Issue/47/
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BOOK REVIEW

Ryoji Ikeda:

formula

by Christopher Y. Lew


In 1998, public intellectual Kodwo Eshun wrote, "Music today is already more conceptual than [sic] any point this century, pregnant with thought probes waiting to be activated, switched on, misused." Although his intentions were to make connections between the varied music of the African diaspora— from jazz and dub to hip-hop and drum and bass— his assertion is equally valid for the work of the Japanese minimalist, Ryoji Ikeda. His sound works and installations are "pregnant;" yet ultra-spare in their consistent presentation of a big empty.

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