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

Installation

Pika! Ppeonjjeog, Pika! Ppeonjjeog / Ppiikkaa!! PPppeeoonnjjjjeeoogg

Mixed-media installation.

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The Korean and Japanese languages contain many onomatopoeia to describe phenomena which produce no sound e.g. how things look or feel and emotions. This mixed-media installation is based on this practice of “sound symbolism” of silent phenomena.

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Ethnic Diversity in Sites of Cultural Activity

An interactive audiovisual installation

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Ethnic Diversity in Sites of Cultural Activity poses the question of whether computers can be racist by highlighting the potential for discrimination of face recognition technology. The interactive installation consists of a computer, a web camera, speakers, projectors and lamps. It locates faces, detects skin colour and alters the sound and image produced depending on the ethnic diversity of the visitors to the exhibition. Different music is selected depending on where the work is exhibited. The piece was originally developed in Vienna where it morphed between Fela Kuti’s Zombie for dark skin and Johann Strauss II’s the Blue Danube performed by the Vienna Philharmonic for light skin in reference to the orchestra’s lack of ethnic and gender diversity.

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Composition: White Square, White Circle

Available in limited edition digital format from Sedition.

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Challa

Soundtrack to audiovisual installation in collaboration with Meital Covo.

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PulseCubes

PulseCubes
– interactive sound installation demo

PulseCubes is an interactive sound installation. Visitors are invited to become part of an implicit feedback loop whose other components include a set of small cubes on a flat surface, computer vision and digital signal processing. The cubes are tracked by a web camera positioned overhead and processed through a partially opaque system implemented in the programming environment Max/MSP/Jitter.

Visitors have the opportunity to influence and interfere with the notion of time by playing with the cubes. Their placement and movement affect features of the audio such as rhythm, tempo and synthesis parameters as the passage of time is stretched and constricted. A chain of indelible “traces” are left in the position of the cubes and the resulting sonic environment and physical vibrations.

PulseCubes was part of The Dissolving Cube at the Portman Gallery, London in Nov-Dec 2009, re:new Digital Arts Festival, Copenhagen in May 2010 and Sound Travels Festival of Sound Art, Toronto in Aug 2012.

The Dissolving Cube opening night, featuring PulseCubes


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