Two large video images are projected face-to-face onto the walls in the large exhibit space in Yilan. Each wall of image is about 38 meters long, two walls will be covered by 12 video projectors in total.
Massive scientific data sets are mathematically depicted onto walls as maps of the Universe, molecular structures of protein, DNA sequences, 4-dimensional mathematical hypercubes and super-highway of raw data etc.

Both large walls of image and the sound components are tightly synchronised each other and artistically orchestrated as a whole symphony, which brings “total sensory experiences” to visitors.

A unique site-specific project A [for 100 cars], Ryoji Ikeda orchestrates 100 cars gathered in Los Angeles —engaging a local community of drivers.
Ikeda’s musical score is provided to each driver of the car.
A special device is newly designed and created by Red Bull Music Academy in collaboration with the artist. 
It can generate various frequencies and octaves of concert pitch A.
The parking lot at the heart of downtown of Los Angeles is transformed into a special 100-channel concert filled with sounds of the history of concert pitch A.

the radar [fondation vasarely] ryoji ikeda © 2013 from Hexalab on Vimeo.

This is a site-specific sound installation created for and dedicated to the six silos at the waterfront in Auckland.

The title A stands for the standard concert pitch 440Hz, so-called "La". This concert pitch, however, has varied over the past few hundreds of years, from Bach's era to the recent definition ('70s) by ISO (the International Organization for Standardization). For example, the pitch of Handel's tuning fork, which was made in 1751, is 422.5Hz however another tuning fork used by Steinway & Sons to tune pianos in London in 1879 is 454.7Hz. The musical note "A" as the standard pitch for orchestras has never been precisely defined, and still varies depending on orchestras or countries.

A series of historical concert pitches "A" is assigned to each silo and is emitted at the same time with a certain order/composition from some hidden loudspeakers installed in the space.

Each sound is a sine wave, one of the purest tones and almost identical to the sound of tuning forks. Scientifically speaking, sine waves are fundamental building blocks of sound as a physical phenomenon, in other words any kind of sound can resolve itself into a combination of sine waves. One of the unique characteristics of a sine wave is that it is non-directional, it fills up the space immediately and we can hardly recognise from where it is actually emitted.

Once different sine waves of historical concert pitches/frequencies superpose each other, "interference" or "difference tone" appears. For example, when 449Hz and 442Hz are played back at the same time, a third wave occurs as 7Hz (= 449Hz - 442Hz) oscillation; i.e. 7 cycles per second.

Therefore, the six silos will be totally filled up with invisible patterns of very complex sound fabrics and resonances formed through the historical concert pitches.

Visitors will experience their own particular interference/oscillation in their ears which will constantly and interactively change and resonate at both physical and intrapersonal levels in accordance to their own movements. They will walk through and move around an invisible sound ocean of the history of music standardisation.

test pattern [n˚2] presents flickering black and white imagery that floats and convulses in darkness on two screens, one on the floor and another floor to ceiling, in time with a stark, powerful and highly synchronised soundtrack. Through a real–time computer program audio signal patterns are converted into tightly synchronised barcode patterns on the screens. The velocity of the moving images is ultra–fast, some hundreds of frames per second, providing a totally immersive experience for visitors. The work provides a performance test for the audio and visual devices, as well as a response test for one's perceptions.

Sixty-four powerful lighting devices are projected vertically up into the sky. The sculpture of light can be seen from all points in the city, its illumination changing constantly as clouds pass by. As visitors approach, they will receive colour information into their eyes instantly and due to the intense brightness, the installation becomes almost invisible.

At the base of the sculpture, visitors can walk through the grid of light, which is filled with sinewaves. These waves are ultra-pure, forming invisible sound patterns whose source is indecipherable by the ear. The emitted sinewaves interfere with one another as visitors walk through the grid, causing subtle oscillations around the ears of each individual. A musical score is thus created for each person as they move through the space, creating an entirely unique and personal experience for each visitor.

the transcendental is a series for Ikeda’s solo exhibition at Le Laboratoire in Paris 2008.

A transcendental number is mathematically infinite. In the works inspired by this concept, a snapshot of millions of digits taken from a transcendental number are engraved onto a stainless steel panel or printed onto photographic paper.

In the transcendental [nº3], the infinite digits of a transcendental number are generated by a real-time computer program and presented on a display. Visitors will experience a fragment of a transcendental number that knows no end. No two visitors will witness the same fragment, making each visitor’s experience an entirely unique glimpse at infinity’s threshold.

data.scan presents an audio-visual relationship relating to large sets of data from two recent meta-scientific investigations that have mapped the human body and the astronomical universe. The horizontal monitor-based data.scan is registered intimately in relation to the viewer’s body. The dialogue of sound and image in data.scan addresses notions of randomness, extremities of scale, and binaries of the visible/audible and invisible/inaudible.

data.tron [8K enhanced version] is an enhanced version of the audiovisual installation data.tron. Each single pixel of visual image is strictly calculated by mathematical principle, composed from a combination of pure mathematics and the vast sea of data present in the world. In this version visitors are literally immersed in the work, as data is seamlessly projected onto the gallery wall and floor from eight sources.

In this first edition of the project, an audiovisual installation, test pattern involves a sequence of tests for machines and humans. Comprising of visual patterns converted and generated from sound waveforms in real–time, the installation is made up of eight computer monitors and sixteen loudspeakers aligned on the floor in a dark space. The eight rectangular surfaces of the screens flicker intensely with black and white images. Sixteen channel sound signals are mapped as a grid matrix, passing and slicing the space sharply, and via a real–time computer program the signal patterns are converted into eight tightly synchronised barcode patterns. The velocity of the moving images is ultra–fast, at certain points some hundreds of frames per second, providing a performance test for the devices as well as a response test for visitors' perceptions.

The Paris night sky is illuminated with blinding white light beamed vertically from scores of highly powered architectural lamps; spectra [paris] was commissioned for Nuit Blanche, the city’s annual white night contemporary arts festival. Situated on a plaza next to the tallest skyscraper in France, the lighting is accompanied by a sound composition. As visitors move through the field of light they each experience a unique symphony of ultra pure sine sound waves.

spectra [amsterdam] was commissioned for Dream Amsterdam 2008; the first project for a public space and first large-scale work pushing the creative possibilities of light to its utmost extremes. In this work selected architectural features in industrial, civic and open public spaces emanate blinding white light for several hours every evening, in an unearthly, unforgettable experience.

How many points are there in a line?
What is the number of numbers?
How can we verify that the random is random?

data.tron is part of the datamatics project, a series of experiments that explore such questions both physically and mathematically. Visitors will experience the vast universe of data in the infinite between 0 and 1.

data.tron is an audiovisual installation in which each single pixel of visual image is strictly calculated by mathematical principle, composed from a combination of pure mathematics and the vast sea of data present in the world. These images are projected onto a large screen, heightening and intensifying the visitor's perception and total immersion within the work.

A sculptural wall installation, data.film consists of a series of 35mm film mounted in a light box. The image on the film is constructed from microscopically printed data codes and patterns from pure digital sources, while the unusual proportions of the light box (4 cm high, 10 metres wide, 4 cm deep) create a long, narrow strip of film. Only upon close examination by the viewer can the film and its contents be recognised.

data.spectra is the first work of the data.series. Across the entire width of a darkened room is an intensely bright, narrow screen. On moving closer, the screen reveals that the source of the flood of light into the room is a vast array of tiny digits streaming across its surface, seemingly without end.

spectra [for Terminal 5, JFK] was commissioned for the luminal tunnel of Eero Saarinen's TWA Terminal at JFK International Airport as part of Terminal 5, an exhibition curated by Rachel K. Ward. With it's plunging vanishing point and soaring roofline, Saarinen's theatrical passage embodied, if not created, Utopian ideals of transcendence and transportation in travel. The installation offers visitors a special phenomenon. It is nearly invisible due to its intense brightness and inaudible due to its ultra-frequencies. Visitors can barely recognise the dimensions of the space, as if they were blind in a whiteout state. As they pass through the corridor, subtle oscillation patterns occur around their ears, caused by their own movements interfering with the sounds. The sound is subtle and minimal, yet the experience of the sound in the installation is active and dynamic. It is therefore only through the public's physical engagement in the sound space that the real character of the work can be perceived.

This sound installation in an anechoic chamber is intended to quite physically explode the senses. Using the highest and lowest frequencies that human ears can bear, db is a hyper-dense composition of sine waves, white noise and other elements, which blurs the lines between noise and music, thought and matter. The visual equivalent experienced in the dazzling bright white light chamber one enters after passing through a dark hallway between the two spaces completes the sense-shattering totality.

This installation relies on the intersection of sound and architecture as well as exploring an interest in phenomena - be they light, tone or sound - and how they materialise and manifest themselves in the world. The piece is built as a narrow, ceiling-covered corridor, allowing only one visitor to enter at a time. In the space, red laser lights mark out the architectural construction of the otherwise darkened corridor and divide it into sections. Along the length of the space, speakers and strobe lights are mounted on the ceiling. The flashing strobe lights and high frequency sounds are synchronised and continuously change the experience of the space. Aiming at purity and simplicity in the sound, high frequency sine waves are deployed, only to subject them to an exploration of how pure tone and sound are distorted by the resonance and reflective qualities of a given architectural setting and the presence and movement of the public. Visitors can hardly recognise the dimensions of the space, which is almost invisible due to its intense darkness/brightness and inaudible due to its ultra-frequencies. However, as they pass through the corridor, subtle oscillation patterns occur around their ears, caused by their own movements interfering with the sounds. The sound itself may be subtle and minimal, but the experience of the sound in the installation is active and dynamic. It is only through the public's physical engagement in the sound space that the real character of the work can be perceived.