From Simon Inges who writes for New Scientist about Ryoji Ikeda
“In a 300-metre-long former rope-making factory in Venice’s Arsenale, a complex of former shipyards and armouries, it is hard to miss data-verse 1 by Japanese DJ and data artist Ryoji Ikeda: the first instalment of a year-long project to realise an entire universe on a gigantic, wall-sized high-definition screen.”
And
“His own “music” reduces sound to sine waves and impulses – and the animations to accompany his sets are equally minimal. “If the sine wave is the simplest expression of sound, what’s the simplest expression of light? For the scientist, that’s a complicated question, but for the artist, the answer is simple: it’s the pixel,” he says.” (2019)
I have found this useful as I think about the film/music collaboration. My concerns with it for now are – I’ve returned to using a proprietary filter which I did for S&OA5 already. I think this might be OK as an appropriative act – but it’s a thing to think about. Even so, it upsets value systems, women do use them although here the filter is being used not to beautify but to desexualise, which is the opposite of how they tend to be employed (although one person’s idea about sexy is another’s fright mask).
Also, eleven minutes of it? Mostly it looks incomprehensible expect where the faces emerge – but maybe that is ok too. Will meet up with Emma soon and discuss after her holiday. The group meeting is in a couple of weeks.