The New York Times introduces Japanese artist of white noise music Ryoji Ikeda. “While most artists draw on emotions, experiences and their environment for inspiration, Japanese artist Ryoji Ikeda also uses math, numbers and data for his work. His computer-generated audiovisual concert of sorts is called “Datamatics 2.0,” and is part of the French Institute in New York’s “Crossing The Line Festival,” which features artwork that doesn’t fit neatly into any one genre.”

Co-curator Simon Dove explains: “This really is a combination of a long period of research for Ryoji, in looking at this relationship between data, what is data, what is information, and how do you make that information tangible, visual?” He adds: “Whatever we do generates data, so he’s really composed the sound and data streams in synchronization, creating this immersive concert environment.”

Ikeda also designed an installation in a room with several screens called “The Transcendental,” which was intended to help viewers understand the vast concept of infinity.

“Without knowing that, what you see is what you get and what you actually feel, not just from the ear, not just from the eyes, but soak yourself into the universe or space that you have never imagined,” says Yoko Shioya, the artistic director of the Japan Society.

To show just how complex it all gets, in “Datamatics 2.0,” the data that’s visualized is pulled from places like NASA, the Human Genome Project, and in a fitting twist, even the data that was created through the making of this project is also visualized in that project.

“Ryoji Ikeda: The Transcendental” is on display at the French Institute Alliance Française Gallery at 22 East 60th Street through October 16. You can listen to samples at  and