data-cosm [n°1]

Paris. The year is 1969. Andreas Baader on the run from the law in Germany hides out in the apartment of the political intellectual Régis Debray who at the same time is serving what is supposed to be a long prison term in Bolivia.

An anthology film consisting of four segments based on literary works by Edogawa Ranpo.

Aoi is a young nursery school teacher whose fiancé leaves her. Her friend Michiko works in a call centre and has ‘lots of free time, but little freedom’. She no longer interacts with her husband, aside from the occasional sad blow job. Then there’s her attractive tennis teacher Masaki, with whom she’s having an affair that’s conducted when they’re pulled up in parking lots. And finally there’s his friend K., a self-proclaimed genius with authoritarian tendencies.

superposition is a project about the way we understand the reality of nature on an atomic scale and is inspired by the mathematical notions of quantum mechanics. Performers will appear in Ikeda’s work for the first time, performing as operator/conductor/observer/examiners. All the components on stage will be in a state of superposition; sound, visuals, physical phenomena, mathematical concepts, human behaviour and randomness – these will be constantly orchestrated and de-orchestrated simultaneously in a single performance piece.

formula, a constantly evolving work updated with each presentation, is a perfect synchronisation between sound frequencies and the movements on the screen. It places the viewer in a binary geometry of space and exploits the darkness to amplify one's perceptions. There is a complete integration of the various elements, composing music, images, lighting and orchestrating the relationships between them through a highly precise score.

This piece is both a concert and a film that uses data as its material and theme, highlighting the ways in which data shapes our understanding of the world. Video images of landscapes are progressively abstracted into a language of data.

Usually presented in exhibition, using 7 DLP projectors and two blank walls.

Using musical pitch as a medium, Ryoji Ikeda translates various kinds of data into an almost abstract code—a perfect sequence of “phrases” that create audiovisual compositions like those in code-verse. A universe of code and a code poem, the installation transforms mathematical code into an independent symphonic or polyphonic work. code-verse has no narrative: it communicates with the viewer’s senses. Immersed in white noise, viewers are invited to contemplate the poetry of mathematical relationships and variations in code in the same way one listens to music.

data-verse is a data-driven audio-visual trilogy by artist and composer Ryoji Ikeda which marks a two-decade culmination in the artist’s research. The trilogy addresses the layered dimensions of our world, from the microscopic, to the human, to the macroscopic. Through Ikeda’s process, massive scientific data sets have been transcribed, converted, transformed, de/re/meta-constructed and orchestrated to visualise and sonify the different dimensions that co-exist in our world between the visible and the invisible. Each variation immerses visitors in the vast data universe in which we live, capturing hidden facets of nature and the vast scientific knowledge underpinning our existence. This large-scale data-driven trilogy is generated by extremely precise computer programming and features a minimalist electronic soundtrack, harmonised with Hollywood-standard, high-definition, 4K DCI video projections of scientific data onto a large screen.

3 DLP projectors, computers, speakers

Looked from various view points, be it religious, philosophical, medical, cultural or emotional, on a stage flooded in flickering light, with an advanced technique of combining bodies, images, video, sounds and lighting, [OR] is a meditation on the "grey humour" overhanging the space between life and death.

data.tron [WUXGA version] is an audiovisual installation in which every single pixel of a visual image is strictly calculated by a mathematical principle. These images are projected onto an immense screen reflected with a minimal yet intense soundtrack that produces a powerful and hypnotic effect on the visitor. The installation is an alternative entry point into the complexity of data and challenges our assumptions on what kind of visual vocabulary belongs to the world of art versus tech.

data-verse is a data-driven audio-visual trilogy by artist and composer Ryoji Ikeda which marks a two-decade culmination in the artist’s research. The trilogy addresses the layered dimensions of our world, from the microscopic, to the human, to the macroscopic. Through Ikeda’s process, massive scientific data sets have been transcribed, converted, transformed, de/re/meta-constructed and orchestrated to visualise and sonify the different dimensions that co-exist in our world between the visible and the invisible. Each variation immerses visitors in the vast data universe in which we live, capturing hidden facets of nature and the vast scientific knowledge underpinning our existence. This large-scale data-driven trilogy is generated by extremely precise computer programming and features a minimalist electronic soundtrack, harmonised with Hollywood-standard, high-definition, 4K DCI video projections of scientific data onto a large screen.

Combining elements of multimedia, dance and fragmented narrative, memorandum explores the hazy dimensions of recall that ground and disquietly erode our experience minute-by-minute. The set is simple - almost an abstraction. A bare stage is bisected by an impenetrable but translucent wall, a screen onto which will be projected a barrage of images. Amidst a cascade of white noise and REM-speed visual flashes, the performers break down the motions into displaced gestures in silhouette. Penetrating deeper beneath the surface of moment, dancers drift in a slow sensual subconscious slidestep through the "forest of memory" haunted by voices and desires.

data-verse is a data-driven audio-visual trilogy by artist and composer Ryoji Ikeda which marks a two-decade culmination in the artist’s research. The trilogy addresses the layered dimensions of our world, from the microscopic, to the human, to the macroscopic. Through Ikeda’s process, massive scientific data sets have been transcribed, converted, transformed, de/re/meta-constructed and orchestrated to visualise and sonify the different dimensions that co-exist in our world between the visible and the invisible. Each variation immerses visitors in the vast data universe in which we live, capturing hidden facets of nature and the vast scientific knowledge underpinning our existence. This large-scale data-driven trilogy is generated by extremely precise computer programming and features a minimalist electronic soundtrack, harmonised with Hollywood-standard, high-definition, 4K DCI video projections of scientific data onto a large screen.

datamatics showed Ikeda at the height of his artistic powers, building on his own unmistakable artistic language. The Wire on Ryoji Ikeda, 2006 datamatics is the latest audiovisual concert in Ikedas datamatics series‚ an art project that explores the potential to perceive the invisible multisubstance of data that permeates our world. 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. 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.