Immersive experience at the planetarium of the “Cité des sciences et de l’industrie”, Paris
Seasons, comets, supernovæ… how were the phenomena of the cosmos described in the Middle Ages? From Rome to Hastings, from Baghdad to Palos de la Frontera, 1000 years of astronomical history and history are told in this highly immersive film. From ancient astronomical models to our current knowledge, discover how the evolution and transmission of knowledge has made it possible to understand our place in the Universe… A journey through time to experience History in a different way.
Ryoji Ikeda (b. in Gifu, Japan in 1966; lives and works in Paris and
Kyōto) is one of the world’s leading sound and media artists. His often
large-format light and sound installations have caused numerous
international sensations (e.g. 2018 Centre Pompidou, Paris; 2018 Eye
Filmmuseum, Amsterdam; 2015 ZKM Karlsruhe; 2014/15 Minsheng Art Museum,
Shanghai). Ikeda’s works reflect the progressive digitalization of
our society and allow viewers to visually and acoustically experience
digital universes. With the exhibition, the Kunstmuseum Wolfsburg is
presenting—for the first time together—two new large-scale projections,
which will be installed site-specifically in the museum space: data-verse 1 and data-verse 2.
With
his works, Ryoji Ikeda strives to “capture the world down to the
smallest detail” (R. I. 2008). His light and sound installations thus
have their origins in mathematics, physics, and biology, as well as in
musicology and philosophy. Ikeda succeeds in making the abstract volumes
of data and computing power we deal with every day comprehensible. He
lets viewers immerse themselves in digital universes, which oscillate
between the smallest measurable units, i.e. bits and bytes, and cosmic
dimensions—they give the impression as if, with the data streams, one
were on a journey through space.
Alongside installation works, Ikeda has been working on projects through live performances, books and CD’s such as +/- (1996), 0°C (1998), matrix (2000), dataplex (2005), test pattern (2008), supercodex (2013), and music for percussion (2018) which pioneered a new minimal world of electronic music through his razor-sharp techniques and aesthetics.
On
the one hand, the surrounding architecture is decisive for his
installations and is taken into account in the set-up of the works. On
the other hand, visitors to the exhibition are invited to move about in
the space in order to reevaluate their own perception and sound out the
relationship between space and time. The pulsating sounds underlying the
installations range in their spectrum from barely audible sine tones to
dull, physically perceptible bass sounds. The latest 4K projection
technology contributes to transforming the exhibition into a fascinating
total synesthetic experience.
The production of data-verse 1 and data-verse 2 was commissioned by Audemars Piguet. Curator: Andreas Beitin
For most of us, a fact is a fact. It can be proven and corresponds to a unique objective reality. But the world of quantum physics is once again about to shake our certainties. Its specific laws would allow the coexistence of several different realities.
By Etienne Klein, physician and philisopher, on the occasion of TimeWorld 2019.
A motion through space […] becomes a curve on the graph […] In this way, time is represented as if it were another dimension of space. Motion is frozen, […] We have to find a way to unfreeze time – to represent time without turning it into space.
Lee Smolin, The Trouble with Physics, 2008
Jean-Pierre Luminet was born under the Provençal sky, he spent a solitary childhood devoted to observation, the classification of nature and creation in all its forms. The sky and the flesh of the night were invited into his gaze from that time on.
What is space time? How was this concept introduced? How do the theories of restricted and general relativity introduce space time? How many dimensions does space time have? What form does it take in string theory?
