{"id":226,"date":"2021-06-17T11:16:02","date_gmt":"2021-06-17T11:16:02","guid":{"rendered":"http:\/\/crozzoli.com\/?page_id=226"},"modified":"2022-12-01T13:56:45","modified_gmt":"2022-12-01T13:56:45","slug":"226-2","status":"publish","type":"page","link":"http:\/\/crozzoli.com\/?page_id=226","title":{"rendered":"Sounding Numbers"},"content":{"rendered":"\n
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Sounding Numbers<\/strong> is my SCI-Music Electronic-Acoustic Chamber Ensemble<\/strong>. <\/p>\n\n\n\n

The music I composed for this group is inspired by climate emergencies<\/strong> and sounds like the spirits of nature raising in communion. Like the sound of the ocean and the forest <\/em>conforming textural nets and spiking spelling chants. The audience enters a space of reflection, where wild emotions emerge in a soulful journey.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n\n\n\n

After my big orchestral project ‘The Strangement Society’ I got curious about the creation of scientific sonifications. I wondered if I could use my own aesthetic universe to design how the sonifications should sound and how different data mappings interacted with sound parameters such as frequency modulation, and panning, among others.<\/p>\n\n\n\n

During 2020 and 2022, I conducted Sounding Numbers, a practice-based art research project at the Rhythmic Music Conservatory in Copenhagen, which was part of my Advanced Postgraduate Degree. The scientific topics that I chose to be inspired by and use data from were deforestation<\/strong> and ocean contamination<\/strong> -I believe that we should talk more about and create different ways to communicate climate change<\/strong>.<\/p>\n\n\n\n

Learning a creative way to sound design programming and data mining was extremely interesting. To navigate and reflect on the abstract perception that my mind creates when talking about climate change, and craft the sound I imagined with the vast possibilities that technology offers. I got so interested in the potential of machine learning, that I decided to continue my studies and learning process in coding.<\/em><\/p>\n\n\n\n

In this project, I worked with open-source scientific data platforms, and scientific theories to compose and craft my music materialities. I also run into a plot twist with my last piece ‘I Am The Ocean’. For this composition instead of working with scientific theories, I was inspired by philosophist Timothy Morton’s book ‘Hyperobjects’. It was highly inspiring to work with philosophy ecologies, as it connected with a more abstract layer in my imagination. I also think that it worked well because my work has been deeply informed and structured by scientific theories for many years. <\/p>\n\n\n\n

This research project had two artistic outcomes: my electronic-acoustic compositions and participatory sound installations. In this section, you will hear the sweet and harsh results of my perception of our dystopian present. A perception that shows the dark beauty of the end of the world<\/strong>, while offering awareness and hope for community action!<\/strong><\/p>\n\n\n\n\n\n

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