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Please use this identifier to cite or link to this item: http://hdl.handle.net/10002/834

Title: Speculative-sensible Experience in Ryoji Ikeda’s Audiovisual Installation and Performance Inside and Outside of the White Cube
Authors: Lee, Joo Yun
Keywords: Ryoji Ikeda
audiovisual installation and performance
datamatics
viewer's experience
Issue Date: 17-Oct-2017
Abstract: Since the 1990s, audiovisual installation and performance have been pervasive not only in art museums and alternative gallery spaces but also in media art festivals and urban spaces, crossing the split between mainstream contemporary art world and so-called new media art scene. Especially, the surge of audiovisual experimentation in large screen-centric installation and performance has emerged under the influence of laptop music and DJ/VJ cultures as well as intermedia theatre that utilize large screen as performance site and that integrates moving image and sound into physical environment involving live performances. In this respect, this paper discusses viewer’s speculative-sensible experience in Paris-based Japanese electronic composer and visual artist Ryoji Ikeda (born in 1966)’s datamatics (1996-) series in which the layers of sonic and visual elements, the spatial and architectural structures, and the constantly streaming dada comprise a viewers’ unique spatio-temporal situatedness irreducibly contingent to the presence of viewers, invoking cultural imagination on the entity of data and its system. Especially, tracing the evolution of Ikeda’s work oriented from laptop music and the glitch culture and nurtured by his experience as a collaborator of Japanese experimental intermedia performance collective dumb type (1984-), it underscores the ways in which Ikeda conjures up palpating datascape, interfacing the visual and sound with the digital computation and its embodied experience. It further discusses Ikeda’s work that forges a new mode of experience of datascape which is rapidly forging new patterns and dynamics of everyday life and its social effects in specific social, institutional and cultural settings.
Description: Biography: Joo Yun Lee is a Ph.D. Candidate at Stony Brook University and curator, and writer working on the intersection of art, science, and technology in modern and contemporary. Her research is shaped by contemporary art history, media aesthetics, critical media studies, sound studies, and critical theories. Her research focuses on the technological modes of production, distribution, and reception of technical images, intermedia performance and installation, sound art, and architecture from the 1960s to the present crossing regional boundaries. She is at work on a dissertation entitled “Sensible Communities: Materialized Spectatorship in Ryoji Ikeda’s Audio-­‐visual Performances and Installation of Data Composition.” Recently, her writings and curatorial projects in progress shed light on the artistic practices that interface the visual and sound with the digital computation and its embodied experience, invoking cultural imagination on the entity of data and its system that are often opaque, inaccessible, and controlled. She was awarded Fulbright Graduate Study Award and was a 2013-­‐2014 Helena Rubinstein Curatorial Fellow in the Whitney Museum’s Independent Study Program. Previous to starting her art history degree, she was an assistant curator at the Seoul Museum of Art and was in charge of the Seoul International Media Art Festival. She is a 2016-­‐2017 AHL-­‐Grace Charity Foundation research fellow and has taught at Pratt Institute, New York University Steinhardt and St. Francis College.
URI: http://hdl.handle.net/10002/834
Appears in Collections:1. Re:Trace Conference - Keynotes, Papers & Posters

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