| Year ↕︎ | Type ↕︎ | Title |
|---|---|---|
| 2026 | Sound | InSitu2 – Ibasho▼
Espace Louis Vuitton Tokyo · Espace Louis Vuitton Tokyo, GROUP · Music
 |
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
| ||
| 2026 | Sound | grounds SS27 Presentation "An invitation"▼
Paris Fashion Week SS27 · grounds · Music
 |
Music for the fashion label grounds' SS27 presentation "An invitation", shown on 1 October 2026 in Paris. Designer / Director: Mikio Sakabe | ||
| 2026 | Exhibition (group) | Harsh Listening 2▼
LEESAYA · Kazumichi Komatsu, Tomohito Wakui, PLG · Artist
 |
Harsh Listening 2  また明日 | Same time tomorrow (2026)  Utopia II (b-stock) (2026)  ブランコ | Swings (2026) Photo by Yuki Maniwa, Courtesy of LEESAYA | ||
| 2026 | Sound | 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＞▼
「ぬけみち展」アーツ前橋 · Arata Mino × Suguru Yamamoto · Sound Design
 |
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＞ 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 | ||
| 2026 | Exhibition (solo) | あたらしい天気 / Another Weather▼
Civic Creative Base Tokyo [CCBT], Sendagi, Tokyo · Artist
 |
あたらしい天気 / Another Weather 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 | ||
| 2025 | Sound | Garden for Yumeshima▼
Yumeshima, Osaka · GROUP + Alternative Machine · Sound
 |
Garden for Yumeshima 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 | ||
| 2025 | Artwork | Distant Winds▼
Web · Artist
 |
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.
| ||
| 2025 | Sound | grounds 25-26A/W COLLECTION uncanny valley▼
Paris Fashion Week 2025 · grounds · Music
 |
Runway music for the fashion label grounds' 25-26 A/W collection "uncanny valley", presented at Paris Fashion Week 2025. | ||
| 2025 | Sound | grounds 25 PRE-FALL COLLECTION skyline▼
streaming · grounds · Music
 |
Music for the film of grounds' 25 PRE-FALL collection "skyline". | ||
| 2025 | Programming | Time Tone▼
Expo 2025 Osaka, Kansai, Japan · evala · Programming
 |
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. | ||
| 2025 | Sound | The Tree of Life Evolution▼ Expo 2025 Osaka, Kansai, Japan · PASONA · Sound Design |
Sound design for "The Tree of Life Evolution" presented at Expo 2025 Osaka, Kansai (PASONA). | ||
| 2025 | Exhibition (group) | Harsh Listening▼
LEESAYA · Kazumichi Komatsu, Tomohito Wakui · Artist
 |
Harsh Listening 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 | ||
| 2024 | Research | Plasticity in Swarming Behavior: Introducing Social Network to Boids Model▼ Proceedings of the ALIFE 2024, pp. 105 · Atsushi Masumori, Itsuki Doi, Takashi Ikegami |
Conference paper introducing social-network structure into the Boids model, showing how flocking behavior gains plasticity (ALIFE 2024). | ||
| 2024 | Artwork | Hyperself▼
「ゴミうんち展」, 21_21 DESIGN SIGHT · Alternative Machine · Direction
 |
Hyperself / はいぱーせるふ 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) | ||
| 2024 | Artwork | plantbot▼
Ginza Sky Walk 2024 · Alternative Machine · Direction
 |
plantbot 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. | ||
| 2024 | Sound | SHIBUYA FASHION WEEK 2024 SPRING▼ Shibuya Sta. · SHIBUYA FASHION WEEK · Music Production |
Music production for the runway show of SHIBUYA FASHION WEEK 2024 SPRING held at Shibuya Station. | ||
| 2024 | Sound | 天使王国▼ Bandcamp · セーラーかんな子 · Mastering |
Mastering for 天使王国, a 3-track EP by セーラーかんな子 in collaboration with 天使王国 (CALL / MIMINASHI / 共情). Composition and lyrics by セーラーかんな子, jacket art by ア子 (天使王国). Released on Bandcamp, 2024. | ||
| 2024 | Sound | GROUP website▼ group · Sound Design |
Sound design for the website of the architecture collective GROUP. | ||
| 2024 | Software | Hamon: Fluid Simulation Polyphonic LFO for Ableton Live▼
Developer
 |
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. | ||
| 2024 | Sound | KAAT×山田うん×池上高志『まだここ通ってない』▼
KAAT, jpn · KAAT×山田うん×池上高志 · Music
 |
Music for the dance performance まだここ通ってない by Un Yamada × Takashi Ikegami at Kanagawa Arts Theatre (KAAT). | ||
| 2024 | Sound | 港 / Manicured Cactuses▼
Art Squiggle Yokohama 2024, 横浜山下ふ頭 · group · Sound Device
 |
港 / Manicured Cactuses 
 Design: GROUP | ||
| 2024 | Sound | 「島をつくる | Planning Another Island」▼
MYNAVI ART SQUARE · group · Sound Design
 |
島をつくる | Planning Another Island Sound design for GROUP's exhibition "Planning Another Island" at MYNAVI ART SQUARE, Ginza. Artist: GROUP | ||
| 2023 | Sound | L.M.L▼
Streaming · Cristel Bere · Mastering
 |
Mastering for Cristel Bere's release L.M.L. | ||
| 2023 | Research | Analysis of a latent space structure in generative neural net trained by sound data▼ AROB-ISBC-SWARM 2023 · Itsuki Doi, Hiroki Kojima, Takashi Ikegami |
Conference paper analyzing the latent-space structure of a generative neural network trained on sound data (AROB-ISBC-SWARM 2023). | ||
| 2023 | Research | Spontaneous and information-induced bursting activities in honeybee hives▼
Scientific Reports 13 (1), 11015 · Itsuki Doi, Weibing Deng, Takashi Ikegami
 |
Research article analyzing spontaneous and information-induced bursts of activity in honeybee hives, based on long-term hive recordings (Scientific Reports 13). | ||
| 2023 | Book | GOHON▼
「Z/I/N/E」WHITEHOUSE · Ima Doi · Artist
 |
 GOHON Ima Doi (born in 2018) Drawings created on B7 size memo pads from spring to autumn 2023. Titles (20 works):
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| 2023 | Artwork | Enabling Relations▼
「わたしのからだは心になる？展」, SusHi Tech Square · Alternative Machine · Direction
 |
Enabling Relations 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 | ||
| 2023 | Sound | Wild Wordless World▼
森下Cスタジオ · Un Yamada x Takashi Ikegami · Music
 |
Wild Wordless World 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 | ||
| 2023 | Artwork | What you can see is what you can't see▼
Artists' Fair Kyoto 2023, 涉成園 · 池上高志+Alternative Machine · Sound System Design
 |
What you can see is what you can't see "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 | ||
| 2023 | Programming | Mind Time MachineⅡ▼ 東京大学先端科学技術研究センター · 池上高志＋evala＋新津保建秀 · AI Sound System Design |
Mind Time Machine II In MTM II, viewers wearing a head-mounted display walk back and forth along an outdoor corridor about 50 meters long, experiencing "the time of the mind" inside virtual reality. The work was built by Alternative Machine, reconstructing sound sources provided by sound artist evala (MTMDF, Hacking Tone) and photographic material provided by photographer Kenshu Shintsubo. The experience begins by walking the real corridor with the HMD on. Inside the work, one realizes the VR corridor is a super-position of the actual corridor and a generated one. The sounds are generated by feeding the many images appearing in VR into neural networks (VQ-GAN, WaveGAN) trained solely on evala's and Shintsubo's data. The images and sounds of memory that the mind produces are generated, not played back — and so the subjective time of the mind is generated too. MTM II is designed to be updated in stages as research and technology develop. ディレクション: 池上高志 | ||
| 2023 | Exhibition (group) | MONAURALS▼
WHITEHOUSE, Tokyo · Artist, Curator
 |
MONAURALS / モノラルズ 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. 
 | ||
| 2023 | Exhibition (group) | Tuning for Sanctuaries▼
Sony Park Mini, Tokyo · Alternative Machine · Direction, Software Design
 |
Tuning for Sanctuaries 
 | ||
| 2023 | Exhibition (group) | EASTEAST 2023▼
Science Museum, Tokyo · Talion Gallery · Artist
 |
Time Capsule (A study in understanding other people's affairs as other people's affairs) 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) | ||
| 2022 | Research | Analysis of Latent Space and Temporal Structure in Music Transformer▼ International Symposium on Chronogenesis: How the Mind Generates Time · Itsuki Doi, Takashi Ikegami |
Analysis of latent space and temporal structure in Music Transformer, presented at the International Symposium on Chronogenesis. | ||
| 2022 | Sound | 『重力の光』オリジナルサウンドトラック▼
Yusaku Arai · Mastering
 |
Mastering of Yusaku Arai's original soundtrack for the film 重力の光. | ||
| 2022 | Sound | Shell of Time ~時間の抜け殻~群れと拡張される記憶と身体▼ 那覇文化芸術劇場なはーと · Un Yamada x Takashi Ikegami · Sound System Design, Music |
Sound-system design and music for Shell of Time, a dance performance by Un Yamada × Takashi Ikegami at Naha Cultural Arts Theater NAHArt. | ||
| 2022 | Sound | forms Remixes & Covers▼
Streaming · butasaku · Mastering
 |
Mastering for butasaku's forms Remixes & Covers. | ||
| 2022 | Sound | Emboss Star Remixes▼ Streaming · Kazumichi Komatsu · Mastering/Music |
Remix and mastering for Kazumichi Komatsu's Emboss Star Remixes. | ||
| 2022 | Exhibition (solo) | 海の見方を忘れた (I forgot how to see the sea)▼ JINNAN HOUSE, Tokyo · Artist |
Solo exhibition of sound works at JINNAN HOUSE, Tokyo. | ||
| 2022 | Artwork | The Process in Question/The Bridge of Reversible Destiny―2022 VR version▼
Aichi Triennale 2022, Aichi Arts Center, Nagoya · Alternative Machine · VR System Development
 |
The Process in Question / The Bridge of Reversible Destiny — 2022 VR version "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 | ||
| 2022 | Artwork | The View from Nowhere▼ NTT ICC, tokyo · Alternative Machine · Direction, Sound System Design, Music Production |
Work presented in "The View from Nowhere" at NTT InterCommunication Center [ICC], Tokyo; direction, sound-system design and music production as Alternative Machine. | ||
| 2021 | Book | ノーツ第一号「庭」▼
notes edition · notes · Interviewee
 |
Interview in ノーツ第一号「庭」 (notes edition). | ||
| 2021 | Sound | Music for Kommu Marina Lisa Komiya✴︎Yuu Yamamoto · Music |
| 2021 | Artwork | ANH-01
「生態系へのジャックイン展」, 見浜園 · Alternative Machine · Direction, Software Design
 |
| 2021 | Exhibition | ALTERNATIVE MACHINE▼
WHITEHOUSE, Tokyo · Alternative Machine · Direction, Concept Design
 |
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. | ||
| 2021 | Exhibition (group) | Revision of Shadows▼
Talion Gallery, Tokyo · Artist
 |
Revision of Shadows / 陰影のリビジョン An exhibition in which three artists revise, each from their own standpoint, the perception and aesthetics of light and shadow.
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? (Itsuki Doi) 
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 - 
 海の影 / The projection of the sea (2021) Inkjet print on paper -  Device (2021) DC motors, laboratory stands, seawater, acrylic cases, mirrored paper Left: 70 rpm, Right: 140 rpm -  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 | ||
| 2020 | Research | Evolving acoustic niche differentiation and soundscape complexity based on intraspecific sound communication▼ Artificial Life Conference Proceedings 32, 465-472 · Atsushi Masumori, Itsuki Doi, John Smith, Ryuta Aoki, Takashi Ikegami |
Simulation study in which agents evolve acoustic niche differentiation through intraspecific sound communication, generating soundscape complexity (ALIFE 2020). | ||
| 2020 | Research | Selection and accelerated divergence in hashtag evolution on a social network service▼ Artificial Life Conference Proceedings 32, 535-540 · Hiroki Sato, Itsuki Doi, Yasuhiro Hashimoto, Mizuki Oka, Takashi Ikegami |
Analysis of hashtag evolution on a social network service as selection and accelerated divergence (ALIFE 2020). | ||
| 2020 | Sound | 傀儡神楽 ALTER the android KAGURA (ver. 2)▼ Shibuya Stream Hall (MUTEK TOKYO), Tokyo · Music |
Music for 傀儡神楽 ALTER the android KAGURA ver. 2 — the android Alter performs kagura, at MUTEK TOKYO, Shibuya Stream Hall. | ||
| 2020 | Sound | 傀儡神楽 ALTER the android KAGURA▼ Shibuya QWS (Dommune), Tokyo · Music |
Music for 傀儡神楽 ALTER the android KAGURA — the android Alter performs kagura, streamed from Shibuya QWS (Dommune) for ALIFE 2020. | ||
| 2020 | Exhibition (group) | Probable Cause▼
HAPS, Kyoto · Artist
 |
 Probable Cause Venue: HAPS (Kyoto, jpn) Participating Artists: Kenta Ishige, Itsuki Doi, Yuki Nakaya, Miri Hamada, Junnosuke Hara, Haruka Matsumoto & Ψυχή Website: https://probablecause.space/ 不慮の事故によって犬になった猫 (A cat transformed into a dog by an accident), Itsuki Doi, 2020 All photos: Kai Maetani | ||
| 2020 | Exhibition (group) | Bee Wee▼
Talion Gallery, Tokyo · Kazumichi Komatsu · Artist
 |
 Bee Wee Venue: TALION GALLERY Participating Artists: Itsuki Doi / Kazumichi Komatsu Observer, 2020 Patterned unadaptability, 2020 We, 2020 | ||
| 2019 | Research | Detecting Information Cascading as Bursting Behavior in Honeybee Hives▼ SWARM 2019: The 3rd International Symposium on Swarm Behavior and Bio-Inspired Robotics · Itsuki Doi, Takashi Ikegami |
Study detecting information cascades as bursting behavior in honeybee hives (SWARM 2019). | ||
| 2019 | Artwork | ANH-00 1.MUTEK Japan, 2.BOOSTER STUDIO(渋谷PARCO) · Alternative Machine · Direction, Software Design |
| 2019 | Artwork | Alter▼ 森美術館「六本木クロッシング2019展：つないでみる」 · Kohei Ogawa + Takashi Ikegami + Hiroshi Ishiguro x Justine Emard · System Design |
The android Alter presented in Roppongi Crossing 2019 at Mori Art Museum, with Justine Emard; system design. | ||
| 2019 | Programming | Immunotherapy▼
Talion Gallery, Tokyo · Nozomu Matsumoto & Nile Koetting · AI Software Design
 |
AI software design for Immunotherapy by Nozomu Matsumoto & Nile Koetting at Talion Gallery.
| ||
| 2018 | Research | Endogenous and exogenous bursts in a honey bee hive▼ Artificial Life Conference Proceedings, 493-499 · Itsuki Doi, Takashi Ikegami |
Research on endogenous and exogenous bursts of activity in a honeybee hive (ALIFE 2018). | ||
| 2018 | Sound | Peeling Blue▼
CD, Streaming · Cotofu · Artist, Music Production
 |
Peeling Blue 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 | ||
| 2018 | Sound | NOWHERE▼
POLA MUSEUM ANNEX, Tokyo · Yuna Yagi · Music Production
 |
Music production for Yuna Yagi's exhibition NOWHERE at POLA MUSEUM ANNEX, Tokyo. | ||
| 2018 | Programming | Scary Beauty▼
Miraikan Tokyo · Keiichiro Shibuya · Robot System Design
 |
Robot-system design for Scary Beauty, Keiichiro Shibuya's android opera in which the android Alter conducts a human orchestra. | ||
| 2018 | Artwork | Alter▼
Ars Electronica 2018, Lintz, Austria · System Design
 |
The android Alter presented at Ars Electronica 2018 in Linz; system design. S+T+ARTS Prize 2018 nomination. | ||
| 2017 | Research | A new design principle for an autonomous robot▼ Artificial Life Conference Proceedings, 490-466 · Itsuki Doi, Takashi Ikegami, Atsushi Masumori, Hiroki Kojima, Kohei Ogawa, Hiroshi Ishiguro |
Conference paper proposing a new design principle for autonomous robots, developed around the android Alter (ALIFE 2017). | ||
| 2017 | Sound | NOUE EXHIBITION 1 「 LAYER 」▼
Fluss, Tokyo · NOUE · Music
 |
Music for NOUE EXHIBITION 1 "LAYER" at Fluss, Tokyo. | ||
| 2017 | Sound | Golden Week▼
digital · Cotofu · Artist, Music Production
 |
Digital release by Cotofu. | ||
| 2017 | Exhibition (group) | Blues▼
place by method, Tokyo · Artist
 |
 Blues (2017) Venue: parace by Method Participating Artists: Nami Hirao / Itsuki Doi / Jens A song by Robert Johnson recorded on magnetic tape. The two ends of the tape are spliced into a loop, so the song keeps repeating — and with every pass the tape drags across stones and the floor, wearing away its magnetic surface. As the tape runs, the pulleys rattle (independently of the song), and an aluminium reflector amplifies their noise. Even after the magnetic layer has completely worn off and the song has fallen silent, the sound of the pulleys keeps going. Above the machine, a plastic model of a seagull is mounted as if flying over it. | ||
| 2017 | Programming | symphony ldk▼
KCUA, Kyoto · Kazumichi Komatsu + Shun Ishizuka · System Engineer
 |
シンフォニーLDK 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 | ||
| 2016 | Sound | S▼
digital · SHINKARON · Music Production
 |
Music production for S by SHINKARON. | ||
| 2016 | Artwork | 機械人間Alter▼ 日本科学未来館 · 土井樹＋小川浩平＋池上高志＋石黒浩 · System Engineer |
The android Alter, developed with Kohei Ogawa, Takashi Ikegami and Hiroshi Ishiguro, first shown at Miraikan; system engineering. | ||
| 2016 | Sound | Preview 16-17AW▼ Omotesando Garou, Tokyo · Jens · Music Production |
Music production for Jens' 16-17 A/W collection presentation at Omotesando Garou. | ||
| 2016 | Performance | また明日も観てくれるかな?▼ 歌舞伎町振興組合ビル · Chim↑Pom · Live Performance |
Live performance during Chim↑Pom's exhibition また明日も観てくれるかな? in the Kabukicho Promotion Association building. | ||
| 2016 | Sound | Bird Song Diamond2▼ Tsukuba Large Space, Tsukuba · Tsukuba Univ. · Sound System Design |
Sound-system design for Bird Song Diamond 2 (Victoria Vesna + Takashi Ikegami Lab) in the Tsukuba Large Space. | ||
| 2015 | Sound | Preview 15-16AW▼ Nakameguro HAPPA, Tokyo · Jens · Music Production |
Music production for Jens' 15-16 A/W collection presentation at Nakameguro HAPPA. | ||
| 2015 | Sound | 絶・絶命展～ファッションとの遭遇▼ PARCO MUSEUM, shibuya, Tokyo · Takashi Ikegami Lab · Music, Sound System |
Music and sound system for the fashion exhibition 絶・絶命展〜ファッションとの遭遇 at PARCO MUSEUM, Shibuya (with Ikegami Lab). | ||
| 2015 | Sound | Preview 16SS▼ Shibuya (PLACE) by method, Tokyo · Jens · Music Production |
Music production for Jens' 16 S/S collection presentation. | ||
| 2015 | Sound | SHINKARON COMPILATION Vol.2▼ digital · SHINKARON · Music Production |
Music production for SHINKARON COMPILATION Vol.2. | ||
| 2015 | Programming | border▼
Omotesando Spiral, Tokyo · RhizomatiksResearch × ELEVENPLAY · Data Analysis Engineer
 |
Data-analysis engineering for border, a performance by Rhizomatiks Research × ELEVENPLAY at Spiral, Tokyo. | ||
| 2015 | Programming | Dividual Plays ― 身体の無意識とシステムとの対話▼ YCAM, yamaguchi · YCAM Inter Lab · Data Analysis Engineer |
Data-analysis engineering for YCAM InterLab's performance project Dividual Plays, exploring dialogues between the bodily unconscious and systems. | ||
| 2014 | Research | Evolution of artificial soundscape in a natural environment▼ Exploiting synergies between biology and artificial life technologies: tools, possibilities, and examples at ALIFE · Norihiro Maruyama, Itsuki Doi, Atsushi Masumori, Mizuki Oka, Takashi Ikegami, Victoria Vesna, Charles Taylor |
Workshop paper on the evolution of an artificial soundscape installed in a natural environment (ALIFE 2014). | ||
| 2014 | Artwork | The Sound I couldn't Hear▼
Streaming · Artist
 |
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 | ||
| 2014 | Programming | Bird Song Diamond▼ University of California, Los Angeles, USA · Takashi Ikegami and Victoria Vensa · Sound System Engineer |
Birdsong Diamond  Sounds heard while staying in the forest for a while. Bird songs. They seem to be talking with other birds. Insects are chirping. The sound of predation. Voices of unknown creatures. Crawling sounds. When wind blows through the trees, they sway, infinite leaves rustle against each other, and these sounds form clusters that move through the forest. The sound of fallen leaves breaking. The sound of flowing rivers. Distant city sounds. Unorganized. Without hierarchy. Details:
Materials:
Credits:
About the Work: This work is a sound installation that creates an "invisible forest" through acoustics by installing an autonomous sensor network that captures environmental information and 40 super-directional speakers in an actual forest, based on the hypothesis that the presence we feel in nature arises from the autonomous and excessive resonance of sounds. Within the venue, 8 sensor units consisting of distance and light sensors are scattered and connected wirelessly. External information received by the sensors is incorporated into the system, causing "chemical reactions of data" through an artificial chemical reaction model, and sounds are selected and played through directional speakers according to the reaction state. The 40 speakers are directed toward leaves and the ground surface, and the directional sounds emitted hit countless leaves and reflect complexly, transforming the leaves themselves into acoustic generation devices. The sound sources include field sounds such as city noise, rain sounds, and bird voices, electronic sounds processed from these sounds, and real-time recordings of the venue's ambient sound. Visitors walking through the forest venue encounter and experience an artificial soundscape composed of rain sounds and white noise that moves in complex ways, suddenly emerging from the real soundscape. | ||
| 2012 | Sound | When the whale turns her back to the sea▼
CD · Cotofu · Artist, Music Production
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CD album released as Cotofu. | ||
| 2012 | Sound | TYP Exhibition. 01▼
SUNDAY ISSUE, shibuya, Tokyo · Venue Sound Design
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Venue sound design for TYP Exhibition. 01 at SUNDAY ISSUE, Shibuya. | ||
| 2010 | Sound | Uonotayu▼
CD · Cotofu · Artist, Music Production
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First CD album released as Cotofu. One of his principal music works. | ||
| 2010 | Sound | ambient of TIME▼ CD · Whereabouts Records · Music Production |
Track contribution to the compilation ambient of TIME (Whereabouts Records). | ||
