formula

(2000)

a constantly evolving work updated with each presentation, is a perfect synchronization between Ryoji Ikeda's sound frequencies and the movements on the screen.

formula places the viewer in a binary geometry of space, and exploits the darkness to amplify the perceptions, with outstanding success. Ryoji Ikeda aims for the complete integration of the various elements, composing music, images, lighting and orchestrating the relationships between them through a highly precise score.

Source: Ryoji Ikeda's Website

In live performance, Ryoji Ikeda combines his high impact sound with video projections synched perfectly to the music. Digitally generated graphics, high-speed video sequences and stroboscopic lighting connect with the sound to create a spectacular yet intimate experience for the viewer.

"Utterly mesmeric.. It was a powerfully physical event, probing the effect on the body of visual and sonic repetition and sucking the spectator into a vibrant monotone world." - The Wire

Source: Forma

formula is a concert in which the artist is not on stage. Instead, a huge white screen and stage surface are the setting for an immersive world of projected images, punctuated by dazzling bursts of stroboscopic lighting.

formula [ver.2.3] presents the next stage in the development of this constantly evolving work, which is updated with each performance through a live mixed soundtrack.

formula presents a perfect synchronization between Ryoji Ikeda's sound frequencies and the movements on the screen. It places the viewer in a 'binary geometry of space', and exploits the darkness to amplify the perceptions, with outstanding success.

In this work which occupies a space somewhere between the concert, cinema and installation, Ikeda aims for the complete integration of the various elements, composing music, graphics and video, and orchestrating the relationships between them through a meticulous score.

Source: Forma

formula, found footage, software, Live Visuals, Installation

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META/DATA: A Digital Poetics (2007) by pioneering digital artist Mark Amerika mixes (and remixes) personal memoir, net art theory, fictional narrative, satirical reportage, scholarly history, and network-infused language art. META/DATA is a playful, improvisatory, multitrack digital sampling of Amerika's writing from 1993 to 2005 that tells the early history of a net art world gone wild while simultaneously constructing a parallel poetics of net art that complements Amerika's own artistic practice. (The MIT Press)

Notations 21 (2009) by Theresa Sauer features illustrated musical scores from more than 100 international composers, all of whom are making amazing breakthroughs in the art of notation. Notations 21 is a celebration of innovations in musical notation, employing an appreciative aesthetic for both the aural and visual beauty of these creations. The musical scores in this edition were created by composers whose creativity could not be confined by the staff and clef of traditional western notation, but whose musical language can communicate with the contemporary audience in a uniquely powerful way. (Notations 21 Project)

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Ryoji Ikeda (*1966) is one of Japan's leading electronic composers and focuses on the minutiae of ultrasonics, frequencies and the essential characteristics of sound itself. His work exploits sound's physical property, its causality with human perception and mathematical dianoia as music, time and space. Using computer and digital technology to the utmost limit, Ryoji Ikeda has been developing particular microscopic methods for sound engineering and composition. (Ryoji Ikeda)

Karl Kliem (*1969) studied at the well-known Hochschule für Gestaltung (University of Art and Design) in Offenbach. He developed real-time audio and visual systems and has designed the most diverse projects in the fields of multi-media, web design, and TV design, as well as music and audio production for films and interactive installations. Karl Kliem is a founding member of Involving-Systems (1994) and MESO (1997). (Dienststelle)

Trioon I (2003) by Karl Kliem. Music by Carsten Nicolai aka Alva Noto and Ryuichi Sakamoto. Both elements of the music, an analog piano and a digital sinus wave, are represented by two overlapping visual elements: the fading sound of the piano by three abstracted octaves of a keyboard with the keys fading out just as softly as the tones fade from hearing. (Dienststelle)

alva noto: spray (2006) by Carsten Nicolai. The problematics of speed, the vision of utopia and the dissolution of our ideas into fragments... Speed of data-flow is equivalent to the speed of our time. In an era when virtual products of our ideas are expanding, we are simultaneously positioning a calm point in which to settle ourselves. (raster-noton)

Bioacoustic Phenomena (2010) also known as Hydroacoustic Study by Paul Prudence was originally conceived as a live audio-visual performance piece with sound artist Francisco Lopez for a Spatial Sound event organised by Optofonica at the Smart Project Space in Amsterdam, June 2010. The piece was subsequently developed to work with Paul Prudence's own live audio compositions and sound design. Bioacoustic Phenomenon is live generative cinematic exploration of sonically activated biological events, specifically evolving cellular entities that grow in response to sound vibrations. (Transphormetic)

VJing (2010) is a reproduction of the Wikipedia article VJing, based upon the revision of July 25th 2010 and was produced as a physical outcome of the wiki-sprint, a collaborative writing workshop that was held 2010 in the frame of Mapping Festival, Geneva. (Greyscale Press)

Lamp Shade (2007) by David Muth visually explores rhythmic patterns and their underlying harmonic shifts through abstract minimalism. Specially written software generated the imagery. Music by Alvin Lucier. (David Muth)

Brian O'Reilly is the creator of various works for moving images, electronic/noise music, mixed media collage, installation, and is a contrabassist, focusing on the integration of electronic treatments and extended playing techniques. (Brian O'Reilly on Vimeo)

Visual Music Archive

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