Ryoji Ikeda’s sonic composition has often been considered to prioritise a physical, immersive experience of space over temporal musical progression. This article challenges this commonly held view, arguing that the static nature of his work should be understood in terms of complex interactions between space and time rather than in dualistic terms. By analysing a large-scale sonic transformation within his 2005 album Dataplex, the article uncovers complex rhizomatic networks of materials that expand across multiple tracks. The links between the album tracks leads to an unconventional quality of musical time that contains a high degree of statis yet nevertheless presents a non-linear progression, which is created through repetition (loops), variation and re-contextualisation of sounds. The analysis suggests that experiencing the ordered series of tracks in the album means accumulating information and exploring memory within a non-interchangeable process of sonic flow and metamorphosis. Despite the fragmentary nature of these internal continuities, the resulting rhizomatic networks provide a means to understand and even to listen structurally to Ikeda’s sonic composition.

中文翻译：

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池田良二电子音乐中的时空网络：声音的循环、变化和重新语境化

池田亮司的声音创作通常被认为优先考虑物理的、身临其境的空间体验，而不是时间的音乐进程。本文挑战了这种普遍持有的观点，认为他的作品的静态本质应该从空间和时间之间复杂的相互作用而不是二元论的角度来理解。通过分析他 2005 年专辑中的大规模声音转变数据中心，文章揭示了跨多个轨道扩展的复杂的根茎材料网络。专辑曲目之间的联系导致了一种非常规的音乐时间质量，其中包含高度的统计性，但仍然呈现出非线性的进展，这是通过声音的重复（循环）、变化和重新语境化而创建的。分析表明，体验专辑中有序的一系列曲目意味着在声音流动和变形的不可互换过程中积累信息和探索记忆。尽管这些内部连续性具有支离破碎的性质，但由此产生的根茎网络提供了一种理解甚至从结构上聆听池田声音作品的方法。