Showcase
Sound Atlas #1: Sounds from the Pole
Overview
ーObserve the sound of Antarctic glaciers collapsing here in Tokyo Wind, smells, and sounds are part of the commons, invisible yet irrefutably present, and (by necessity) shared by all. The moment they are emitted, they spread out in any direction, spilling across boundaries. We try to control them, but even now, sounds imperceptible to the human ear may be blaring. At music events, the qualities of these sounds are often set aside, and the space partitioned and closed off. However, this event returns to the original essence of sound, opening up the space and venue to open up sound itself. The endeavor engages with a wide range of approaches and collaborators, including talks, performances, DJ sets, and live music. To spur the imagination and expand the horizons of sound, things happening faraway affect you today. To commemorate its relocation and reopening, CCBT is holding its first-ever music event. Since opening in 2022, sound has always been at the core of CCBT’s creative activities, which reference and utilize ideas and approaches from art and technology. However, there were numerous challenges related to the facilities and conditions that prevented CCBT from engaging fully in sound-related experimentation and production. While some of these challenges remain unresolved, CCBT has turned those disadvantages into a strength on the occasion of its reopening to launch Sound Atlas, a project that defies conventional frameworks and reinterprets the essence of sound itself. The first iteration, Sound Atlas #1: Sounds from the Pole, is co-curated with musician Komatsu Kazumichi. The project is inspired by infrasound, which is sound at a frequency below the range of human hearing. Long the subject of basic research in the field of geophysics, infrasound is generated by large-scale physical phenomena, and so is thought to serve as a valuable tool for monitoring the planet’s environmental changes and provide information for future disaster prevention. For example, glacier collapse in Antarctica causes massive air pressure changes, generating measurable infrasound waves. Because infrasound travels long distances through the atmosphere, the sound of a volcanic eruption in Tonga, for instance, can be detected eight thousand kilometers away in Japan. This means that inaudible sounds from the polar regions are even now thunderously reverberating in the environment, across cities and borders. Imagine invisible sounds from far away, inaudible sounds beyond your perception. Starting with that act of imagination, this event explores the true nature of acoustic resonance, leakage, and transmission through interdisciplinary collaboration and overlap, including live performances, installations, and talks, and so opening up whole new possibilities for sound. Experience it at CCBT.
Co-curation
Komatsu Kazumichi (Composer, Visual artist, DJ)
Performing and Participating Artists
Araki Masamitsu (Artist, Musician, Sound Designer), GRAYCODE, jiiiiin (Artist), Doi Itsuki (Musician, complex systems researcher, Senior Researcher, Alternative Machine Inc.), Nishikawa Yasuhiro (Specially Appointed Lecturer, Osaka Kyoiku University), Niwa Ryusuke (Prius Missile) (Musician, Artist), Phew (Musician), etc.
Outline
Sound Atlas #1: Sounds from the Pole Date & Time: Saturday, December 13, 2025, 4:00 p.m.–22:00 p.m. (Open 3:30 p.m.) Venue: Spiral Hall (Spiral 3F, 5-6-23 Minamiaoyama, Minato-ku, Tokyo) Tickets: ¥1500 (Reservation required, available on a first come, first served basis) Reservation method: Apply through the Peatix form Reservation Period: Thursday, November 13, 2025, 14:00~ ※ Full lineup, program details, timetable, and other information will be announced at a later date.
Important Notes
・In principle, we do not accept cancellations or refunds of after tickets have been purchased. ・This event will be held until 10:00 p.m. Visitors 16 and under must be accompanied by a parent or guardian after 9 p.m. Visitors 18 and under must have parental consent before applying. ・If you require special assistance, please indicate so on the application form. ・Photography and video recording will take place during the performances, and audience members may appear in the footage. The recorded content will be used for documentation and promotional activities by the organizers. It may also be featured on official online platforms, social media, and external media such as newspapers, TV, and magazines.
Access
Spiral Hall (Spiral 3F, 5-6-23 Minamiaoyama, Minato-ku, Tokyo)
Omote-sando Station (Tokyo Metro Ginza, Hanzomon and Chiyoda lines) B1 Exit, 1 minutes’ walk from B3 Exit.
Credits
Co-curation: Komatsu Kazumichi Performing Scenography: Araki Masamitsu Technical Direction: Murakawa Ryuji (arsaffix) Stage Manager: Ota Kazushi Sound technician: Nancy Light technician: Takada Masayoshi (Ryu Co., Ltd.) Production: Hayashi Keiichi, Hara Izumi (CCBT), Shunpei Inada (CCBT), Iwanaka Kanako Technical staff: Ito Takayuki (CCBT), Sen van der Heide (CCBT) Planning & Development: Shimada Mei (CCBT)
Sound Atlas
This original CCBT project re-examines the coordinates of sound. By capturing and reconfiguring the invisible world of sound in multiple dimensions, Sound Atlas aims to draw a whole new acoustic map. Along with expanding the possibilities of acoustic expression, the project connects a wide range of people through sound to explore the future of sound together.
Players
小松千倫
Komatsu Kazumichi
Composer, Visual artist, DJ
Born in 1992 in Kochi, Komatsu Kazumichi is a Kyoto-based artist whose prolific output includes releases under multiple names for various labels and publishers, such as angoisse, BUS editions, flau, Manila Institute, psalmus diuersae, and REST NOW! Treating vibrations and waves from sound and light as his primary materials, his practice and research explore the physical and psychological pathways of subtle information transmission found within society and individuals. Komatsu’s major exhibitions include Osaka Directory 7 supported by RICHARD MILLE: Komatsu Kazumichi (2024, Nakanoshima Museum of Art, Osaka).
荒木優光
Araki Masamitsu
アーティスト、音楽家、サウンドデザイナー
1981年山形県生まれ。音楽を活動の主体としながらもその周縁に立つことを起点として、聴くことの創造性をユーモラスに追求し、文脈や効用の再考を促す。パフォーマンス・シアターピースに、「Sound Around 004 げんし『空き地のTT』」（2024年、ロームシアター京都ノースホール）、「パブリックアドレス 音場」（2021年、Kunstenfestivaldesarts 2021、ブリュッセル）など。個展に、「そよ風のような、出会い」（2022年、gallery αM、東京）、「わたしとゾンビ」（2020年、京都市京セラ美術館ザ・トライアングル、京都）など。音楽グループNEW MANUKEメンバー。初のアルバム「SOUR VALLEY」がLeftbrainよりリリース。
GRAYCODE, jiiiiin
Artist
GRAYCODE, jiiiiin is a sound artist duo whose practice investigates vibration as the structural principle of existence and time as a perceptual material. Their works approach data as a condition for the emergence of the real and expand listening into an embodied and spatial event. Through compositions, installations, and performances, they reconstruct the sensorial layers of reality, translating invisible processes of sound and information into perceivable forms. By situating sound as both physical and conceptual medium, GRAYCODE, jiiiiin explore the interrelation between perception, materiality, and temporality across diverse environments.
土井樹
Doi Itsuki
Musician, complex systems researcher; Senior Researcher, Alternative Machine Inc.
Doi Itsuki pursues research on synchrony in social groups. His artistic practice explores means of understanding the unique experiences and feelings of others, including artificial systems, from their own standpoints. His major exhibitions include ALTERNATIVE MACHINE (2021, WHITEHOUSE, Tokyo), I Forgot How to Look at the Ocean (2022, JINNAN HOUSE, Tokyo), MONAURALS (2023, WHITEHOUSE, Tokyo), and Harsh Listening (2025, LESSAYA, Tokyo). His music releases include Peeling Blue (CD, 2017).
西川泰弘
Nishikawa Yasuhiro
Specially Appointed Lecturer, Environment and Safety Sciences Course, Osaka Kyoiku University
Nishikawa Yasuhiro is a planetary seismologist. After earning a master’s degree in earth and planetary sciences from the University of Tokyo, he completed a doctorate in earth, planetary, and environmental sciences at the University of Paris. He worked as an assistant professor at Kochi University of Technology before taking up his current position at Osaka Kyoiku University. Starting with natural waves emanating from earthquakes and sounds, he investigates the dynamics of the Earth and the universe. He is engaged in geoexplorations of infrasound (an inaudible ultra-low frequency sound) and seismic waves in extreme environments, including Mars, Antarctica, and the stratosphere. Nishikawa was part of NASA’s InSight program studying seismic activity on Mars as well as Japan’s 64th Antarctic Research Expedition. He has observed infrasound emitted by Mars, the re-entry of the Hayabusa2 and OSIRIS-REx asteroid probes, meteor shock waves, tsunamis, volcanic eruptions, glacial collapses, and other phenomena, using this to analyze the Earth’s inaudible sounds.
丹羽隆介（Prius Missile）
Niwa Ryusuke (Prius Missile)
Musician, Artist
Niwa Ryusuke’s practice occupies an interstitial realm between sociopolitically charged voices, sounds, and music. In addition to music releases, his output includes live performances in exhibition spaces using moving image and sculptural works. Niwa’s major releases are Russia China USA (2025), Kimigayo Overdose (2023), Akihabara Ginsberg (2021), and more. His major exhibitions include “We Are the World” (2025, CON_) and “Augmented Situation D: Dreaming of a Roaming City—Powered by PLATEAU” (2024, Hiroshima, Kanazawa, Osaka).
Phew
Musician
伝説のアート・パンク・バンド、アーント・サリーの創設メンバーであり、1979年解散後はソロとして活動を続ける。2010年代に入り、声と電子音楽を組み合わせた作品を次々に発売し、エレクトロニック・アーティストとしても世界的評価を高めた。2026年2月にはベルリン・ラヴパレードの創始者の一人であるDanielle de Picciottoとのコラボレーションアルバムがリリースされる予定。