Ryoji Ikeda, ‘datamatics [ver.2.0]‘, 2010, audiovisual installation, FIAF, New York.
Ryoji Ikeda (1966), japanese electronic composer and visual artist who lives and works in Paris. He focuses on the essential characteristics of sound itself, often using frequencies at the edges of the range of human hearing. Since 1995, Ikeda has been intensely active through concerts, installations, and recordings, integrating sound, acoustics and sublime imagery. In the artist’s works, music, time and space are shaped by mathematical methods as Ikeda explores sound and vision as sensation, pulling apart their physical properties to reveal their complex relationships with human perception.
He makes use of wide tall or long (depending on the installation) screens on which his visuals are projected.
Ikeda employs real–time programme computations and data scanning to create an extended new sequence that is a further abstraction of the original work. The technical dynamics of the piece, such as its extremely fast frame rates and variable bit depths, continue to challenge and explore the thresholds of our perceptions.
He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.Using pure data as a source for sound and visuals.
Projecting dynamic, computer-generated imagery – in pared down black and white with striking colour accents, Ikeda’s intense yet minimal graphic renderings of data progress through multiple dimensions. From 2D sequences of patterns derived from hard drive errors and studies of software code, the imagery transforms into dramatic, rotating views of the universe in 3D, whilst the final scenes add a further dimension as four-dimensional mathematical processing opens up spectacular and seemingly infinite vistas. A powerful and hypnotic soundtrack reflects the imagery through a meticulous layering of sonic components to produce immense and apparently boundless acoustic spaces. datamatics,
Datamatics series which tests the limits of perception by visualizing the invisible data streams which permeate our world.
Ikeda explores sound and vision as sensation pulling apart their physical properties to reveal their complex relationships with human perception. Ikeda’s works both examine and apply mathematical and scientific theory, and test the extreme potentials of digital technology, to reveal the microscopic matter – and data – that permeates our universe, whilst challenging our own thresholds of perception
His imagery—beyond sharing the music’s icy perfection—seems bent on provoking questions: where do these streams of data originate? Do they visualize some other aspect of what we’re seeing (or hearing), or perhaps something external to the work? Is it part of the work’s metadata, or only intended to appear that way?