The method in which we – as (novice) remix artists – project and present our work is important to how an audience perceives, enjoys and communicates with the remixed art. The experiences artwork can offer are significant.
Ryoji Ikeda’s Datamatics (2005) is one example of an outstanding audience experience – one that is not confined to the basis of social media websites. Datamatics is Ikeda’s experiment in materialising pure data, that is transforming the intangible data that pervades technology into artworks that are perceptible to the senses audiovisual concerts, installations, publications and CD releases. Focusing, however, on Ikeda’s experiment of installations, the designed atmospheres of light imagery that embodied a relationship, connection, and pairing with sounds, brought to life the concept of foley. The matching of what is seen to what is heard is important to the narrative of an artwork. Ideka created a world that wasn’t restricted by a screen. It was open to the space it inhabited and surrounded its audience.
Similary, the music video Michel Gondry directed to Let Forever Be by The Chemical Brothers (2003) makes tangible what is digital and what is digital tangible, even with its restriction to the screen where we can view it. Gondry’s portrayal of a woman waking up and dancing through her day (an explanation of the most literal meaning to be derived from the video) compliments the use of dated filters with the physical rendition of these frames to create confusion amongst the audience. The elusive nature of such confusion is exaggerated from the director’s creation of subjectivity through pairing the imagery in the video with sounds to dictate a relationship or connection with each. The audiences’ confusion is, however, enjoyable as they wish to make sense of what is going on within the video and its almost cheesy ideas that look to be glitched in the low definition budget.