Kyoto Experiment: 池田亮司インタビュー

Kyoto Experiment  
E → J

インタビュー:池田亮司 × ステファン・ロス

Interview: Ryoji Ikeda x Stephane Roth







Is it possible to give a description of the way you manipulate mathematical concepts in “Superposition”?


That would be very difficult. In fact, I don’t want to make it explicit, because that might disturb the spectator, distort their experience. I don’t think art can be put into words, which IS no doubt what makes it valuable. We can talk about certain precise aspects of things, but the deep meaning of any artwork remains unspoken. True, I suggest a few directions in “Superposition”, notably by projecting texts and definitions, but that’s about it. I really want to make it clear that I am not trying to artistically represent or demonstrate a scientific theory. Quantum mathematics play a key role in my approach to composition, but they will be invisible to any spectator who doesn’t understand them and that won’t stop them enjoying the work. They will have seen everything, nothing will have escaped them, nothing will be hidden from them. They will construct their own understanding, out of their own history, their culture, based on what they saw, heard, savored, loved, etc. Generally speaking, even if they are founded on scientific or mathematical notions, my works always leave room for personal experience and are always aimed at a subject, a listener, a beholder.


In fact, quantum mathematics and physics are not so much the “theme” of the work as the data constituting its composition. The result IS a set of orientations, of effects that the beholder grasps (or doesn’t) according to their own lights.


I don’t have a message to give, or any wish to dominate or control listeners. I just want to challenge people’s thinking a bit.

(Extract from web text)