This is the homepage of artist, musician and researcher Ryo Ikeshiro who works with audio and time-based media to explore possibilities of thinking through sound.

sonification

Construction in Kneading [surround]

Immersive generative audiovisual performance

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Ethnic Diversity in Sites of Cultural Activity

Interactive audiovisual installation

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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Real-Time GENDYN Audiovisualisation

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Composition: White Square, White Circle

Available in limited edition digital format from Sedition.

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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.


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


Construction in Self

Construction in Self is a generative work based on the Lorenz dynamical system. It has sensitive dependence on initial conditions, giving rise to what is commonly known as the “butterfly effect”. Its generative form is suggested by this property and the work takes an input prior to performance as initial conditions from which a different piece is produced each time. A diverse variety of behaviours are observed ranging from periodicity to chaos that yield interesting results as signal, control and meta data, suggesting a self-similar microcosm that is complex yet deterministic which can be replicated from the same initial input. The title is a reference to John Cage’s Construction in Metal series (1939-42) in which simple sequences of numbers – referred to as “rhythmic structures” – are used as a basis for structures at different time-scales.

Construction in Self has been performed at noise=noise the Basement Series 2009, London, ICMC 2010, New York, CONTEMPORANEA 2011 ‘Japan 2011′ Festival di Nuova Musica, Udine and 希/日 GR/JP at Het Nutshuis, Den Haag.

See “Generative, Emergent, Self-Similar Structures: Construction in Self for more details.