Many of us, whether in our work or home lives, cannot avoid the presence of data. Even those in the creative or social industries must deal with grades or prices. However data, as a source of beauty, is not something shared by all. We may have surprised ourselves by admiring the beauty of particularly neat spreadsheet, but to consider data as the source of music is a rare and specialist pursuit.
Yet this passion drives the work of electronic sound and visual artist Ryoji Ikeda. Born in Japan and living in Paris, Ikeda is himself a rare specimen for Brighton, more likely to be found in Modern Art museums of the cultural capitals of world than shabby chic seaside cities. Which is why his new work datamatics [ver 2.0] is the piece de resistance of Brighton Dome’s exciting new season of visual arts and experimental music ‘Earsthetic’.
datamatics [ver 2.0] is an audiovisual concert using ‘real time computer programming’ to create a stark and hypnotic soundtrack which accompanies and reflects, largely black and white, pared down imagery, drawn from a variety of data sources; DNA codes, hard drive areas and astrological star systems. Reading the programme I was reminded of the recent Grayson Perry Reith lecture in which Perry attacked the tendency for impenetrable jargon in the art world. The work is clearly a specialist pleasure and not readily accessible. In fact there were moments when the piece felt like the sort of torture administered on terrorists suspects at Guantanomo Bay or at the very best, the boring bits of your job you normally put off doing. However the predominantly sombre suited audience comprised of some of the coolest inhabitants of city, many of whom were from the digital industry, appeared to revel (if you can call it that) in the mesmerising mathematic artistry on display. Perhaps not pleasurable for all, but definitely rare and special.
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