datamatics [ver.2.0] is the latest audiovisual concert in Ryoji Ikeda’s datamatics series‚ an art project that explores the potential to perceive the invisible multi–substance of data that permeates our world.

Using pure data as a source for sound and visuals, datamatics combines abstract and mimetic presentations of matter, time and space in a powerful and breathtakingly accomplished work. The technical dynamics of the piece, such as its extremely fast frame rates and variable bit depths, continue to challenge and explore the thresholds of our perceptions.


Roland Kayn (1933-2011) was a German composer who studied in Stuttgart at the “Hochschule fur Musik”, and at the “Technische Hochschule” with Max Bense. He was a pupil of of Boris Blacher at the “Hochschule fur Musik” in Berlin from 1956 to 1958 and he later worked in various music studios in Germany, Netherlands and Italy.

Despite its relative obscurity in the last years of the 20th Century, Kayn’s work can be considered as one of the most emblematic in the realm of cybernetics and in the general contemporary art production related to the electronic medium.

Thanks to Bense, (in the early 1950’s) Kayn came in touch with the seminal writings of Norber Wiener. Bense was one of the first theorists to conjugate cybernetic concepts to art and aesthetics, also curating exhibitions on computer arts and concrete poetry. Kayn was influenced by Bense in the possibility of realising aesthetics products as a combination of planning and chance, namely as their (demanded) unpredictability is a precise consequence of a planned construction. About the extension of cybernetics and aesthetics, Kayn later recounted: “At that time Bense’s approach was an important point of departure, because with his method of analysis, whether one was an architect or a composer, one gained the ability to approach the creative engagement with the material in an objective way“.

Despite his fascination for the sonic potential of the new technologies, Kayn was, at first, unable to realise works for the technological limitations he encountered in the different studios he visited.

The quick membership and departure from the Gruppo di Improvvisazione Nuova Consonanza (a Rome collective of composer-musicians dedicated to improvisatory performances) led Kayn to develop a mature notion of cybernetic’s music as a new stage in the development of electroacoustic art, from the early twentieth cenury to the 1970’s (from ‘Electro-instrumental Music’ to ‘Concrete Music’, passing through ‘Electronic Music’ and ‘Computer Music up until ‘Cybernetic Music’).

The advanced analog equipment he found at the Institue of Sonology in Utrecht (namely a a sophisticated voltage-control system of modular units, and a variable function generator, essentially a primitive sequencer through which one could control various components in the studio) allowed Kayn to finally realise cybernetic music, as an implementation of an algorythm that produced sound in real-time. The sonic scenarios were never fully programmed nor fully random, but “the composer presents his music as an artifice which he constructs and sets in motion, but once he has done this, it is left to move through space, a ‘free’ music, which, like the fabric of the cosmos, follows its own internal laws and conditions“. (Musicologist Frans van Rossum)

Dead Skull: “For this project i was contacted by inspected records to create a visualisation for the artist “ZES” and his debut EP “Hindsight”. After listing through the EP and some brief research around the artist it became clear what direction i wanted to take this film in. Based of the mystery around who ZES is and what his mask looks like i came up with the concept of creating a world around the mask. The idea of creating a museum with the mask as focal point was one of my first concepts, this then expanded onto having each song represented as a painting in the museum. From each song we would go into the painting and explore that certain section of his world, then the audience is take back into the museum to journey onto the next painting. For the animation i used Cinema 4D to create the models and compositions, X particles to create the ink simulations for “Memories”, After effects for grading and the final edit was made in Premiere Pro with dynamic links into after effects. The overall production took me 1 week to make including rendering time. Hope you enjoy!”


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