<HTML><BODY style="word-wrap: break-word; -khtml-nbsp-mode: space; -khtml-line-break: after-white-space; "><P align="center" style="text-align: left;">Hi there, </P><P align="center" style="text-align: left;">We are very pleased to announce our upcoming events (and much more in the works) at the Recombinant Media Labs in August. At the top of this email are two mini descriptions of each event; below are more detailed descriptions. Please feel free to get in touch if you have any questions. </P><P align="center" style="text-align: left;">I hope to see you at the shows!</P><DIV style="text-align: left;"><B>RML and Asphodel Records present the Forma production of RYOJI IKEDA's datamatics [ver.1.0b]<BR></B></DIV><DIV style="text-align: left;">August 10, 2006</DIV><DIV style="text-align: left;"><BR></DIV><IMG src="cid:733C1598-AF2A-41AC-AFE8-DF0378C43A65@local"><P style="text-align: left;">Japan’s leading electronic composer/artist, Ryoji Ikeda, has gained a reputation as one of few international artists working convincingly across both visual and sonic media. He has been hailed by critics as one of the most radical and innovative contemporary composers, citing his live performances, sound installations and album releases on the Touch and Raster Noton labels. Ikeda & RML present a special multichannel version of his live AV datamatics concert. More info below. </P><DIV style="text-align: left;"><B>SKOLTZ_KOLGEN's 'Fluux:/Terminal' & 'asKaa' at RML<BR></B></DIV><DIV style="text-align: left;">August 17, 2006</DIV><DIV style="text-align: left;"><BR></DIV><IMG src="cid:AC513EE2-F120-45D5-83A1-C0CD5954D4B0@local"><P style="text-align: left;">Skoltz Kolgen is a plurimedia work cell based in Montreal, comprising dominique [t] skoltz and herman w kolgen. Liberated by digital media they simultaneously assume numerous positions, inhabiting a space between film, photography, audio art, and installation. Skoltz Kolgen & RML present a special surround-sound version of a rigorous and raucous event, Wednesday, August 16th and Thursday, August 17th 8:30PM. More info below. </P><P style="text-align: left;">------------------------------------------------------------------------------------------------------------------------------------------------------------------</P><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; background-color: rgb(245, 238, 228); "><FONT class="Apple-style-span" face="Arial" size="6"><SPAN class="Apple-style-span" style="font-size: 24px;"><B>Recombinant Media Labs Present: Ryoji Ikeda: Datamatics [ver.1.0b]</B></SPAN></FONT></DIV><P align="center" style="text-align: left;">THURSDAY AUGUST 10TH</P><P align="center" style="text-align: left;">2 sessions at 7:00pm sharp and 10:30pm</P><P align="center" style="text-align: left;">RECOMBINANT MEDIA LABS<BR></P><P align="center" style="text-align: left;"> San Francisco<BR></P><P align="center" style="text-align: left;"> $15 <BR></P><P align="center" style="text-align: left;"> Reservations are strongly suggested.<BR></P><P align="center" style="text-align: left;"> call 650.255.8647 for more info</P><P align="center" style="text-align: left;">Purchase Advanced tickets via Paypal on <A href="http://www.recombinantmedia.net">www.recombinantmedia.net</A></P><P align="center" style="text-align: left;">Ryoji Ikeda - datamatics [ver.1.0b]</P><P align="center" style="text-align: left;">Produced by forma </P><P align="center" style="text-align: left;"><IMG src="cid:33D2805D-B334-49C3-A088-1DA208FE9CC9@local"></P><P align="center" style="text-align: left;">Commissioned by AV Festival and ZeroOne San Jose and ISEA 2006. Supported by Arts Council England, Yamaguchi Center for Arts and Media (YCAM) and Recombinant Media Labs.</P><P style="text-align: left;"> Using pure data as a source for sound and visuals, datamatics combines abstract and mimetic presentations of matter, time and space in a powerful and breathtakingly accomplished work.<BR></P><P style="text-align: left;"> <BR> datamatics is the second audiovisual concert in Ryoji Ikeda’s datamatics series‚ an art project that explores the potential to perceive the invisible multi–substance of data that permeates our world. For datamatics [ver.1.0b], Ikeda presents a special surround-sound version of his datamatics concert.<BR> <BR> Projecting dynamic, computer–generated imagery – in pared down black and white with striking colour accents, Ikeda’s intense yet minimal graphic renderings of data progress through multiple dimensions. From 2D sequences of patterns derived from hard drive errors and studies of software code, the imagery transforms into dramatic, rotating views of the universe in 3D, whilst the final scenes add a further dimension as four-dimensional mathematical processing opens up spectacular and seemingly infinite vistas.<BR> <BR> A powerful and hypnotic soundtrack reflects the imagery through a meticulous layering of sonic components to produce immense and apparently boundless acoustic spaces.<BR> <BR> datamatics‚ alongside the recently released and critically acclaimed dataplex album(raster-noton)‚ marks a significant and exciting progression in Ikeda’s work.</P><P style="text-align: left;">Ryoji Ikeda <BR></P><P style="text-align: left;"> Japan's leading electronic composer/artist, Ryoji Ikeda, focuses on the minutiae of ultrasonics, frequencies and the essential characteristics of sound itself. Since 1995, Ikeda has been intensely active through concerts, installations, and recordings, integrating sound, acoustics and sublime imagery. In the artist’s works, music, time and space are shaped by mathematical methods as Ikeda explores sound as sensation, pulling apart its physical properties to reveal its relationship with human perception.<BR> <BR> Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. Using computer and digital technologies to the utmost limit, his audiovisual concerts datamatics (2006 – present), C4I (2004 – present) and formula (2000 – 2006) suggest a unique orientation for our future multimedia environment and culture. His acclaimed installations data.spectra (2005), spectra [for terminal 5, jfk] (2004), spectra II (2002) and db (2002) continue to diffuse Ikeda’s aesthetic of ‘ultra minimalism’ to the art world. Ikeda’s latest body of work, datamatics, is a long-term programme of moving image, sculptural, sound and new media works that use data as their theme and material to explore the ways in which abstracted views of reality – data – are used to encode, understand and control the world.<BR> <BR> He has been hailed by critics as one of the most radical and innovative contemporary composers for his live performances, sound installations and album releases. His albums +/- (Touch, 1996), 0°C (Touch, 1998) and matrix (Touch, 2000) pioneered a new minimal world of electronic music, employing sine waves, electronic "glitch" sounds, and white noise. Ikeda released his critically acclaimed, seventh solo album entitled dataplex (raster-noton), as part of the datamatics series, in 2005.<BR class="khtml-block-placeholder"></P><P style="text-align: left;">The versatile range of Ikeda's research is demonstrated by his collaborations with Carsten Nicolai on the project cyclo. and with choreographer William Forsythe/Frankfurt Ballett, artist Hiroshi Sugimoto, architect Toyo Ito and artist collective Dumb Type, among others. </P><P style="text-align: left;"> Ikeda has exhibited and performed at many of the world's leading festivals and venues, including the Australian Centre for the Moving Image, 2005 (Melbourne); Centre Pompidou 2004 and 2001, Musée d'Art Moderne de la Ville 1999, and La Villette 2002 (all Paris); Sónar 1999 and 2006 (Barcelona); Architectural Association 2002, Barbican 2006, Hayward Gallery 2000, Millennium Dome 2000, Queen Elizabeth Hall 2000, Tate Modern Turbine Hall 2006 (all London); Auditorium Parco della Musica 2003 (Rome); ICC 1999 and 2005, Tokyo International Forum 2006 (Tokyo); Göteborg Biennial 2003 (Göteborg). In 2001, Ikeda was awarded the Ars Electronica Golden Nica prize in the digital music category and he was short-listed for a World Technology Award in 2003.</P><P style="text-align: left;">www.ryojiikeda.com</P><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; background-color: rgb(245, 238, 228); "><FONT class="Apple-style-span" face="Arial" size="6"><SPAN class="Apple-style-span" style="font-size: 24px;"><B>Recombinant Media Labs Present: skoltz_kolgen: Askaa and fluux:/terminal</B></SPAN></FONT></DIV><P align="center" style="text-align: left;">AT RECOMBINANT MEDIA LABS<BR></P><P align="center" style="text-align: left;"> San Francisco<BR></P><P align="center" style="text-align: left;"> Wednesday August 16th & Thursday August 17th <BR></P><P align="center" style="text-align: left;"> at 8:30 pm <BR></P><P align="center" style="text-align: left;"> $15</P><P align="center" style="text-align: left;">Purchase Advanced tickets via Paypal on <A href="http://www.recombinantmedia.net">www.recombinantmedia.net</A></P><DIV style="text-align: left;">Buy Tickets for Wednesday August 16, 8:30pm - $15.</DIV><DIV style="text-align: left;">Buy Tickets for Thursday August 17, 8:30pm - $15....</DIV><P style="text-align: left;">Skoltz_kolgen is a plurimedia work cell based in Montreal, comprising dominique [t] skoltz and herman w kolgen. Rigorous and raucous creators,their artistic pursuits plumb the integral linkages between sound and image. Skoltz_Kolgen create liminal worlds that exist in the nebulous territory between inner and outer space. Penetrating the ephemeral skin between solid matter and the unsubstantiated, the intimate and the objective, their work conjures bewitched worlds that gestate betwixt accident and intent. This liminal quality bleeds into all aspects of Skoltz_Kolgen’s practice, from the conceptual to the technical, as they balance on the cusp of art and science. Liberated by digital media they simultaneously assume numerous positions, inhabiting a space between film, photography, audio art, and installation. Their synergistic practice encompasses expanded cinema, explorations of the subtle and visceral qualities of sound, and hybrid forms of digitally enabled synaesthesia. Architects of worlds that simultaneously inhabit us as we inhabit them, Skoltz_Kolgen inquisitively seek out the intimate material and ineffable substance of life.</P><P style="text-align: left;">‘FLÜUX:/TERMINAL‘ is a bipolar performance that skoltz_kolgen have named ‘Diptyque Rétinal’. As in all of their work, here their research has established a point of contact between sound and image. But ‘FLÜUX:/TERMINAL‘ pushes the dialogue between these two elements one step further: their performance creates a dramatic trajectory, fuelled by the panoramic tensions (left/right) between hearing and seeing.</P><P style="text-align: left;">‘FLÜUX:/TERMINAL' projects images on two screens in a parallel visual body of luminous particles: photographed or filmed images and wire frame displays. As stereophonic visual representations, the two screens are the alter egos of the audio, which is also divided in two. The sound sources (left/right) are desynchronized and propelled into separate channels: the left-hand channel excites the left-hand image; the right-hand channel excites the right-hand image. The image is distorted, bearing the marks that the sound imprints upon it, and becomes the fossil of the sound. A bipolar experience is therefore built by catalyzing the lines of tension between two independent but related audio and visual worlds. Their dissociation in one instance and their synchrony or symmetry in another establish space-times that fairly float in weightlessness. These suspended moments are succeeded by fresh charges of energy that are massive and intense. A new generation of meaning escapes: attraction and repulsion, interdependence at times, followed by struggle and conflict at others.</P><P style="text-align: left;">‘FLÜUX:/TERMINAL' is a living performance that evolves each time it is presented. In the same evolutionary spirit, the ‘FLÜUX:/TERMINAL' album transposes the performance in another environment. Skoltz_Kolgen give the audio cd a life of its own while reprising textures and sound microfragments from the performance and reconfiguring them, stripped of their visual aids. The result is more musical and minimalist, venturing beyond the raw, polarizedqualities of the performance.</P><P style="text-align: left;">asKaa is an interactive ecosystem inspired by vegetation. With this project, Skoltz_Kolgen have developed an evolving sound/image platform that reacts in real time to sonic influxes. Displayed on two gigantic projection screens, virtual plants can be seen in perpetual evolution, while simple impulses of sound randomly modify their developmental process as well as their environment. In performance mode, the installation will be amplified by the addition of guest artists. These artists, once immersed in the illuminated botanically themed setting, will assume the capacity to stimulate the evolving vegetation pattern with their particular style of sonic influxes. asKaa offers an exhilarating botanical space. Respecting the growth potential of the environment is key and the artists must strive to orchestrate their performances accordingly. Occasionally, it’s a game of silences and stop times, which figuratively reflects the breaths of the living installation.</P><P style="text-align: left;">www.skoltzkolgen.com</P><DIV style="text-align: left;"><DIV style="text-align: left;">Maria Gonima // Asphodel, Ltd.</DIV><DIV>t - 415.863.3068 ext. 16</DIV><DIV>f - 415.863.4973</DIV><DIV>Skype: oonceoonce</DIV><DIV>AIM: quietprojector</DIV><DIV><BR class="khtml-block-placeholder"></DIV><BR class="Apple-interchange-newline"></DIV><DIV style="text-align: left;"><BR></DIV></BODY></HTML>