Marcin Barski:
You studied composition but not vocal. How did it happen that the voice became your main source of sounds that you work with?
Denis Kolokol:
To be completely honest, I always hated my voice, espessially when it's amplified. On the other hand I wanted my performances to be more sensual, but didn't want to make it simple way - I was looking for something existential, something deep, risky. So, I thought, well, I've got my voice, it's mine, it's ugly, and it's something I will never get rid of - then why not to try making something interesting out of it?
Funny enough, when my vocal excersizes actually started, I quickly noticed that the voice, I hated, was not mine - there was something completely different inside me, that never came out before.
So, I just decided not to comfort myself anymore. Comforting is also a limitation, but it's doubtful if this works. I believe it's very important to open up towards something that is not on the list of your preferences - through numerous errors, challenges and misleading cues, doubts and thoughts "maybe I have to stop trying". But if you finally go through all this, then you gain totally unexpectable results, something you would never expect from yourself.
Marcin Barski:
This cd is a documentation of a process of you becoming a composer. And this moment of statement is about... how clear can you be with what you want to say?
Denis Kolokol:
Some time ago I got interested in the chaos theory, especially after reading a remarkable article of a mathematician and meteorologist Edward Lorenz "Does the flap of a butterfly's wings in Brazil set off a tornado in Texas?" The basic idea of the theory of chaos is that any complex dynamic system shows extreme sensitivity to initial conditions. That means that the behavior of the same system in two cases with insubstantial difference in the initial conditions, is always unpredictably different.
4 Lorenz attractors working simultaneously. Here is clearly visible, how different systems can behave, alhought they consist of the same numbers, but initial conditions differs in the scale of 0.001 in each case. This is a part of the scores used to build density of events in 4 simultaneous sound streams.
So, I'm trying to organize music the way, which would underline this fact. For that I use so called 'chaotic maps', which is one of the most elegant branches in contemporary mathematics. There are several algorhythms known as attractors: for example, those of Henon and Lorenz. What they produce is streams of numbers, in which you can find small models of natural phenomena like growth of an organism, tornados, cyclons - they literally "look like" those appearances. Once calculated, those numbers can be mapped to parameters of sound: pitch, duration, density, attacks and decays, spectral characteristics, etc. With this I seek to build a small audio model of much broader system.
An example of Henon distribution in 2-D system of coordinates, where Y is a signal rate of sound granulas, and X is time
We live in undoubtedly complex dynamic world, and everything that is happening around us is a huge mess - all the chaotic connections between things and events demonstrate that sensitivity, insignificant occurencies can cause global changes. All things are interconnected, there are no things of smaller or bigger importance. On a global scale all things are important as well as any particular thing is unimportant.
an excerpt from the interview with Denis Kolokol
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Cover painting: Boguslaw Bachorczyk, On The Roof, 2010, mixed media
Mastering: Jos Smolders at EarLabs.
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