The approaches of Harry Partch’s explorations have now come to computer music with the help of microcomputers and microcontrollers. The ability for artists to be Do It Yourself (DIY) Practitioners has created a vertical integration of artistic practices while changing the face of the arts. Over the past 15 years, the ability to interact with computers has become more affordable, flexible, and accessible. There is now a large community of practice of artists participating in DIY practice - not totally dislike the Punk Rock scene of DIY Culture.

Kaprow articulated the gradual changing artistic roles with his essay “The Legacy of Jackson Pollock.” His belief was that artists will eventually be free of discipline and genre. This belief has embedded itself in the mind of many artists as inter and transdisciplinary work. Today’s educational and artistic landscape has created buzzwords for institutions, whose definitions are still debated. The realities of encouraging or executing such works are far more complex than definitions of each of these words. 

The animation archiving project is an ongoing research collaboration with Niigata University Archive Center for Anime Studies (ACASiN). It enables researchers and students to study and contextualise a collection of production materials, primarily consisting of conceptual arts, visual development sketches, drawings, notes, memos, and early-stage storyboards from the mid-1970s to around 2000s. These materials encompass an often forgotten yet significant research resources essential for understanding key aspects of Japanese animation production cultures and practices.

This book project, Anime Atlas – Japanese Postwar Animation from National Cool to Global Aesthetics, theorizes and reconstructs a critical framework of Japanese anime from the 1950s to nowadays. It provides an enriched understanding of how anime evolved from TV-based entertainment program in Japan to a globally recognized genre, which embodies a distinct set of aesthetics, ideologies and business strategies.

My research analyses how digital technologies have impacted the ways in which artists and curators think, make and exhibit their work since the 1980s. It employs interviews, ethnographic and field research in digital spaces, galleries and museums, and digital data and algorithms, to compare audiences and art professionals' changing responses to what qualifies as art experience.
 

This is a practice-based research investigating a new choreographic methodology inspired by the cognitive domain of Bloom’s Revised Taxonomy (1956). Through the design of iterative workshops and targeted movement experiments based on the six dimensions of Bloom’s Taxonomy framework, dancers used a colour-coded system of post-it notes to develop and generate movement materials as the collective choreographers. The colour coded post-it notes served as a shared language for the dancers to select and sequence movement materials according to the thematic development of the choreographic work.

This research examined the impact of peer feedback on students’ acquiring skills and mastering learning attributes in the dance rehearsal class from August to November 2016 at LASALLE College of the Arts, Singapore. This thesis is an extension of the action research project conducted by the researcher from January to April in 2016.

After Performance was founded in January 2015 as a graduate reading group at the National University of Singapore. Throughout three years of constant and consistent interaction, the reading group evolved into a working group, and then into an ensemble research group, where members continue to develop a collective professional scholarly practice. We identify ourselves as part of an emerging cohort of performance scholars with particular disquietudes, and a felt urgency to respond by coming together to explore and practice performance research ‘after’ performance studies.

This Practice Research is an investigation of the excavation of embodied memories in cross-cultural performance practices.

cellF is the world’s first neuron-driven synthesiser. It is a collaborative project at the cutting-edge of experimental art and music that brings together artists, musicians, designers and scientists to create a cybernetic self-portrait. cellF is an autonomous, bio-analogue electronic musical instrument designed to operate independently and interact with human musicians. The instrument is controlled by a bio-engineered neural network or ‘brain’ derived from skin cells using induced pluripotent stem cell (iPSC) technology that is housed in a custom-built synthesiser ‘body’.