Ikeda's otherworldly, minimalist, techno compositions of muted, barely perceptible machinic melodies and glitchy beats — punctuated by piercing white noise — reduce music to the physical phenomenon of sound. A song of bleeps, blips, drones, tones, thrums and sine waves courses just beneath our comprehension, simultaneously creating both a thrilling celebration and a moving lament. As a visual artist, he identifies and magnifies mathematical beauty, abstraction and the seemingly impenetrable inner machinations of computer code: bits, bytes, flows of electrical impulses, unspeakable computations and numbers.
Reaching from the microscopic to the infinite, the inaudible to the ear-splitting, Ikeda's performances, installations and artworks explore the basic, spectral building blocks that constitute the flow of data that increasingly permeates our world — sine waves, sound pulses, pixels of light, binary digits and numerical data — while pulling apart their physical properties. He applies a profound reflexivity and medium specificity to data and software.
The exhibit proposes a conceptual counterpoint between DHC/ART's two buildings: the main space displays framed works, light boxes, sculptural works and works on paper under the rubric systematics , whereas the serial dimension of the datamatics project is on full display in the Satellite space, which offers three very interrelated installations, orchestrated as a symphonic whole.
As an immersive installation, datamatics conjures a fire of much greater magnitude and of historical significance, like the great blaze that destroyed the ancient Library of Alexandria