Immersion into the Datascape: Ryoji Ikeda's Data Composition in Screen-Centric Audiovisual Installation and Its Embodied Experience.
This essay examines an immersive audiovisual installation created by Paris-based Japanese composer and visual artist Ryoji Ikeda, who conjures micro/macro datascapes and their embodied experience, opening a new realm at the intersection of art and data, or data art. Ikeda interfaces his sound compos...
| Publicado en: | Afterimage Vol. 51; no. 4; pp. 65 - 88 |
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| Formato: | Artículo |
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University of California Press
Dec2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=182058076&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 182058076 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 03007472 ATF jtl: Afterimage issn: 03007472 maglogo: N pubinfo: dt: Dec2024 vid: 51 iid: 4 pid: 414 pub: University of California Press artinfo: ui: 182058076 10.1525/aft.2024.51.4.65 ppf: 65 ppct: 23 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.3MB tig: atl: Immersion into the Datascape: Ryoji Ikeda's Data Composition in Screen-Centric Audiovisual Installation and Its Embodied Experience. aug: au: Lee, Joo Yun su: Artists Composition (Art) Art Data visualization Exhibitions sug: subj: Artists Composition (Art) Art Data visualization Exhibitions keyword: data art data composition datascape embodied experience microtemporality Ryoji Ikeda screen-centric installation sonicity ab: This essay examines an immersive audiovisual installation created by Paris-based Japanese composer and visual artist Ryoji Ikeda, who conjures micro/macro datascapes and their embodied experience, opening a new realm at the intersection of art and data, or data art. Ikeda interfaces his sound compositions with light, visuals, numerical data, and data visualization, bringing audible/inaudible and visible/invisible data into viewers' fields of perception. Focusing on his exhibition the transfinite at the Park Avenue Armory in New York City in 2011, I examine Ikeda's approach to temporal articulation in forging the viewer's spatiotemporal immersion into the datascapes in his signature large-scale screen-centric installation work. Ikeda's data composition—which evolved from his music composition—articulates a multi-substance of data from the infinitesimal to the infinite according to sonic media's micro-temporality, formulating a new sensibility of our world enmeshed in unfathomable data at the threshold of the viewer's perception. Given that Ikeda's body of art is integral to his music, I trace the expansion of the arc of his work from music to visual art, discussing his composition of glitch microsound and his early sound-light installation spectra II (2002). Finally, I highlight that Ikeda's screen-centric installations, stemming from his audiovisual performances and his association with the Japanese experimental collective Dumb Type's intermedia production, have shaped a new kind of installation art with a distinct temporal dimension, immersing viewers into the constantly instantiated presence of datascapes rather than into the images on the screen as the direct representation of reality. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Afterimage is the property of University of California Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Afterimage holder: University of California Press dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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