Ryoichi Kurokawa - Sirens (visuals) + Novi Sad (audio) - (extracts, 2012))

Novi_Sad anounces: "I am very happy to announce that RYOICHI KUROKAWA has completed his visual work on ‘Sirens’. There is a ‘no-high quality’ A/V sample available to be watched here. ‘Sirens’ will be later published as a BLU RAY disk + cd edition and this project will be performed in the context of live perfomances, too."

‘Sirens’ is a project which explores the aesthetics of information on sound. Initially based on multiple ways of analysis in various types of recordings, this project has been developed and produced by applying numerical and quantitative data from major stockmarket crashes in history on tracks commissioned from other sound artists and musicians.
Through ‘Sirens’, I tried to make audible the flow of data by drawing the boundaries and possibilities in working with numerical elements, since the potential is relentless. These sequences of numbers revealed a huge variety of structures and the decision on what and how I should use was extremely tough. My ultimate goal is to perceive the multi–substance of data that conquers the world of stock markets by applying it on sound. Data and information provide an indelible element which sits comfortably alongside words and it enables us to apply them on certain types of music which circulate among texts on-line and off.
At first, 5 musicians and sound artists were asked to create a piece of approximately 10 minutes length. After that, I started working with analysis on other recorded sounds. I didConvolution, FFT, Spectragram and Sonogram analysis on rare recordings in order to dig out some data from them and transform it to the given tracks. This was an effort to ‘adjust’ them in an equivalent sonic level, always considering the analysis results from the other recordings. I don’t see this as Sonification, but as an effort to work on sound by being guided from elements which pre-exist on these recordings. The whole procedure, enforces the idea of an artificial but yet realistic transformation. The decision of ‘what’ and ‘how’ I should use was hard, since the combinations are too many. I chose this kind of transformation which sounded better to my ears and helped me to work further to evolve and develop the ‘re-synthesis’ of the musical tracks. Few audio elements have been used and transmitted from each recording to each piece.

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