabling Relations is a project in which humans intervene, as an interface, in the soil-mediated network of plants, microbes and the city, attempting to restore and extend the connections of Tokyo's fragmented soils. The exhibition explores upgrading the ecosystem — the web of relations itself — through an experiment connecting weed soil with sterilized soil, a "soil map" made of earth collected from parks across Tokyo's 23 wards, and a device that copies the bioelectric potential of plants and the wind from distant places.

Special thanks: Arina Tsukada

Alternative Machine >>>

Wild Wordless World
Venue: 森下スタジオ (ワークインプログレス世界初公開, 2023/6よりオンライン配信)

A new project by choreographer/dancer Un Yamada and artificial-life researcher Takashi Ikegami + Alternative Machine Inc., searching for life in a world without words. Dancers share the stage with artificial-life technologies — a swarm of drones, dialogue with GPT, VR space, and the small robot "Johnbot" — thinking about "wildness" in the connections between the virtual and the real. Music by Itsuki Doi.

構成・演出・出演: 山田うん, 池上高志
コンセプト: 池上高志
振付: 山田うん
出演・共同振付: 川合ロン, 西山友貴, 山崎眞結, 黒田勇, 田中朝子, 仁田晶凱, 望月寛斗, 須﨑汐理, 角田莉沙
VRシステム開発: 升森敦士 (Alternative Machine)
ドローンシステム開発: 丸山典宏 (Alternative Machine)
対話システム開発: 丸山典宏, 小島大樹 (Alternative Machine)
小型ロボット開発: johnsmith (Alternative Machine)
音楽: 土井樹 (Alternative Machine)
舞台監督: 齋藤亮介 / 映像: 涌井智仁 / 音響: 江澤千香子
照明: 森規幸, 永友智美 / 衣装: 飯嶋久美子, 西口正晃
プロデュース: 今岡雅依子, 土本真紀
協力: 公益財団法人セゾン文化財団
助成: 公益財団法人東京都歴史文化財団, アーツカウンシル東京

Alternative Machine >>>

What you can see is what you can't see
Venue: Artists' Fair Kyoto 2023, The Shosei-en Garden (渉成園), Kyoto
Date: 2023/3

"Dairisseki" refers to a house constructed for travelers seeking shelter from the rain. On a quiet rainy day, there's a certain tranquility in gazing out at the garden from within the house. The landscape you see when you wear the Head Mounted Display (HMD) represents the view from the house through two eyes. The direction the eyes look mirrors where your own gaze falls. We invite you to observe a garden from 400 years ago through the lens of a machine's eye. Within it, you should find a reflection of yourself. As you start experiencing the artwork, the sound of rain intensifies, eventually transitioning into the sound of the sea.

Direction: Takashi Ikegami
VR System Development: Atsushi Masumori
Hardware Development: Norihiro Maruyama
Sound System Development: Itsuki Doi

Alternative Machine >>>

MONAURALS / モノラルズ
Venue: WHITEHOUSE (Hyakunin-cho, Shinjuku-ku, Tokyo)
Date: 2023/4/28 - 6/4
Curator: Tomohito Wakui / Co-curators: Itsuki Doi, Hifumi Nakayama

Participating artists: Masamitsu Araki, Makoto Oshiro, Shun Owada, Kazumichi Komatsu, Aoi Tagami, Itsuki Doi, Kyoko Yasuhara (a.k.a. 青椒肉絲), Tomohito Wakui

An exhibition of works made on the principle of the single sound source — "monaural" — questioning auditory perception after stereo, and rethinking the relation between complex acoustic space and audio technology.

WHITEHOUSE >>>

Tuning for Sanctuaries
Venue: Sony Park Mini (Ginza, Tokyo)
Date: 2023/5/2 - 5/30
GROUP + Alternative Machine

Time Capsule (A study in understanding other people's affairs as other people's affairs)
EASTEAST_TOKYO 2023 (Talion Gallery), Science Museum, Tokyo
Duration: 60 minutes loop

The sound of the artist's own room, recorded with an ambisonic microphone (a microphone that captures the sound of a space in 360°, used in VR production), plays continuously inside a small anechoic chamber measuring 30 cm on each side. Eight speakers are installed at the chamber's vertices (8ch cube format), and the recording, converted with software used for multichannel sound installations, keeps sounding inside.

If you could enter the chamber, you would experience a perfect acoustic copy of the artist's room. But the chamber is far too small, so the viewer can never hear the sound directly — instead, they contemplate from outside the fact that the artist's room has been (acoustically) copied into this small box.

In other words, this is a device by which the most private environment of all — another person's room — can be owned, though never directly experienced.

Materials: sound-absorbing material, sound insulation, wood, paper, speakers, amplifier, audio interface, Raspberry Pi, LED, container box, sound (the artist's room recorded with an ambisonic microphone, converted to 8ch cube format)

Mastering of Yusaku Arai's original soundtrack for the film 重力の光.

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Mastering for butasaku's forms Remixes & Covers.

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The Process in Question / The Bridge of Reversible Destiny — 2022 VR version
Exhibition: Aichi Triennale 2022
Venue: Aichi Arts Center, Nagoya
Date: 2022/7

"The Process in Question / The Bridge of Reversible Destiny" was conceived by Shusaku Arakawa and Madeline Gins as a bridge over the river flowing through Épinal, France, but was never built. The work is the foundation of their core concept "Reversible Destiny", carried on in later works such as Yoro Reversible Destiny Park (1995) and Mitaka Reversible Destiny Lofts (2005).

The bridge is a chain of 21 devices, each named like "Bodily Inference of Light" or "Process of Communal Gaze", all designed to compel specific physical actions. This VR work was built from a 13-meter model, production notes of the time, and other Reversible Destiny works. Of the 140-meter bridge that would have been realised, 50 meters are reconstructed in virtual space so that the complexly structured bridge can be crossed.

Direction: Takashi Ikegami, Atsushi Masumori
VR System Development: Atsushi Masumori, Itsuki Doi
Produced by: KIRINZI inc., μ. inc.
Research Assistance: ARAKAWA+GINS Tokyo Office, Reversible Destiny Foundation
Acknowledgement: The original bridge ©2016 Estate of Madeline Gins

Alternative Machine project page >>>

Interview in ノーツ第一号「庭」 (notes edition).

Website >>>

Website >>>

SNOWCRASH

An NFT work — and its storage medium — in which digital data keeps decaying because it is stored on an unstable memory device.

What an NFT guarantees is not the uniqueness of the work itself, but of the fact of owning it: the record of ownership on the blockchain is immutable, while the work's data can vanish without consequence for the chain. On its surface, this piece takes the form of an NFT titled "The Chord" — a five-tone chord slowly decaying over 60 seconds — sold at auction on OpenSea.

The data, however, is not stored on an HDD or SSD. It is held as sound waves inside the space of WHITEHOUSE itself, using acoustic delay-line memory — a storage technology actually used in early computers of the 1950s. The gallery is the storage device, and because the data exists as sound, it is extremely fragile: the moment a visitor makes any noise, the NFT's data is corrupted. Five pipes lean against the wall on the first floor, each holding 6 bits of data as sound (3 bits for pitch, 3 for decay time) — together they store the organ-like chord heard in the space.

The auction closed at the end of the exhibition; the delay-line memory was then dismantled, and the data itself ceased to exist. The owner of this NFT owns only the record of having owned it. Behind the work lies a view of memory drawn from the brain: our memories are not stored in a "hard place" like a disk, but as spatiotemporal patterns on populations of spontaneously firing neurons — generated each time, not played back.

LIFE

Ethereum上で、自己複製するスマートコントラクト。

The most important property of life is maintaining itself within a changing environment. LIFE attempts to implement artificial life on the blockchain: a smart contract on Ethereum is treated as an individual (agent) that sustains itself through interactions with the existing ecosystem — humans.

The agent does not act on human instructions; it lives to leave descendants. To act it needs ether, which it earns by issuing NFTs tied to itself and receiving a share whenever they are traded. When enough ether accumulates, the agent self-replicates. Each replication introduces mutations, so children differ from their parents in appearance and behavior; agents whose NFTs sell well leave more offspring — selection, and therefore evolution, emerges.

Once released, the system is beyond our control: as long as the symbiosis with humans continues and its NFTs keep selling, it will not stop. The aim is an artificial life form that lives for itself in a symbiotic relationship with humans — providing value and receiving payment — rather than an artificial system as a tool. It is also an open-ended evolution experiment, a first step toward ecosystems and economies of artificial life.

WHITEHOUSE >>>

Revision of Shadows / 陰影のリビジョン
Venue: TALION GALLERY
Participating Artists: Itsuki Doi / Naoki Miyasaka / Sayuri Miyashita
Date: 2021/7/10 - 2021/8/7

An exhibition in which three artists revise, each from their own standpoint, the perception and aesthetics of light and shadow.

Statement

More and more people watch YouTube at double or triple speed to absorb "information" efficiently — and I have caught myself doing the same. Some of my students, I hear, skip the live Zoom classes and understand the material later from recordings played at double speed.

This spring I revisited Isshiki beach in Zushi for the first time in years — a familiar shore I used to record often for its peculiar soundscape. Sitting on the beach as always, recorder running, watching the sea, I was left with a feeling I had never had before: I could not quite remember how I used to look at the sea. Perhaps, watching everything at double speed, I had forgotten how to see it.

Some phenomena change in quality when their speed is changed; others do not. Which carries more information per unit time — the sea played back at triple speed, or the sea at normal speed?

海の見方を忘れた / I forgot how to see the sea (2021)

Left: Diff, Center: x1, Right: x2

Video, 10.1 inch monitors
Footage of the sea shot at Isshiki beach, Zushi, was uploaded to YouTube. The work consists of a capture of it played at normal speed (x1), a capture played at double speed using YouTube's playback function (x2), and a video subtracting the normal-speed image from the double-speed image, frame-skipped (Diff).

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海の影 / The projection of the sea (2021)

Inkjet print on paper
The footage from "I forgot how to see the sea" projected into two dimensions using UMAP (Uniform Manifold Approximation and Projection, 2018). Each point corresponds to one frame of the video (what looks like a line is connected points); color indicates the passage of time (blue = start, yellow = end).

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Device (2021)

DC motors, laboratory stands, seawater, acrylic cases, mirrored paper

Left: 70 rpm, Right: 140 rpm
Seawater collected from the sea where the footage was shot is stirred into waves by a motor turning at 70 rpm and another at exactly twice that speed — an attempt to reproduce the double-speed sea of the video in matter.

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二倍速の無音 (6メートル) / Double Speed Silence (6 meters) (2021)

Magnetic tape, QR code, plastic case, tape recorder
Just before the exhibition opened, the silence of the exhibition space was recorded on tape; that (silent) recording is played back at double speed throughout the exhibition, on a tape recorder with its built-in speaker at maximum volume. The "6 meters" of the title is the length of the tape.

AI software design for Immunotherapy by Nozomu Matsumoto & Nile Koetting at Talion Gallery.

Website >>>

Peeling Blue
CD-R album, cat no. 131.005 (2017)

Music composed for the 16S/S exhibition of the Japanese fashion label "Jens." All sounds were recorded in Japan between 2015 and 2016, played on analog synthesizers, guitars, and an untuned upright piano inherited from the artist's grandmother, then edited into three long-form tracks (total length 26:08). Released as a limited edition of 20 CD-Rs, and now also available on streaming services including Spotify and Apple Music.

all sounds & mix: Itsuki Doi
mastering: Makoto Oshiro
artwork: Shun Ishizuka + Itsuki Doi
special thanks: Jens

Bandcamp >>>
Streaming (Spotify / Apple Music) >>>

Music production for Yuna Yagi's exhibition NOWHERE at POLA MUSEUM ANNEX, Tokyo.

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Robot-system design for Scary Beauty, Keiichiro Shibuya's android opera in which the android Alter conducts a human orchestra.

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The android Alter presented at Ars Electronica 2018 in Linz; system design. S+T+ARTS Prize 2018 nomination.

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Music for NOUE EXHIBITION 1 "LAYER" at Fluss, Tokyo.

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Digital release by Cotofu.

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シンフォニーLDK
Venue: 京都市立芸術大学ギャラリー@KCUA (KCUA OPEN CALL EXHIBITION / 2017年度 学内申請展)
Date: 2017/7/8 - 7/23
作家: アーカイブスペイ, 荒木優光, 石塚俊, 小松千倫

An exhibition by artists working with sound and visual information, unfolding multiple works simultaneously in the same space and time. Doi took part as system engineer, and performed a streaming live set from a remote location (Itsuki Doi + Shun Ishizuka) at the opening event.

Installation views: Tatsuki Katayama

@KCUA >>>

Music production for S by SHINKARON.

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Data-analysis engineering for border, a performance by Rhizomatiks Research × ELEVENPLAY at Spiral, Tokyo.

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私が聞くことの出来なかった音 / The Sound I Couldn't Hear

我々は睡眠中に音を意識的に聞くことは出来ません．しかし，耳には瞼に相当する器官が無いため，鼓膜，或いは無意識の部分は睡眠中も常に音に晒されています．本作品は，「私は聞くことが出来なかったが，私の耳は聞いていた音」を私自身が聞くために開始した進行形のArchive projectです．

枕元に置かれた1本の無指向性のマイクと，CDの128倍の解像度を持つDSDレコーディングを用い，私が布団に入る約10分前から録音を開始し，起床とともに録音を停止します．記録はその日の内にネット上にupされます．購入することも可能ですが，購入せずとも全時間の記録を聞くことが出来ます．

We cannot consciously hear sound while we sleep. Yet the ear has nothing that corresponds to an eyelid, so the eardrum, or the unconscious part of us, remains exposed to sound throughout sleep. This work is an ongoing archive project that I began in order to hear for myself "the sound I could not hear, but my ears were hearing."

With a single omnidirectional microphone placed beside my pillow and DSD recording at 128 times the sampling rate of a CD, I start recording about ten minutes before I go to bed and stop when I wake up. Each recording is uploaded online the same day. The recordings can be purchased, but every hour of them can also be listened to without purchase.

Equipment: KORG MR-2000S / Mackie 1202-VLZ Pro / Neumann U87
Start from: Sep 28, 2014
Format: Data
Edition: ∞

CD album released as Cotofu.

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Venue sound design for TYP Exhibition. 01 at SUNDAY ISSUE, Shibuya.

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First CD album released as Cotofu. One of his principal music works.

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