In the recent decade, a downward trend of employment has been observed in the animation and VFX industry globally. This trend is observed in Singapore as the domestic industry is integrated through international studios and markets. Tertiary institutions in Singapore, particularly media related courses, turn out a pool of talented graduates every year. Of those, only two tertiary institutions are equipped to cater to students seeking a career in animation and VFX industry in Singapore.
In the 1970s, Gilbert Gimon discovered the daguerreotype work of Jules Itier and subsequently published two articles: one in French in 1980 and one in English in 1981. The historical importance of this discovery is now firmly established and the two articles have become key sources of reference. However, a close study of these publications reveals mistakes and assumptions that require resolution. Part one of this article considers two phases of gathering and dispersal of this body of work, first in the mid-nineteenth century and subsequently in the twentieth century.
Recent years have shown a gradual shift in apparel production from China to parts of Southeast Asia, allowing fashion designers to leverage lower labour costs and raw material resources during sampling and production. These cost-saving benefits have impacted the overall perception of quality, as designers frustratingly come to realise the poor levels of skills and pattern cutting knowledge within the region.
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, bioanalogue electronic musical instrument designed to operate independently and interact with human musicians. The instrument is controlled by a bioengineered neural network or ‘brain’ derived from skin cells using induced pluripotent stem cell (iPSC) technology that is housed in a custom built synthesiser ‘body’.
Robert Casteels has composed a growing corpus of more than 100 musical works cross cultures, genres and disciplines. These range from miniature to large-scale works in the European tradition, as well as multidisciplinary works which combine European, Chinese and Indian instruments, as well as the gamelan, together with computer-generated sound and images. Instances of space for creative interaction between the performers in these compositions have been far and few between.
The aim of this panel session is to analyze and compare possible new venues, media, methodologies and forms that generative practices are taking today. We claim that a combination of analytical, playful and critical approaches in understanding and using technologies is important in today’s art world. The discussions will start by addressing the creative and cognitive aspects of procedural fluency in creating, reading or interpreting a generative artwork.
What does it mean to be a global designer of tomorrow? The framework of design education has to respond to the changes in the landscape. The characteristics layered by sequential, experiential and iterative learning, and pedagogical knowledge and understanding are not acquired passively but in an active manner through personal experience and experiential activities; and that learning is based on problem-solving and an exploration of a particular line of inquiry and an active engagement with ideas.
A theory of Cybernetic-Existentialism is proposed in the light of emerging themes within contemporary arts and performance that appear to relate simultaneously to both fields and to fuse them. Cybernetic-Existentialist ideas are also increasingly prevalent within everyday life and popular culture, and the Disney film Frozen (2013) is examined as an illustration.
Using 'Forest Project' by contemporary Chinese artist Xu Bing as a case study, this article investigates how the ideology of Ziran (the Chinese version of nature) has been promoted through the practice of art at a community and international level.
Western contemporary dance has long benefited from mental imagery practice for enhancing choreography, somatic embodiment and performance. Although science supports many psychophysical benefits of mental imagery practice, less is known about its effects on dance creation. Here, two dance educators report the results of a pilot study using two contrasting imagery modes in teaching improvisation. Four conservatory dance students engaged in two weeks of improvisation. In week one, Glenna used tactile-kinaesthetic imagery as verbal prompts. During week two, Susan emphasized visual prompts.