Ryuta Aoki

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Ryuta Aoki
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Born
Tokyo, Japan
NationalityJapanese
Awards- Social Impact Award of Art Division, The 25th Japan Media Arts Festival
- Public Award, WIRED Creative Hack Award 2021
Websitehttps://ryutaaoki.jp

Ryuta Aoki (born 7 July, 1979) is a Tokyo-based artist and artistic director.

He was a curator and artistic director for the Agency for Cultural Affairs' "Japan Media Arts Distributed Museum" in 2020[1][2][3] and the "Jack into the Noösphere" exhibition held as part of Chiba City's first art festival in 2021.[4] The article highly praised the "Jack into the Noösphere" exhibition in his article, stating that "the exhibition itself somewhat akin to a piece of conceptual art."[5] In a survey conducted by Chiba City, 98% of respondents said they "had fun," and 94% said they would "recommend it to acquaintances and friends," yielding exceptional results for a media art exhibition.[6]

Selected exhibitions of his work include "ART for SDGs: Kitakyushu Art Festival Imagining Our Future" in 2020[7][8] and "2121 Futures In-Sight" at 21_21 DESIGN SIGHT in 2021.[9]

He won the Public Prize at the "WIRED Creative Hack Award in 2021.[10] and the first Japanese group to win the Social Impact Award (Minister of Education, Culture, Sports, Science and Technology Award) in the Art Division of the 25th Japan Media Arts Festival in 2022.[11] The award-winning work "Bio Sculpture" was cited for being "This work, generated with practical and comprehensive knowledge, has made a significant contribution to the development of new media art"[11] as the reason for the award. During the commemorative talk for the award, the jurors stated that the decision to award was made "unanimously."[12]

He co-authored "ALife: An Introduction to Artificial Life Model Theory through Implementation" (O'Reilly Japan), published in Japanese in 2017.[13] It was translated into Chinese in 2018.[14]

Works

  • New Rousseau Machine (METACITY, Installation, 2021)[9]
  • Bio Sculpture (SFC Hiroya Tanaka Lab. + METACITY, Art Installation, 2021)[11]
  • SOTOROJI #0 (The TEA-ROOM, Installation, 2020)[2]
  • ANH-00 (ALTERNATIVE MACHINE, Installation, 2019)[15]

Exhibitions and festivals

  • The 25th Japan Media Arts Festival Award-winning Works Exhibition (Miraikan, Tokyo, Sep. 16th - 26th, 2022)[11]
  • The Year 2121: Futures In-Sight (21_21 DESIGN SIGHT, Tokyo, Dec. 16th, 2021 - May 26th, 2022)[9]
  • Ars Electronica 2021 Garden Tokyo (Online, Sep. 8th - 12th, 2021)[16]
  • The Exhibition of Jack into the Noösphere (Japanese Garden “Mihama-en”, Chiba, Jul.24th - Aug. 8th, 2021)[4]
  • Kitakyushu Art Festival ART for SDGs (Kitakyushu Innovation Gallery, Fukuoka, Apr. 29th - May 9th, 2021)[17]
  • Japan Media Arts Festival x Distributed Museum (Chubu Centrair International Airport, Aichi, Mar. 9th, 2020 - Feburary 9th, 2021)[2]

Publications

Books (Joint Authorship)

  • 『ALife - Build and Run: Introduction to Artificial Life Model Theory through Implementation』 (O'Reilly Japan, Inc, 2017)[13]

Articles

  • WIRED Japan Vol.42 (Condé Nast Japan, Sep. 16th, 2021)[18]
  • AXIS Vol.205 (AXIS, Sep. 1st, 2021)[19]
  • WIRED Japan Vol.36 (Condé Nast Japan, Mar. 13th, 2020)[20]

Scientific Papers (Joint Authorship)

  • 「Evolving Acoustic Niche Differentiation and Soundscape Complexity Based on Intraspecific Sound Communication」 (Jul. 2020)[21]
  • 「ALife as a Tool for Cooperative Society Between People and Machines」 (Jul. 2018)[22]

References

  1. ↑ "Fukuoka Airport". Japan Media Arts Distributed Meseum. Agency_for_Cultural_Affairs. Retrieved 11 October 2022.
  2. ↑ 2.0 2.1 2.2 "Chubu Centrair International Airport". Japan Media Arts Distributed Meseum. Agency_for_Cultural_Affairs. Retrieved 11 October 2022.
  3. ↑ "Naha Airport". Japan Media Arts Distributed Meseum. Agency_for_Cultural_Affairs. Retrieved 11 October 2022.
  4. ↑ 4.0 4.1 "Chiba City Festival of Arts". Chiba_(city). Retrieved 11 October 2022.
  5. ↑ Hayashi, Nobuyuki (6 August 2021). "Jack into the Noösphere". RealTokyo.
  6. ↑ "The Report of CHIBA CITY FESTIVAL OF ARTS" (PDF). April 2022.
  7. ↑ "Kitakyushu Art Festival". Kitakyushu. Retrieved 11 October 2022.
  8. ↑ Hasegawa, Kanae (4 May 2021). "Art for SDGs: Kitakyushu Art Festival – Imagining Our Future". Studio_International. Retrieved 11 October 2022.
  9. ↑ 9.0 9.1 9.2 "The Year 2121: Futures In-Sight". 21_21_Design_Sight. Retrieved 11 October 2022.
  10. ↑ "WIRED Creative Hack Award 2021". WIRED. Retrieved 11 October 2022.
  11. ↑ 11.0 11.1 11.2 11.3 "25th Art Division Social Impact Award "Bio Sculpture"". Japan Media Arts Festival. Agency_for_Cultural_Affairs. Retrieved 11 October 2022.
  12. ↑ Art Division Social Impact Award "Bio Sculpture” Talk Session, retrieved 2023-10-23
  13. ↑ 13.0 13.1 Tsukutte ugokasu ALife : Jisso o toshita jinko seimei moderu riron nyumon. Mizuki Oka, Takashi Ikegami, Dominick Chen, Ryuta Aoki, Norihiro Maruyama. O%27Reilly Media Japan. 2018. ISBN 978-4-87311-847-5. OCLC 1089697916.{{cite book}}: CS1 maint: others (link)
  14. ↑ A-Life｜使用Python實作人工生命模型 (in Chinese). Taiwan: GOTOP. 2019. ISBN 9789865021474.{{cite book}}: CS1 maint: unrecognized language (link)
  15. ↑ "Edition4". MUTEK Tokyo Edition 4. MUTEK Tokyo. Retrieved 11 October 2022.
  16. ↑ "Highlighting Collective Movements". Ars Electronica 2021 Garden TOKYO. Agency_for_Cultural_Affairs. Retrieved 11 October 2022.
  17. ↑ "ARTIST". NEXT WORLD EXHIVISION × 23RD JAPAN MEDIA ARTS FESTIVAL. Agency_for_Cultural_Affairs. Retrieved 11 October 2022.
  18. ↑ "WIRED Vol.42". WIRED Japan. WIRED Japan. 2021. Retrieved 11 October 2022.
  19. ↑ "AXIS Vol.205". AXIS. Japan: AXIS Magazine. 2021. Retrieved 11 October 2022.
  20. ↑ "WIRED Vol.36". WIRED Japan. WIRED Japan. 2020. Retrieved 11 October 2022.
  21. ↑ Masumori A, Doi I, Smith J, Aoki R, Ikegami T (2020). "Evolving Acoustic Niche Differentiation and Soundscape Complexity Based on Intraspecific Sound Communication". The International Society for Artificial Life: 465–472. doi:10.1162/isal_a_00296. S2CID 225774569.
  22. ↑ Mizuki O, Dominique C, Aoki R, Ikegami T (2018). "ALife as a Tool for Cooperative Society Between People and Machines". The International Society for Artificial Life: 103–104. doi:10.1162/isal_a_00025.

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