This dissertation examines the audiovisual work of Paris-based Japanese-born composer and visual artist Ryoji Ikeda (born 1966 in Gifu, Japan). It provides a detailed overview of Ikeda's work at the intersection of sound, art, digital computation and data that has evolved last three decades since the 1990s, crossing the boundaries of electronic music, contemporary art and media culture. This analysis describes a wide spectrum of Ikeda's work---sonic albums, publication, audiovisual installations and performances, and public art. The dissertation begins by examining the evolution of Ikeda's art in the ""aesthetic revolution in the 1990s,"" particularly from his association with laptop music and the glitch culture and with Japanese experimental intermedia performance collective
|Advisor:||Patterson, Zabet, Uroskie, Andrew V.|
|Commitee:||Casey, Edward S., Manovich, Lev, Schedel, Margaret|
|School:||State University of New York at Stony Brook|
|Department:||Art History and Criticism|
|School Location:||United States -- New York|
|Source:||DAI-A 80-08(E), Dissertation Abstracts International|
|Keywords:||Audiovisual, Composition, Data, Data compostion, Ikeda, Ikeda, ryoji, Infinitesimal, Infinity, Minimalism, Perception, Ryoji, S, Sensing, Space|
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