The premise is gesture as conduit to narrative. The language of the body becomes a visual stream for communication. How might sound influence this process? Participants will be guided through a series of movement tasks to create choreographic studies which extend the body in space and demonstrate a conductor-receiver relationship. We will look at how the emerging work can be captured in camera, and begin to look at the use of sound in a supporting role for moving image. We will discuss the language of physicality including sound and acoustic environment for the screen space. This process will involve motion graphics and sound in tandem with the physical presence of the performers. The outcomes will be short film and sound explorations, which utilise simple geometric animation templates, live and prerecorded sound. Guided by Daniel Belton, these 'investigations' will be created and curated by the student participants: Yu Meng Ting, Liew Kongmeng, Turoman Nora, Luo Shenshen, Yang Jing, HASHIM ZURIANAH, Chen Rachel, Hartono Patrick G., Jon He, and Dias de Almeida Berger Carolina. They will be producing short experimental films, to be showcased at the “Showcase” at ArtScience Museum on Sunday 23 August.

With support from New Zealand Art Council, Creative New Zealand, and School of Art, Design, Media (NTU).

The premise is gesture as conduit to narrative. The language of the body becomes a visual stream for communication. How might sound influence this process? Participants will be guided through a series of movement tasks to create choreographic studies which extend the body in space and demonstrate a conductor-receiver relationship. We will look at how the emerging work can be captured in camera, and begin to look at the use of sound in a supporting role for moving image. We will discuss the language of physicality including sound and acoustic environment for the screen space. This process will involve motion graphics and sound in tandem with the physical presence of the performers. The outcomes will be short film and sound explorations, which utilise simple geometric animation templates, live and prerecorded sound. Guided by Daniel Belton, these 'investigations' will be created and curated by the student participants: Yu Meng Ting, Liew Kongmeng, Turoman Nora, Luo Shenshen, Yang Jing, HASHIM ZURIANAH, Chen Rachel, Hartono Patrick G., Jon He, and Dias de Almeida Berger Carolina. They will be producing short experimental films, to be showcased at the “Showcase” at ArtScience Museum on Sunday 23 August.

With support from New Zealand Art Council, Creative New Zealand, and School of Art, Design, Media (NTU).

When We Collide is a collaborative and generative sound installation by Joyce Beetuan Koh, PerMagnus Lindborg, Andrián Pertout, Seongah Shin, Stefano Fasciani, and Dirk Stromberg. The idea for When We Collide sprang from Douglas Hofstader’s metaphor of creativity as the meeting between records and record players, appearing in his 1979 book "Gödel, Escher, Bach: An Eternal Golden Braid". In our case, the records are soundfiles, whilst the record player is a generative system. The player analyses, selects, mixes, transforms, and spatialises the material created by the composers (monophonic and quadraphonic soundfiles). The system negotiates between algorithms that tend towards monotony (in terms of loudness, spatialisation, and frequency spectrum) and algorithms that tend towards variability (in terms of soundfiles, transformations, and scenes). In a nutshell, the installation is a space where sonic ideas collide and co-exist.

• Creative Director: Joyce Beetuan Koh 
• Interactive Sound Design: PerMagnus Lindborg
• Sound Engineer: Yong Rong Zhao

With support from the National Arts Council of Singapore.

Soundislands Festival proudly present four invited artist performances, two scientific keynotes, a commissioned sound installation, an afternoon of public talks, an internet panel, two pedagogic workshops, two concerts with young performers, a special 'brunchmusic' performance, more than fifty artworks and scientific papers in numerous forms and formats selected from the open call, and social events.

Sound is a medium that acts as a glue between the senses. Hearing is deeply intertwined with vision and movement. Beyond that, researchers and artists are mapping out crossmodal associations with touch, smell, feel, and taste, leading to new and fascinating interaction designs, architecture, and culinary experiences, as well as a veritable coral reef of artworks. The interaction, “~sound:senses”, is the core theme of both the festival and the symposium. Keynote speakers are interaction design specialist Stefania Serafin and crossmodality researcher Charles Spence. The invited artists are audiovisual performer Ryoji Ikeda, film-maker and choreographer Daniel Belton, and electronica duos CLUBbleu and Black Zenith.

The Soundislands Festival is organised in close partnership with ArtScience Museum. THe Si15 2nd International Symposium on Sound and Interactivity received core funding from CLASS, something which allowed the project to take off more than fifteen months ago. The School of Art Design Media at Nanyang Technological University, the National Art Council, Bollywood Veggies, the Italian Cultural Institute, and the New Zealand Art Council all contributed directly to event production and outlays. Last but not least, we are pleased to acknowledge peer support from the Asia Computer Music Project and the International Computer Music Association.

The core organisation team consists of PerMagnus Lindborg, Suzy Styles, Joyce Beetuan Koh, and Stefano Fasciani. We wish to extend our thanks to all the individuals who have made this project possible. Invaluable work was provided by our closest collaborators Ross Williams, Dirk Stromberg, Liew Kongmeng, and Yong Rong Zhao. Thanks to CLASS director KK Luke for trusting that the Sound & Interactivity project should continue. The ASM team, Honor Harger, Anna Salaman, Nina Ernst, and Stacy Lim, are great partners in crime and passion (or was it science and art?) and pushed us to go further than initially imagined. Invaluable support was provided by ADM chair Vibeke Sorensen and faculty Michael Walsh and Lucas Jodogne, and staff Poh Zhuang Yi, Hong Bee Kuen, Lim Pheng Yew, Muhammad Mustajab Bin Mohamad, Lau Kheng Hock, and Bharat Singh. Thanks to the Proceedings session chairs, Naotoshi Osaka, Lonce Wyse, Sara Lenzi, Stephen Lim, Mark Wong, and Randall Packer, who also acted as peer reviewers, together with Renick Bell, Anders Elowsson, Emma Frid, Nicolas Jaquot, Joleen Loh, Antonio Pessotti, Seongah Shin, and Lindsay Vickery. We appreciate the careful attentiveness shown by Michelle Tan and Magdalene Lim at CLASS, taking care of budget and online registrations. Thanks to the CHASS students Issac, Sandra, Fei Ting, Jinpei, Valentia, and other helpers for their engagement. Last but not least, our gratitude goes to staff at NTU, NAFA, and ASM who have helped in various fashions along the way.

When We Collide is a collaborative and generative sound installation by Joyce Beetuan Koh, PerMagnus Lindborg, Andrián Pertout, Seongah Shin, Stefano Fasciani, and Dirk Stromberg. The idea for When We Collide sprang from Douglas Hofstader’s metaphor of creativity as the meeting between records and record players, appearing in his 1979 book "Gödel, Escher, Bach: An Eternal Golden Braid". In our case, the records are soundfiles, whilst the record player is a generative system. The player analyses, selects, mixes, transforms, and spatialises the material created by the composers (monophonic and quadraphonic soundfiles). The system negotiates between algorithms that tend towards monotony (in terms of loudness, spatialisation, and frequency spectrum) and algorithms that tend towards variability (in terms of soundfiles, transformations, and scenes). In a nutshell, the installation is a space where sonic ideas collide and co-exist.

• Creative Director: Joyce Beetuan Koh 
• Interactive Sound Design: PerMagnus Lindborg
• Sound Engineer: Yong Rong Zhao

Joyce Beetuan Koh (Singapore) writes concert music, works in dance collaborations, creates sound installations and multimedia production. Her music has been performed by BBC Symphony Orchestra, Stavanger Symphony Orchestra, Magyar Rádio Orchestra, Australia Song Company, Nieuw Ensemble, Ensemble Reconsil Vienna, at major festivals, notably, Birmingham Frontiers Festival, Biennale Musiques France and Concertegbougw Netherlands. Her multimedia highlights are ‘Future Feed’ (site-specific dance, 2014, Arts Fission Company at Singapore Design Centre), ‘On the String’ (Lindborg, Khiew, 2010, multimedia, Singapore Arts Festival), ‘The Canopy’ (Lindborg, Yong, sound installation, at 2013 World Stage Design, UK) and ‘Hearing Lines’ (audiovisual, 2013 International Computer Music Conference, Australia). Two piano works are published by the Associated Board Royal Schools of Music. Since 2014, she joins as Vice Dean of Interdisciplinary Studies at Nanyang Academy of Fine Arts, Singapore. 

PerMagnus Lindborg (Sweden/Singapore) sound artist and researcher, is assistant professor at School of Art, Design and Media, Nanyang Technological University of Singapore since 2007. A member of the composer societies in Norway (since 1995) and in Singapore, his creative work has been released on ECM Records, Daphne Records, and Ash International. Featured composer at WOCMAT 2012 in Taiwan and a member of ‘freq-out’ collective, he has made sound installations at Stedelijk Museum Amsterdam, Stockholm Museum of Modern Art, and Niemeyer’s French Communist Party headquarters. His research focuses on psychoacoustics, spatial sound, interactive performance and perception. Notable publications include IRCAM-Delatour - a chapter by Lindborg in the OM Composer’s Book 2008; peer-reviewed articles have been published in Applied Acoustics, LNCS-Springer Verlag, eContact, NASS, and in proceedings of SMC, ICMC, ICME, ICMPC and ICAD. 

Andrián Pertout (Australia) has received numerous prizes, notably, Betty Amsden Award, Louisville Orchestra Prize (USA) and Oare String Orchestra Judges’ and Audience Prize (UK). His music has been performed widely by Melbourne and Tasmanian Symphony Orchestras, Orchestra Victoria, Louisville Orchestra (USA), Jerusalem Symphony Orchestra (Israel), Orquestra Petrobrás Sinfônica (Brazil), Orquesta Sinfónica Nacional de México (Mexico), Vietnam National Symphony Orchestra (Vietnam), Orquesta Sinfónica de Puerto Rico (Puerto Rico), Orquesta Sinfónica de Chile (Chile), Logos Foundation Robot Orchestra (Belgium), University of Hong Kong Gamelan Orchestra (China), La Chapelle Musicale de Tournai (Belgium), Oare String Orchestra (UK), Noah Getz (USA), Phyllis Chen (USA), Michael Kieran Harvey (Australia), Ensamble Contemporáneo (Chile), Ensemble MD7 (Slovenia), Quinteto CEAMC (Argentina), Sonemus Ensemble (Bosnia-Herzegovina), Ensemble TIMF (Korea), Omni Ensemble (USA) and Ensemble für Neue Musik Zürich (Switzerland).

Seongah Shin (Korean), composer and sound designer, works in the field of performance arts and computer music. Her music has been performed in Seoul International Computer Music Festival, International Computer Music Conference, June in Buffalo, EMS, SEAMUS, ACL, Seoul Performance Arts Festival, Seoul Experimental Film Festival and many others. Seongah worked as resident sound designer in Missouri Repertory Theatre and Aspen Music School and Festival and residency composer at RPI. She served as a regional director of Asia/Oceania of International Computer Music Association. She holds the position of composition professor in Keimyung University in Daegu, South Korea. 

Stefano Fasciani (Italy) designs, crafts, composes and performs with electronic machines that generate sounds. A member of the Arts and Creativity Lab at the Interactive and Digital Media Institute of the National University of Singapore, his research interests include technologies for sonic arts, sound and music computing, artificial intelligence in human-computer interaction, sound synthesis and analysis, and real-time embedded systems. In his performances and compositions, he experiments novel practices and musical genres on the edge of the modern club culture and multichannel audio.

Dirk Johan Stromberg (USA/Singapore) improviser, composer and music technologist, explores dynamic interaction between performer, technology and performance practice, often questioning how performers interact and perceive technology in improvisation. Designing electronic instrument hardware and software is an integral part of the process and has led to the development of several instruments. His music has been performed in Europe, Asia and the United States including; Ho Chi Minh City, Singapore, Manila, Bucharest, Istanbul, Amsterdam and New York City. He has released two albums with the Turkish improvisation group Islak Kopek as a performer and engineer and his music appears on a number of compilations. His 2008 album, ‘Islak Kopek’, was in the top 20 albums in Turkey for 2009. In de Knipscheer released a two CD set of his composition, ‘Tropendrift’ in 2006, a collaboration with Dutch poet Albert Hagenaars. He was composer in residency at STEIM (Studio for Electronic Instrumental Music) and Brooklyn Center for Computer Music.

With support from the National Arts Council of Singapore.

Described by the media as a 'knock-out' and 'utterly universal' Daniel Belton and Good Company's latest work ONEONE has captivated festival audiences throughout their homeland New Zealand, in Buenos Aires, Amsterdam, Bangalore and Prague. This is the first time Belton's work comes to Singapore. The live set for this event will consist of an AV mix incorporating digital cinema, projection, and electronics with the potent sound of natural hollow stone flutes and rattles from the Maerewhenua River. To accompany ONEONE, Belton will also perform live AV interpretations of his internationally acclaimed works LINE DANCES (after Klee), and SOMA SONGS. 

In association with NTU, Creative NZ, and Asia NZ Foundation, New Zealand artist Daniel Belton performs a series of film and sound collages where the human form is the instrument through which digital manipulation is used to investigate themes of mathematical scale, history and connections to topography. The body is the agent for inquiry; figures are removed from traditional, earthbound settings and juxtaposed on film using graphic design invoking the laws of physics and geometry. Dancers are dwarfed on screen, then brought back to full-bodied life, sometimes as fanciful characters. Through these mysterious journeys Daniel Belton illuminates the enduring cycles that connect and bind us. Four distinctive works pay homage to the drawings of Bauhaus Master Paul Klee; the pioneering chronophotography of Étienne-Jules Marey; the theorems of Pythagoras; and the ancient knowledge of ocean navigators from the Pacific.

Daniel Belton originates from a visual arts and contemporary dance background.  He is a scholarship graduate of the New Zealand School of Dance.  Daniel performed extensively in New Zealand and Europe during the 1990’s including with Douglas Wright Dance Company, Kim Brandstrup and Arc Dance Company, Irek Mukhamedov, Lindsay Kemp Company, Compania Vicente Saez,  Aletta Collins Dance Company, Tanz Company Gervasi, Royal Opera Covent Garden, and Glyndebourne.  Daniel has established an international reputation for his choreography and film.  His visionary projects for dance, theatre, opera, cinema, galleries, building facades and digital spaces have made selection to many international arts festivals - receiving finalist nominations and awards.  Daniel has directed over 30 projects with Donnine Harrison since the foundation of Good Company Arts.  As an independent artist he has been commissioned by the Royal New Zealand Ballet, Black Grace Dance Company, New Zealand School of Dance, Body Festival, Filmaka USA, Channel4 UKTV, Dance Films Association New York, Waikato University, AUT, Genius Loci Weimar Video Mapping Festival, Zentrum Paul Klee, CINEDANS, Museo de Arte Moderno de Buenos Aires, and the Attakkalari India Biennial, among others.  Continuing to work as a choreographer, performer and pedagogue, Daniel began photographing and editing dance for film from 1997.  In 2003 he was awarded New Zealand Arts Council’s first Choreographic Research Residency at Otago University.  He was appointed Media Artist in Residence at Massey University in 2008 to continue this research, and in 2010 was awarded the Creative New Zealand Choreographic Fellowship.  Invitations for Daniel to teach and present his work have seen him attend and participate in the Prague Quadrennial, Festival Internacional de la Imagen, the Bibliothèque et Archives Nationales du Québec, Bauhaus University Weimar, Ryerson University, Leeds Metropolitan University, Codarts, xm:lab and NOW DanceSaar Festival, Romaeuropa Festival, Millennium Performing Arts London and the World Stage Design Festival. 

With support from New Zealand Art Council and Creative New Zealand.

In this studio report we present the research and teaching activities performed in the Multisensory Experience Lab at Aalborg University Copenhagen. We also briefly describe the Sound and Music Computing Education started at Aalborg University in September 2014.

Stefania Serafin is a full professor at Aalborg University Copenhagen, Denmark, with special responsibilities in “sound for multimodal environments”. She teaches and researches on sound models and sound design for interactive media and multimodal interfaces. Her book Sonic Interaction Design (MIT Press, 2013) deals with the exploitation of sound as one of the principal channels to convey information, meaning, and aesthetic-emotional qualities in interactive contexts (http://imi.aau.dk/~sts/).

With support from the Italian Institute of Culture in Singapore.

Bus transport from Innovation Centre (NTU) to ArtScience Museum (Marina Bay Sands). Be a tourist!

(For participants having made full registration at Soundislands Festival.)

Sonic artist, visual artist, electronic composer and computer-musician in one, Ryoji Ikeda has gained international renown for his provocative work combining visuals and sound. Supercodex [live set] reworks musical concepts from Ikeda’s 2013 superposition piece, which investigates how we understand the reality of nature on an atomic scale, taking its starting point in mathematical models and quantum mechanics. From a subtle beginning consisting of digital noise, blips and bass drones, there gradually emerges the core elements of techno and dance music, where Ikeda uses raw data and mathematical models to generate music and projections. Don’t miss this extraordinary live performance, where the accompanying visuals add to the rich textures to merge the senses, creating an unforgettable experience. Prepare to be immersed in a multi-sensorial extravaganza. (http://www.ryojiikeda.com/archive/concerts/#supercodex_live_set)

• Concept & composition: Ryoji Ikeda
• Computer graphics & programming: Tomonaga Tokuyama

Produced by ArtScience Museum with support from Soundislands Festival. (http://www.marinabaysands.com/museum/exhibitions-and-events/artscience-late.html)

Although often considered as the forgotten flavour sense, what we hear – be it music, soundscape, or product sound – influences what we taste. For instance, loud noise has been shown to suppress our ability to taste sweetness, while enhancing the taste of umami. Furthermore, many studies have demonstrated sensation transference effects, whereby what we think about what we hear (and the ideas/concepts primed by such music or soundscapes), can be transferred to whatever we happen to be tasting. The emotions that can be induced by music can also influence the experience of taste. In this presentation, though, I want to take a closer look at the specific way in which what we hear influences what we taste: In particular, the focus will be on the latest research showing that the crossmodal correspondences between music and tastes, textures, aromas, and flavours can be systematically used to direct a listener’s attention to certain elements within the tasting experience. I will demonstrate how chefs, sound designers, culinary artists, brands, and psychologists are becoming increasingly interested in modifying the taste of food and drink through sound – think of it as digital, or sonic, seasoning. I will also stress why contemporary gastronomy and sensory apps offer a rich opportunity both to advance our theoretical understanding in this area, and also to impact consumer behaviour more generally.

Charles Spence is the head of the Crossmodal Research Laboratory at Oxford University. He is interested in how people perceive the world around them. In particular, his work is on how our brains manage to process the information from each of our different senses to form the extraordinarily rich multisensory experiences that fill our daily lives. Spence has authored over 500 articles. He received the 2008 IG Nobel prize for nutrition, for his groundbreaking work on the ‘sonic crisp’. (http://www.psy.ox.ac.uk/team/principal-investigators/charles-spence).

Microsaccades is a work for analogue modular synthesizers and moving images using improvised electronics to generate live visuals through the transformation of sound into image. A saccade is a quick movement of the eye or a fast shift in the frequency of an emitted signal. Saccades serve as a mechanism for fixation, rapid eye movement and involuntary motions of the eye. Microsaccades exploits the properties produced by bombarding the eye with analogue visual patterns and shifting video fields. The visuals for Microsaccades are created by transforming the audio frequencies into visual data, which modulates the RGB channels of the video signal.

Black Zenith is an audio-visual duo comprised of Darren Moore and Brian O'Reilly. Their work investigates the intersecting points between electronic music, improvisation and abstract moving images. Integral to their work is the use analog modular synthesizers that generate live visuals through the transformation of audio signals into images. They investigate the symbiotic relationship between sound and image considering each element as of equal importance in the output. Black Zenith draws as much influence from noise music & the electroacoustic music tradition as they do from the foundations of abstract video art. More information about Black Zenith can be found at http://www.black-zenith.com

Satay et cetera at the Sunken Plaza!

(For participants having made full registration at Soundislands Festival.)

Bus transport from Innovation Centre and NEC (NTU) to Bollywood Veggies. Be a tropical naturalist!

(For participants having made full registration at Soundislands Festival.)

Bus transport from Bollywood Veggies to ArtScience Museum (Marina Bay Sands). Be a tourist again!

(For participants having made full registration at Soundislands Festival.)

What’s the colour of that sound? Does the shape of the plate change the taste of the cake? Explore unknown sensorial interactions together with leading artists and scientists in the fields of psychology, sound art, perception, and multimodal design. Guests speakers include interaction designer Stefania Serafin, crossmodality researcher Charles Spence, composer Joyce Beetuan Koh, filmmaker Daniel Belton, and psycholinguist Suzy Styles. The panel is hosted by museum director Honor Harger. “~sound:senses” is a collaboration between ASM and Soundislands Festival, initiated by PerMagnus Lindborg with support from CLASS and ADM at Nanyang Technological University, the Italian Institute of Culture, and the Arts Council of New Zealand.

Introductions & welcome

• Honor Harger, Director, ArtScience Museum.
• PerMagnus Lindborg, assistant professor, NTU; Soundislands Festival /Si15 chair.

Invited talks

Suzy Styles “Language: spoken, heard, connected”. Dr Styles (UK /Singapore) investigates how the mind handles that most human of processes: Language. As a psycholinguist, she uses methods from cognitive science, experimental psychology and neuroscience to explore the way that language develops in infancy, the way it functions in the mind of the individual, and the way it changes over the life-course. In short, how each person’s individual’s language experience contributes to their processing of natural language, and how symbols and sounds shape perception and the underlying representation of language. Suzy is Si15 proceedings chair. (http://psychology.hss.ntu.edu.sg/People/Pages/suzystyles.aspx)

Daniel Belton ”Movement: when one falls”. Mr Belton (New Zealand) is a choreographer and filmmaker with a background in visual arts and contemporary dance. He is the Artistic Director of the “Good Company Arts, founded in 1997, a company that is known for its unique multidisciplinary approach to production. In 2010, he was awarded the Creative New Zealand Choreographic Fellowship. Daniel is a Soundislands Festival invited artist. During his sejour, he also conducts a two-day graduate workshop at the School of Art Design Media. (http://www.goodcompanyarts.com/main.html)

Joyce Beetuan Koh “Stage: illusions and involvement”. Dr Koh (Singapore) is a composer and creative director whose output ranges from concert music, dance collaborations, text-sound production to interactive sound installations. Originating from her interests in architecture and interdisplinarity, her work explores notions of sonic canvas, space, and the theatricality of music performance. Her sound world has been described as “engaging the intellect and requiring a different approach”. Joyce is Si15 artwork chair. Her new work, “When We Collide”, a collaborative and generative sound installation by six artists (Joyce Beetuan Koh, PerMangus Lindborg, Stefano Fasciani, Andrian Pertout, Seongah Shin, and Dirk Stromberg) is premiered at the Soundislands Festival. (http://www.nafa.edu.sg/admissions/why-nafa/teaching-staff/profile/dr.-joyce-koh-bee-tuan)

Charles Spence “Cuisine: scent, crunch, palate”. Dr Spence (UK) is is the head of the Crossmodal Research Laboratory at Oxford University. He is interested in how people perceive the world around them. In particular, how our brains manage to process the information from each of our different senses to form the extraordinarily rich multisensory experiences that fill our daily lives. He has consulted for a number of multinational companies advising on various aspects of multisensory design, packaging, and branding. The author of over 500 published articles, Spence became widely known when he received the 2008 IG Nobel Prize for Nutrition for his groundbreaking work on the ‘sonic crisp’. Charles is a Si15 keynote speaker. (http://www.psy.ox.ac.uk/team/principal-investigators/charles-spence)

Stefania Serafin “Objects: what’s an instrument?”. Dr Serafin is is a full professor with "special responsibilities in sound for multimodal environments" in the Medialogy section at Aalborg University in Copenhagen. She teaches and researches on sound models and sound design for interactive media and multimodal interfaces. Her book Sonic Interaction Design (MIT Press, 2013) deals with the exploitation of sound as one of the principal channels to convey information, meaning, and aesthetic/emotional qualities in interactive contexts. Research interests include: Multimodal interfaces, interactive sonification, and auditory perception and cognition. Stefania is a Si15 keynote speaker. (http://imi.aau.dk/~sts/)

Panel animated by Honor Harger.

Music performance by CLUBbleu (Julia Mihály + Felix Leuschner): “DARK~asian~ENERGY”

The German duo CLUBbleu works with analogue synthesizers, e-drums, field recordings and live-electronics. Being greatly inspired by Electro-Acoustic music, Electronica and Industrial, CLUBbleu create their own musical cosmos based on urban soundscapes, sparkling synths, deep drones and creepy breakbeats. Varied kinds of interfaces, controllers and sensors are integrated in their performance. CLUBbleu regularly collaborate with other artists in audio-visual live performances. Today’s performance is based on field recordings CLUBbleu made in Singapore in 2014, seeking the most characteristic and unique urban sounds. Diving into this pulsating multi-cultural metropolis, they are now returning to Soundislands Festival and ArtScience Museum with a performance based on extraordinary Singaporian soundscapes. (www.clubbleu.de).

In autumn 2014 the German duo CLUBbleu went on a Singapore Field Recording trip trying to catch the most characteristic and unique urban sounds. For 2 months the duo dived into this pulsating multi-cultural metropolis and returned with a bunch of extraordinary singaporian soundscapes to Frankfurt to produce their upcoming CD called “DARK~asian~ENERGY [singa~core album]. The show tonight is their live re-working of the Singapore files, presenting a lucky dip of their new songs.

The German duo CLUBbleu works with analogue synthesizers, e-drums, field recordings and live-electronics. Being greatly inspired by Electro-Acoustic music, Electronica and Industrial, CLUBbleu  create their own musical cosmos based on urban soundscapes, sparkling synths, deep drones and creepy breakbeats. For this the most varied kinds of interfaces, controllers and sensors are integrated in their performance. For their audio-visual live shows CLUBbleu collaborate regularly with different visual artists. CLUBbleu is Felix Leuschner and Julia Mihály. Felix is a classically trained drummer and composer with the main focus on music theatre pieces, as well as chamber music and vocal pieces in connection to live-electronics. Strong influences by visual arts and architecture mark essential components in his compositions. As part of CLUBbleu, Felix plays e-drums, using the instrument as a giant controller for real time sound synthesis. Julia is a composer-performer. She studied classical singing and electronic composition. The crossover of different music styles, such as contemporary vocal music, old school computer game music, trashy pop music tunes and electro-acoustic music, is probably the most outstanding feature of her compositions and performances. Within CLUBbleu, Julia plays analogue synths, game controllers and toy instruments connected to Max /MSP. (www.clubbleu.de)

WHAT’S IT ABOUT? Modern sensing and computing technologies enable endless ways to generate and interact with sounds. The workshop provides a entry level hands-on experience in designing, implementing, and playing a sonic interactive system, which captures and maps the gesture to control sound synthesis.
WHAT WILL WE BE DOING? We will introduce the principles of sonic interactive system, demonstrating how the human gesture is mapped onto sound control through various capturing and conversion stages. We will explain how to design and build a sonic interactive system using low-cost and fast-prototyping development systems. At the end of the workshop you will assemble and play sounds with the system you designed, choosing between a wide array of sensors and sound synthesis options.
WHO ARE THE TEACHERS? The Workshop is led by Dr. Stefano Fasciani (NTU) and Dirk Stromberg (LaSalle /SOTA), who are experts in music technology, electronics, hacking, programming, building instruments, and performing on stage. They combine all these skills both in their creative research and pedagogic work.

WHAT’S IT ABOUT? Modern sensing and computing technologies enable endless ways to generate and interact with sounds. The workshop provides a entry level hands-on experience in designing, implementing, and playing a sonic interactive system, which captures and maps the gesture to control sound synthesis.
WHAT WILL WE BE DOING? We will introduce the principles of sonic interactive system, demonstrating how the human gesture is mapped onto sound control through various capturing and conversion stages. We will explain how to design and build a sonic interactive system using low-cost and fast-prototyping development systems. At the end of the workshop you will assemble and play sounds with the system you designed, choosing between a wide array of sensors and sound synthesis options.
WHO ARE THE TEACHERS? The Workshop is led by Dr. Stefano Fasciani (NTU) and Dirk Stromberg (LaSalle /SOTA), who are experts in music technology, electronics, hacking, programming, building instruments, and performing on stage. They combine all these skills both in their creative research and pedagogic work.

WHAT’S IT ABOUT? Modern sensing and computing technologies enable endless ways to generate and interact with sounds. The workshop provides a entry level hands-on experience in designing, implementing, and playing a sonic interactive system, which captures and maps the gesture to control sound synthesis.
WHAT WILL WE BE DOING? We will introduce the principles of sonic interactive system, demonstrating how the human gesture is mapped onto sound control through various capturing and conversion stages. We will explain how to design and build a sonic interactive system using low-cost and fast-prototyping development systems. At the end of the workshop you will assemble and play sounds with the system you designed, choosing between a wide array of sensors and sound synthesis options.
WHO ARE THE TEACHERS? The Workshop is led by Dr. Stefano Fasciani (NTU) and Dirk Stromberg (LaSalle /SOTA), who are experts in music technology, electronics, hacking, programming, building instruments, and performing on stage. They combine all these skills both in their creative research and pedagogic work.

Joel Lim and Suzy Styles invite all fun-loving ArtScience Museum visitors to participate in an improvisation competition. WHO will be the Soundislands' Guitar Face? WHO can make the most extreme, inspired, funny, extravagant, and expressive facial gestures to their favourite music? Let your hair down and get on the stage... in front of the cameras, riding the music!