This is the homepage of UK-based Japanese artist Ryo Ikeshiro whose practice deals with sound, media and computation.

Improvisation

The Mental Health Noise Orchestra

Sound, noise and listening workshops and performances for people with mental disabilities and health issues.

The Mental Health Noise Orchestra challenges public preconceptions concerning people with mental disabilities and health issues by demonstrating their potential for creativity and experimentation. Through workshops, the participants open their ears to the possibilities of sound and noise through listening. They culminate in performances which also confront the audience’s notions of what music and musicality are or should be shaped by the music industry and elitist traditions.

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Construction in Kneading [surround]

Immersive generative audiovisual performance.

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Real-Time GENDYN Audiovisualisation

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Construction in Kneading

Live audiovisualisation of a Mandelbox fractal.

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Construction in Zhuangzi

Audiovisual work based on a modified Lorenz dynamical system.

Construction in Zhuangzi is a live “audiovisualisation”: the simultaneous sonification and visualisation of the same process and data in real-time. It is based on a modified Lorenz dynamical system, a three-dimensional model of convection that is non-linear and chaotic and has sensitive dependence on initial conditions or the “butterfly effect”.

A performance consists of an attempt at understanding and controlling the mechanisms of the near-autonomous generative system through an improvisation involving the modifications of the parameters of the Lorenz. Moments of human intervention are indicated by a colour inversion and an audio click. Lorenz stated that the equations do not produce realistic representations at large values of the parameters of the equations. In the work, these parameters are taken to beyond their original real-world limits in order to explore a speculative world. An appropriately machinic or post-human sensibility is evoked through a digital noise/glitch presentation of the emergent phenomena.

The work is featured in the Electronic Music volume of the Cambridge Introductions to Music series. A fixed-media version of the work was awarded 2nd prize at the Fresh Minds Festival, TX, and was part of the official selection for Videomedeja – 16th International Video Festival and MADATAC 04 Contemporary New Media Audio-Visual Arts Festival.

For more details, see the article “Audiovisual Harmony: The realtime audiovisualisation of a single data source in Construction in Zhuangzi Organised Sound 17(2), 2012. It is also featured in the Electronic Music volume of the Cambridge Introductions to Music series.


Genosong

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Genosong is an improvising ensemble with live sampling. It incorporates live electronics as an augmentation of traditional acoustic instruments in an improvisational context through live sampling alone: no pre-recorded sounds or synthesis methods are used. A natural and organic electroacoustic soundscape is produced that acts as an additional voice in the ensemble; this results in further development of the musical material by the players that is then also sampled. The creation of this feedback allows for extremely interesting emergent behaviour where smooth and gradual processes are juxtaposed against abrupt and chaotic changes.

Outsider Rehearsals 2009

Track 01

Track 02

Play each track separately, or download album as single zip file (flac) with artwork.

Chien-Chun Lin: soprano
I-Chin Li: piano, percussion
Guillaume Viltard: double bass
Tom Jackson: reeds (track 02)
Ryo Ikeshiro: acoustic guitar, laptop

Track 01 recorded 02 Dec 2009 (take 1)
Track 02 recorded 18 Nov 2009 (take 2)

Live footage:


David Tudor’s Rainforest IV

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Tudor’s seminal work from the 1970s is a template for what is now called sound art today. It involves resonating sound sculptures, audience interactivity, collaboration, use of found objects and feedback loops and networks.

The group installation/performance took place in Area 10 Project Space in Peckham. It was a former Whitten’s warehouse which was used as an event space for several years before being closed for demolition and subsequent redevelopment.

All the material used for the sound sculptures were found within the vicinity of Area 10 which included remains from the timber warehouse, discarded objects from building and development sites and general junk. The event took place within the backdrop of the changing landscape of Peckham and the tide of gentrification that was to follow.

Blurb