| dc.date.accessioned | 2019-05-29T13:15:17Z | |
| dc.date.available | 2019-05-29T13:15:17Z | |
| dc.identifier.uri | http://95.216.75.113:8080/xmlui/handle/123456789/119 | |
| dc.description | Biography: Joo
Yun
Lee
is
a
Ph.D.
Candidate
at
Stony
Brook
University
and
curator,
and
writer
working
on
the
intersection
of
art,
science,
and
technology
in
modern
and
contemporary.
Her
research
is
shaped
by
contemporary
art
history,
media
aesthetics,
critical
media
studies,
sound
studies,
and
critical
theories.
Her
research
focuses
on
the
technological
modes
of
production,
distribution,
and
reception
of
technical
images,
intermedia
performance
and
installation,
sound
art,
and
architecture
from
the
1960s
to
the
present
crossing
regional
boundaries.
She
is
at
work
on
a
dissertation
entitled
“Sensible
Communities:
Materialized
Spectatorship
in
Ryoji
Ikeda’s
Audio-‐visual
Performances
and
Installation
of
Data
Composition.”
Recently,
her
writings
and
curatorial
projects
in
progress
shed
light
on
the
artistic
practices
that
interface
the
visual
and
sound
with
the
digital
computation
and
its
embodied
experience,
invoking
cultural
imagination
on
the
entity
of
data
and
its
system
that
are
often
opaque,
inaccessible,
and
controlled.
She
was
awarded
Fulbright
Graduate
Study
Award
and
was
a
2013-‐2014
Helena
Rubinstein
Curatorial
Fellow
in
the
Whitney
Museum’s
Independent
Study
Program.
Previous
to
starting
her
art
history
degree,
she
was
an
assistant
curator
at
the
Seoul
Museum
of
Art
and
was
in
charge
of
the
Seoul
International
Media
Art
Festival.
She
is
a
2016-‐2017
AHL-‐Grace
Charity
Foundation
research
fellow
and
has
taught
at
Pratt
Institute,
New
York
University
Steinhardt
and
St.
Francis
College. | |
| dc.language.iso | en | |
| dc.type | Presentation | |
| dc.title | Speculative-sensible Experience in Ryoji Ikeda’s Audiovisual Installation and Performance Inside and Outside of the White Cube | |
| dc.contributor.author | Lee, Joo Yun | |
| dc.description.abstract | Since the 1990s, audiovisual installation and performance have been pervasive not only in art museums and alternative gallery spaces but also in media art festivals and urban spaces, crossing the split between mainstream contemporary art world and so-called new media art scene. Especially, the surge of audiovisual experimentation in large screen-centric installation and performance has emerged under the influence of laptop music and DJ/VJ cultures as well as intermedia theatre that utilize large screen as performance site and that integrates moving image and sound into physical environment involving live performances. In this respect, this paper discusses viewer’s speculative-sensible experience in Paris-based Japanese electronic composer and visual artist Ryoji Ikeda (born in 1966)’s datamatics (1996-) series in which the layers of sonic and visual elements, the spatial and architectural structures, and the constantly streaming dada comprise a viewers’ unique spatio-temporal situatedness irreducibly contingent to the presence of viewers, invoking cultural imagination on the entity of data and its system. Especially, tracing the evolution of Ikeda’s work oriented from laptop music and the glitch culture and nurtured by his experience as a collaborator of Japanese experimental intermedia performance collective dumb type (1984-), it underscores the ways in which Ikeda conjures up palpating datascape, interfacing the visual and sound with the digital computation and its embodied experience. It further discusses Ikeda’s work that forges a new mode of experience of datascape which is rapidly forging new patterns and dynamics of everyday life and its social effects in specific social, institutional and cultural settings. | |
| dc.subject | Ryoji Ikeda | |
| dc.subject | audiovisual installation and performance | |
| dc.subject | datamatics | |
| dc.subject | viewer's experience | |
