[Microsound-announce] Upcoming @ RML: Ryoji Ikeda and Skoltz_Kolgen
Maria Gonima // Asphodel
maria at asphodel.com
Mon Jul 17 16:59:37 EDT 2006
Hi there,
We are very pleased to announce our upcoming events (and much more in
the works) at the Recombinant Media Labs in August. At the top of
this email are two mini descriptions of each event; below are more
detailed descriptions. Please feel free to get in touch if you have
any questions.
I hope to see you at the shows!
RML and Asphodel Records present the Forma production of RYOJI
IKEDA's datamatics [ver.1.0b]
August 10, 2006
Japan’s leading electronic composer/artist, Ryoji Ikeda, has
gained a reputation as one of few international artists working
convincingly across both visual and sonic media. He has been hailed
by critics as one of the most radical and innovative contemporary
composers, citing his live performances, sound installations and
album releases on the Touch and Raster Noton labels. Ikeda & RML
present a special multichannel version of his live AV datamatics
concert. More info below.
SKOLTZ_KOLGEN's 'Fluux:/Terminal' & 'asKaa' at RML
August 17, 2006
Skoltz Kolgen is a plurimedia work cell based in Montreal,
comprising dominique [t] skoltz and herman w kolgen. Liberated by
digital media they simultaneously assume numerous positions,
inhabiting a space between film, photography, audio art, and
installation. Skoltz Kolgen & RML present a special surround-sound
version of a rigorous and raucous event, Wednesday, August 16th and
Thursday, August 17th 8:30PM. More info below.
------------------------------------------------------------------------
------------------------------------------------------------------------
------------------
Recombinant Media Labs Present: Ryoji Ikeda: Datamatics [ver.1.0b]
THURSDAY AUGUST 10TH
2 sessions at 7:00pm sharp and 10:30pm
RECOMBINANT MEDIA LABS
San Francisco
$15
Reservations are strongly suggested.
call 650.255.8647 for more info
Purchase Advanced tickets via Paypal on www.recombinantmedia.net
Ryoji Ikeda - datamatics [ver.1.0b]
Produced by forma
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.
Ryoji Ikeda
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
Recombinant Media Labs Present: skoltz_kolgen: Askaa and fluux:/terminal
AT RECOMBINANT MEDIA LABS
San Francisco
Wednesday August 16th & Thursday August 17th
at 8:30 pm
$15
Purchase Advanced tickets via Paypal on www.recombinantmedia.net
Buy Tickets for Wednesday August 16, 8:30pm - $15.
Buy Tickets for Thursday August 17, 8:30pm - $15....
Skoltz_kolgen is a plurimedia work cell based in Montreal, comprising
dominique [t] skoltz and herman w kolgen. Rigorous and raucous
creators,their artistic pursuits plumb the integral linkages between
sound and image. Skoltz_Kolgen create liminal worlds that exist in
the nebulous territory between inner and outer space. Penetrating the
ephemeral skin between solid matter and the unsubstantiated, the
intimate and the objective, their work conjures bewitched worlds that
gestate betwixt accident and intent. This liminal quality bleeds into
all aspects of Skoltz_Kolgen’s practice, from the conceptual to the
technical, as they balance on the cusp of art and science. Liberated
by digital media they simultaneously assume numerous positions,
inhabiting a space between film, photography, audio art, and
installation. Their synergistic practice encompasses expanded cinema,
explorations of the subtle and visceral qualities of sound, and
hybrid forms of digitally enabled synaesthesia. Architects of worlds
that simultaneously inhabit us as we inhabit them, Skoltz_Kolgen
inquisitively seek out the intimate material and ineffable substance
of life.
‘FLÜUX:/TERMINAL‘ is a bipolar performance that skoltz_kolgen
have named ‘Diptyque Rétinal’. As in all of their work, here
their research has established a point of contact between sound and
image. But ‘FLÜUX:/TERMINAL‘ pushes the dialogue between these
two elements one step further: their performance creates a dramatic
trajectory, fuelled by the panoramic tensions (left/right) between
hearing and seeing.
‘FLÜUX:/TERMINAL' projects images on two screens in a parallel
visual body of luminous particles: photographed or filmed images and
wire frame displays. As stereophonic visual representations, the two
screens are the alter egos of the audio, which is also divided in
two. The sound sources (left/right) are desynchronized and propelled
into separate channels: the left-hand channel excites the left-hand
image; the right-hand channel excites the right-hand image. The image
is distorted, bearing the marks that the sound imprints upon it, and
becomes the fossil of the sound. A bipolar experience is therefore
built by catalyzing the lines of tension between two independent but
related audio and visual worlds. Their dissociation in one instance
and their synchrony or symmetry in another establish space-times that
fairly float in weightlessness. These suspended moments are succeeded
by fresh charges of energy that are massive and intense. A new
generation of meaning escapes: attraction and repulsion,
interdependence at times, followed by struggle and conflict at others.
‘FLÜUX:/TERMINAL' is a living performance that evolves each time it
is presented. In the same evolutionary spirit, the ‘FLÜUX:/
TERMINAL' album transposes the performance in another environment.
Skoltz_Kolgen give the audio cd a life of its own while reprising
textures and sound microfragments from the performance and
reconfiguring them, stripped of their visual aids. The result is more
musical and minimalist, venturing beyond the raw, polarizedqualities
of the performance.
asKaa is an interactive ecosystem inspired by vegetation. With this
project, Skoltz_Kolgen have developed an evolving sound/image
platform that reacts in real time to sonic influxes. Displayed on two
gigantic projection screens, virtual plants can be seen in perpetual
evolution, while simple impulses of sound randomly modify their
developmental process as well as their environment. In performance
mode, the installation will be amplified by the addition of guest
artists. These artists, once immersed in the illuminated botanically
themed setting, will assume the capacity to stimulate the evolving
vegetation pattern with their particular style of sonic influxes.
asKaa offers an exhilarating botanical space. Respecting the growth
potential of the environment is key and the artists must strive to
orchestrate their performances accordingly. Occasionally, it’s a
game of silences and stop times, which figuratively reflects the
breaths of the living installation.
www.skoltzkolgen.com
Maria Gonima // Asphodel, Ltd.
t - 415.863.3068 ext. 16
f - 415.863.4973
Skype: oonceoonce
AIM: quietprojector
-------------- next part --------------
An HTML attachment was scrubbed...
URL: http://or8.net/pipermail/microsound-announce/attachments/20060717/369bae4f/attachment.htm
-------------- next part --------------
A non-text attachment was scrubbed...
Name: 18.main.jpg
Type: image/jpeg
Size: 48706 bytes
Desc: not available
Url : http://or8.net/pipermail/microsound-announce/attachments/20060717/369bae4f/attachment.jpg
-------------- next part --------------
A non-text attachment was scrubbed...
Name: 19.main.jpg
Type: image/jpeg
Size: 35172 bytes
Desc: not available
Url : http://or8.net/pipermail/microsound-announce/attachments/20060717/369bae4f/attachment-0001.jpg
-------------- next part --------------
A non-text attachment was scrubbed...
Name: forma.jpg
Type: image/jpeg
Size: 29801 bytes
Desc: not available
Url : http://or8.net/pipermail/microsound-announce/attachments/20060717/369bae4f/attachment-0002.jpg
More information about the microsound-announce
mailing list