前奏曲：聆聽之 – concert version (2023) Sanxian/sanshin, Chinese percussion, Ambisonics field recording, video, text, computer
Prelude: To Listening
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About
Ryo Ikeshiro (JP/UK/HK) is an artist, musician and researcher. His work explores the possibilities of meaning and context presented through sound as well as its materiality in relation to digital audio and audio technologies. His output includes installations and live performances in a variety of formats including immersive environments using multi-channel projections and audio, 360-video and Ambisonics (spatial audio), field recordings, interactive works, Teletext art and generative works.
He has presented his works internationally in a wide range of contexts including exhibitions, festivals, concerts and screenings as well as academic conferences. He was part of inaugural exhibitions at the Asia Culture Center in Gwangju, South Korea, and the M+, Hong Kong, and his TeleText art pages have been broadcast on German, Austrian, Swiss and Finnish national TV. He is a contributor to Sound Art: Sound as a medium of art, a ZKM Karlsruhe/MIT publication, and his articles have been published in journals such as Organised Sound.
In his works, techniques of sonification – the communication of information and data in non-speech audio – are harnessed in an artistic context, with algorithms and processes presented as sound to investigate computational creativity and the relationship between the audio and the visual. In addition, the manifestation of issues of identity and Otherness through sound and technologys is explored. Comparable processes to sonification are also used, such as ideophones in East Asian languages – words which evoke silent phenomena through sound. Recent works investigate uses of machine listening and directional audio technologies.
He is currently an Assistant Professor, MFACM Programme Deputy Leader and co-director of the spatial audio art/research unit SoundLab, at the School of Creative Media, City University of Hong Kong.
プロフィール
池城良（日本/英国/香港）は、アーティスト、ミュージシャン、研究者。音及びデジタルアーディオやオーディオテクノロジーとの関連の物質性に表現される音の意義やコンテキストを提供する可能性に関心を持つ。作品には、マルチチャンネルのビデオとオーディオを活用した没入型環境、360度動画とアンビソニックス（空間オーディオ）、フィールドレコーディング、インタラクティビティー、可視化・可聴化情報化等を駆使したインスタレーションやライブパフォーマンスを含む。
展覧会、フェスティバル、コンサート、上映会、学会などで幅広い活動をし、国際的に作品を発表。光州（韓国）の国立アジア文化殿堂と香港のM+の開館記念展覧会に出展。ドイツ、オーストリア、スイス、フィンランドの国営テレビでテレテキスト（文字多重放送）・アート作品が放映。ZKM KarlsruheとMIT出版の『Sound Art: Sound as a medium of art』に寄稿。論文は『Organised Sound』誌等に掲載。
作品では、可聴化情報化の技術（情報の伝達に非言語音を用いる手法）を芸術的な文脈で活用。アルゴリズムやプロセスを音として提示し、コンピューターによる創造性及び音と視覚の関係を研究。また、音やテクノロジーを通じたアイデンティティや他者性の問題の現れ方を探求。東アジア言語の擬態語（音を発しないものを字句で模倣した言葉）などの視聴化に類似したプロセスも使用。最近の作品では、聴覚AIや指向性オーディオの使用法を探究。
現在、香港城市大学クリエイティブメディア学院で 助教、MFACMプログラム副リーダー、及び空間オーディオのアート・研究ラボSoundLabの共同ディレクターを務める。
