Eight albums in almost twenty years, a far greater number of sensational installations and performances where his video art has been transformed into a sensitive experience, an undeniable foresight in interpreting the relationship between art and technology have made Ryoji Ikeda one of the most representative figures of so-called abstract-techno. In most of his works, Ikeda has packaged the results of a complex research on the dualistic relationship between digital sound and its translation into the form of computer data.
The objective set by the artist with this trilogy – born on the results of that path of cleaning, reduction to the minimum terms and decomposition of the glitch externalized in the masterpieces “+/-” (1996) and “Matrix” (2013) – is the result of a complex research on the dual relationship between digital sound and its translation into computer data. (1996) and “Matrix” (2001) – is precisely the elaboration of a mathematics of sound, of a principle of calculation capable of transforming algorithms into authentic means of expression, and at the same time of elaborating visual and sound representations of the information they contain. This conceptual dynamic has always been expressed not only through sound, but also through the visual and performance medium, on which the Japanese artist has focused in recent years, transforming his performances into veritable multimedia installations – above all the one in New York’s Times Square in 2013.