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Transcript of Ryo Ikeshiro portfolio 2016 03 · PDF file Ryo Ikeshiro Biography Ryo Ikeshiro is a UK-based...

  • Ryo Ikeshiro


    Ryo Ikeshiro is a UK-based Japanese artist whose practice deals with sound, media and computation. He is interested in the artistic potential of computational technology and algorithmic processes as well as the cultural and political dimension of computation and media and its critique within art. His output includes audiovisual performances, interactive installations, generative art, electronic music and various image formats including Teletext pages. Recent works explore issues of race, gender, identity, diversity and net culture through using computer vision, singing voice synthesis software, found footage, onomatopoeia and “sound symbolism”. He has presented his works internationally in a wide range of contexts including exhibitions, festivals, concerts and screenings as well as academic conferences. He is featured in the Electronic Music volume of the Cambridge Introductions to Music series, he is a contributor to Sound Art: Sound as a medium of art, a forthcoming publication from ZKM Karlsruhe, and his articles have been published in the journal Organised Sound. He has a PhD from Goldsmiths, University of London. The topic explored was real-time data visualisation and sonification – or live "audiovisualisation" – of emergent generative systems based on dynamical systems and fractals within the framework of audiovisual and computational art. He also works as a lecturer and a curator. Recently, he was an artist in residence at the ACT (Art and Creative Technology) Center at the ACC (Asia Culture Center) in Gwangju, South Korea. He also works as a lecturer at the London South Bank University. www.ryoikeshiro.com

  • CV Selected Exhibitions/Screenings 25/11/2015–30/6/2016 Plastic Myths, Asia Culture Center, Gwangju 5–13/5/2015 Sound/Place, St. James’s Hatcham Church, London 6/3/2015 GR/JP, Het Nutshujs, the Hague 14/12/2014 Cyberfest Video Art Program, New York 11/2014 DOTMOV Festival, Japan 30/10 – 8/11/2014 International Symposium on Electronic Art, Dubai 6 – 9/10/2014 Seoul International Computer Music Festival 26/8 – 10/10/2014 FILE Electronic Language International Festival, São Paulo 1/5/2014 Sonorities Festival of Contemporary Music, SARC, Belfast 1 – 4/4/2014 A-EYE: An exhibition of art and nature-inspired computation, London 21 – 28/2/2013 Papay Gyro Nights, Papa Westray, Orkney 15 – 31/8/2012 Sound Travels Sound Art Festival, NAISA, Toronto 18 – 22/5/2010 re:new Digital Arts Festival, Copenhagen 26/11 – 5/12/2009 The Dissolving Cube, Portman Gallery, London 3 – 4/6/2009 David Tudor’s Rainforest IV, Area10, London Selected Performances 30/10/2015 AR-TOWNS (Non-profit Art Space Network), Bucheon 4 – 12/9/2015 Live Cinema Festival, Piazza dell'Immacolata, Rome 28 – 31/5/2015 Live Performers Meeting, Cinema Aquila, Rome 13 – 17/5/2015 WRO 2015 Test Exposure: 16th Media Art Biennale, Wroclaw 27/3/2015 Agony Art, Chisenhale Art Place, London 17/12/2014 Klub Moozak, Vienna 15/10/2014 In der Kubatur das Kabinetts, Vienna 4/10/2014 White Night 2014, Skopje 21 – 25/5/2014 backup_festival, Weimar 5/5/2014 PureGold Launch, Southbank Centre, London 4 – 18/4/2014 Papay Gyro Nights, Hong Kong 15 – 22/2/2014 Papay Gyro Nights, Papa Westray, Orkney 9/5/2013 PureGold Launch, Southbank Centre, London 6/3/2013 Nonclassical’s Pioneers of Electronic Music, London 2/12/2012 Exploding Cinema, London 9 – 15/9/2012 ICMC, Ljubljana 15 – 18/8/2012 Toronto Electroacoustic Symposium 11/5/2012 PureGold Launch, Southbank Centre, London 19 – 29/1/2012 Redsonic, London 29-30/10/2011 Seeing Sound 2, Bath 5/10/2011 CONTEMPORANEA, Festival di Nuova Musica, Udine 1 – 5/6/2010 ICMC, New York 5, 10/2007, 6/2008 ry-om on Resonance FM 7/3/2007 ry-om at Battersea Arts Centre, London 10/2/2007 ry-om at Corsica Studios, London 19/11/2003 Mirrored Seconds, piano quartet, at Cambridge Music Festival 28/2, 1/3/2003 Hommage: Haydn 53, orchestra, performed by the Britten Sinfonia, cond. James

    MacMillan, Norwich and Cambridge Residencies 9/2015 – 2/2015 Art and Creative Technology Center, Asia Culture Center, Gwangju 10 – 12/2014 KulturKontakt Austria, Vienna Awards/Grants/Funding 2014 Sound and Music/Francis Chagrin Award 2010, 2012 PRS for Music Foundation/Bliss Trust Composer Bursary 2010 Sound and Music/British Council Travel Bursaries for Composers 2010 – 2013 Goldsmiths Music Dept Research Committee Funding 2008, 2009 University of London Central Research Fund

  • Competitions 10/7/2015 Visual Music Award, Gelnhausen – honourable mention 19 – 21/3/2015 Videoformes, Digital Arts International Festival, Clermont-Ferrand 19 – 22/12/2013 MADATAC Contemporary New Media Audio-Visual Arts Festival, Madrid 26/9/2013 The Fresh Minds Festival, TAMU, TX – 2nd prize 14 – 16/12/2012 Videomedeja International Video Festival, Novi Sad 11 – 15/12/2012 MADATAC Contemporary New Media Audio-Visual Arts Festival, Madrid Publications 2015 “Sound Art in Japan” (co-author with Atau Tanaka), in Sound Art, ZKM

    Karlsruhe/MIT. 2014 “Audification and Non-Standard Synthesis”, Organised Sound 19(1). 2012 “Audiovisual Harmony: the real-time audiovisualisation of a single data source in

    Construction in Zhuangzi”, Organised Sound 17(2). Conference Papers 4 – 6/12/2014 “Real-Time GENDYN Audiovisualisation”, Conference on Interdisciplinary

    Musicology, Berlin 23 – 24/11/2013 “Live Audiovisualisation of a 3D Mandelbox”, Seeing Sound, Bath 18/6/2013 “Live Audiovisualisation of a 3D Mandelbox”, Real-Time Visuals, London 15 – 18/8/2012 “PulseCubes: an interactive sound installation as interface and new media object”,

    Toronto Electroacoustic Symposium 23 – 25/5/2012 “GENDYN, Noise and Virtuality: smooth space-time, affect and entropy in the

    stochastic synthesis of Xenakis”, Xenakis. La musique électroacoustique, Paris 1 – 3/4/2011 “GENDYN and Merzbow”, Xenakis International Symposium, London 1 – 5/6/2010 “Generative, Emergent, Self-Similar Structures: Construction in Self”, International

    Computer Music Conference, New York Releases 11/2014 Optical Research (JEWEL-002), 2-DVD set 9/2014 GIASO - "Great International Audio Streaming Orchestra” (FIBRR013) 6/2013 Composition: White Square, White Circle on s[edition] 12/2009 Outsider Rehearsals with Genosong 6/2008 Album III (cs128) for Creative Sources Recordings with ry-om 2007 Albums – (emp041) and = (emp042) for Earth Monkey Productions with ry-om Education 1/2008 – 8/2013 PhD Studio Composition Goldsmiths, University of London 10/2002 – 8/2003 MPhil Musical Composition Cambridge University 9/1999 – 6/2002 BMus (Hons) Music – 1st Kings College London 9/1997 – 6/1999 A-Levels in Music, Maths, Reading School Further Maths, Physics – A Events Curated 21 – 27/9/2012 SHO-ZYG, London 2/2011 – present A-B-A, London Employment 1/2015 – present Visiting tutor London South Bank University

    • Digital Media Art BA Yr2 Critical Code • Collaborative Practices sound and image option Yr2

    9/2010 – present Visiting tutor Goldsmiths, University of London • Music and Computing BA/BSc Yr2 core module • Computational Art MFA Creative Technologies & Art Practices

    1/2008 – 1/2015 Piano, music tech tutor Morpeth School, London 2007 – 2008 Workshop leading Halal Kebab Hut, algorithmic junkestra 1/2006 – 3/2007 Guitar and keyboard teacher Centre Academy, London 9/2005 – 6/2008 Guitar teacher Hampshire School, London 1/2004 – 12/2007 Piano teacher Ranelagh School, Bracknell

  • Selected Works Ethnic Diversity in Sites of Cultural Activity (2014-5) 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 work 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. Through a crude racial profiling of visitors, it draws attention to an increasingly common technology which is an example of how a seemingly neutral entity of a computer can reinforce existing power structures. The context of a playful interactive installation is also a reflection of how we rarely focus on how software functions, instead becoming preoccupied with the interface; most software are prepackaged “black boxes” inaccessible due to their propriety and closed nature. In addition, it is not completely infallible as with most software and it may be possible to trick the algorithm e.g. by covering your face, using make-up or changing lighting conditions which the visitors are encouraged to do. Exhibited at the KulturKontakt Austria Artist-in-Residency exhibition, Vienna; Agony Art, Chisenhale Art Place; Sound | Place Sound Art Exhibition, London. Demo recorded in Korea: https://vimeo.com/150753869 (password: actlab)

  • Construction in Kneading (2013) Immersive generative audiovisual performance and screening work