datamatics [prototype-ver.2.0]

ikeda dm 6
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ikeda dm5
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ikeda dm4
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ikeda dm3
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ikeda dm2
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ikeda dt 1
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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. 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, marks a significant and exciting progression in Ikeda's work.

datamatics [ver 2.0] is the new, full–length version of Ryoji Ikeda's acclaimed audiovisual concert. For datamatics [ver.2.0], Ikeda has significantly developed the earlier version of this piece (premiered in March 2006), adding a newly commissioned second part. Driven by the primary principles of datamatics, but objectively deconstructing its original elements – sound, visuals and even source codes – this new work creates a kind of meta–datamatics. 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.