Ryoji Ikeda datamatics[ver.1.0b]
THURSDAY AUGUST 10TH
2 sessions at 7:00pm sharp and 10:30pm
RECOMBINANT MEDIA LABS
Reservations are strongly suggested.
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Ryoji Ikeda - datamatics [ver.1.0b]
Produced by formawww.forma.org.uk
Commissioned by AV Festival and ZeroOne San Jose and ISEA 2006. Supported by Arts Council England, Yamaguchi Center for Arts and Media (YCAM) and Recombinant Media Labs.
Using pure data as a source for sound and visuals, datamatics combines abstract and mimetic presentations of matter, time and space in a powerful and breathtakingly accomplished work.
datamatics is the second audiovisual concert in Ryoji Ikeda’s datamatics series‚ an art project that explores the potential to perceive the invisible multi–substance of data that permeates our world. For datamatics [ver.1.0b], Ikeda presents a special surround-sound version of his datamatics concert.
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‚ alongside the recently released and critically acclaimed dataplex album(raster-noton)‚ marks a significant and exciting progression in Ikeda’s work.
Japan's leading electronic composer/artist, Ryoji Ikeda, focuses on the minutiae of ultrasonics, frequencies and the essential characteristics of sound itself. 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 as sensation, pulling apart its physical properties to reveal its relationship with human perception.
Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. Using computer and digital technologies to the utmost limit, his audiovisual concerts datamatics (2006 – present), C4I (2004 – present) and formula (2000 – 2006) suggest a unique orientation for our future multimedia environment and culture. His acclaimed installations data.spectra (2005), spectra [for terminal 5, jfk] (2004), spectra II (2002) and db (2002) continue to diffuse Ikeda’s aesthetic of ‘ultra minimalism’ to the art world. Ikeda’s latest body of work, datamatics, is a long-term programme of moving image, sculptural, sound and new media works that use data as their theme and material to explore the ways in which abstracted views of reality – data – are used to encode, understand and control the world.
He has been hailed by critics as one of the most radical and innovative contemporary composers for his live performances, sound installations and album releases. His albums +/- (Touch, 1996), 0°C (Touch, 1998) and matrix (Touch, 2000) pioneered a new minimal world of electronic music, employing sine waves, electronic "glitch" sounds, and white noise. Ikeda released his critically acclaimed, seventh solo album entitled dataplex (raster-noton), as part of the datamatics series, in 2005.
The versatile range of Ikeda's research is demonstrated by his collaborations with Carsten Nicolai on the project cyclo. and with choreographer William Forsythe/Frankfurt Ballett, artist Hiroshi Sugimoto, architect Toyo Ito and artist collective Dumb Type, among others.
Ikeda has exhibited and performed at many of the world's leading festivals and venues, including the Australian Centre for the Moving Image, 2005 (Melbourne); Centre Pompidou 2004 and 2001, Musée d'Art Moderne de la Ville 1999, and La Villette 2002 (all Paris); Sónar 1999 and 2006 (Barcelona); Architectural Association 2002, Barbican 2006, Hayward Gallery 2000, Millennium Dome 2000, Queen Elizabeth Hall 2000, Tate Modern Turbine Hall 2006 (all London); Auditorium Parco della Musica 2003 (Rome); ICC 1999 and 2005, Tokyo International Forum 2006 (Tokyo); Göteborg Biennial 2003 (Göteborg). In 2001, Ikeda was awarded the Ars Electronica Golden Nica prize in the digital music category and he was short-listed for a World Technology Award in 2003.www.ryojiikeda.com