For the first time Liquid Architecture will be staging festival programs beyond the borders of Australia. In collaboration with LASALLE College for the Arts and in partnership with The Institute of Contemporary Arts Singapore, Liquid Architecture Singapore will feature performances, workshops and talks by Alessandro Bosetti, Emile Zile, Id M Theft Able and Half High alongside works by Singapore-based artists Black Zenith and Adam Marple, Per Magnus Lindborg, Steve Dixon, Joyce Koh and Bani Haykal.

The program has been curated in partnership with Darren Moore, and the school of music, LASALLE.

Liquid Architecture Lasalle 2014 will consist of a program of lectures, performances, presentations and discussion addressing the theme ‘The Ear is a Brain: Sound Beyond Sound’. The program explores the overlap between the lecture and the ‘sound artwork’ as contingent methodologies. It focuses on the core similarities between the two ‘mediums’, namely the production of a very specific listening subject.

The program will feature ‘traditional’ modes of lecture presentations alongside ‘experimental’ lecture-performances by leading artists who work with sound, language and voice. The curatorial approach is to integrate rather than segregate the two approaches in order to surprise, challenge and confound audience assumptions about ‘how’ we listen to and process different sounds. The festival will also commission a new sound installation work that explores the festivals theme.

Day 1 Friday 10 October 2014 Flexible Performance Space F102 Performances Start time 8pm

Adam Marple/Black Zenith/Andreas Schlagel
Theatre director Adam Marple, audio/visual duo Black Zenith, Andreas Schlagel on visuals and a hand-picked group of Lasalle Theatre Alumni presents Viewpoints, a collaboration that aims to blur the boundaries of performance, sound and visuals through improvisation and non-hierarchical collaboration. Viewpoints is a technique of improvisation that grew out of the post-modern dance world. The Viewpoints allows a group of performers to function together spontaneously and intuitively and to generate bold, theatrical work quickly. It develops flexibility, articulation and strength in movement and makes ensemble playing really possible. At its core it is giving the performer the tools to make choices in time and space.

Idm thefft able
Idm thefft able produces deeply singular experimental music performance primarily using vocals (grunts, screams, tongue-clicks, gurgling, chanting) in combination with sounds summoned from a range of amplified and unamplified objects, bent circuits, homebuilt keyboards and modified tape machines. Theftable’s approach to audio composition has been described as “available-ist” and “noise comedy”.

Emile Zile
Emile Zile detourns everyday social media and search tools in dynamic live performances that offer new perspectives on these ready-to-hand tools, and the subtle ways these might condition contemporary experience.

Half High
Half High, the Sydney based duo of Lucy Phelan and Matthew P. Hopkins, will present a new live audio-visual performance for the Singapore leg of Liquid Architecture titled Shapeless Advice. This performance will follow from previous performances that incorporate video backdrops, lights, objects, and improvised sound such as ‘Calling Nina’. Characteristic of Half high’s performances is their ability to steer new age, ambient and transcendental motifs off course towards darker, more damaged and uncertain territories.

Day 2 Friday 11 October 2014 Flexible Performance Space F102 Panel Discussion 5-6pm
The Ear is a Brain: Sound Beyond Sound Co-chaired by Liquid Architecture curators Joel Stern and Danni Zuvela, the panel discussion will explore the 2014 Liquid Architecture theme; The Ear is a Brain: Sound beyond Sound.

Performances Start time 8pm

Alessandro Bosetti
Alessandro Bosetti will present his work Mask Mirror for Liquid Architecture Singapore. Since 2008 Alessandro Bosetti has been developing an instrument and software patch. Live in concert he reorganizes speech for musical purposes with narratives that are about nothing and everything at the same time. With echoes to the baroque clumsiness of the first mechanical calculators by the likes of Gottfried Leibniz and Blaise Pascal, Mask Mirror is guided not by mathematical principles but rather mines the unfolding of language and its meaning in random sequences, built on blocks of different sizes (from phonemes and incidental mouth noises to lexical units and prosodic fragments). Bosetti samples his voice with prerecorded voices in an electronic ventriloquism.

PerMagnus Lindborg
Perceptualising the Climate in Times of Locust Wrath looks at data perceptualisation, specifically, real-time sonification and visualisation of climate records and predictions. Audiovisual perceptualisation offers a way to grasp large processes. Audification compresses time; a week of data can pass by in a second. The climate is rendered as a music, whose form is determined by the data: colour, gesture, timbre, intensity, harmony, hue, luminosity, and space. An example from a recent artwork will be accompanied by a practical demonstration of software for interactive sonification and a general discussion of perceptualisation techniques applied in art and science.

Steve Dixon/Joyce Beethuan Koh
Sonifiying and Dramatising T.S. Eliot’s ‘The Waste Land’ examines the collaborative process in the devising of a multimedia theatre production of T.S. Eliot’s poem ‘The Waste Land’ (1922), and discusses the interactions between its four key modalities • poetic text, live stage performance, complex sound design, and full-length film projection. It particularly focuses on the creation of the sound design for the performance and how this relates to the themes and sensibilities of the poem, its inherent sonorities, and what Eliot called ‘The Music of Poetry’ (1942).

+++ Sound Art Installation Commissioned by Liquid Architecture Singapore Sat 4 Oct – Sun 26
Oct Artist: Bani Haykal Title: Dormant Music + Opening date: Fri 3 Oct, 6.30pm Exhibition period: Sat 4 Oct – Sun 26 Oct Public programmes: http://www.lasalle.edu.sg/ICAS/Exhibitions-And-Public-Programmes Opening hours: 10am – 6pm (except 1.30 – 2.30pm), Tue to Sun Closed on Mon and public holidays Venue: Brother Joseph McNally Gallery, Level 1 Free admission

Considering sound as a social object, the project seeks to challenge assumptions about how we listen to and process sound, as well as explore how sound generates certain modes of thinking and behaviour. The exhibition reflects on these ideas, featuring an immersive sound installation by local artist Bani Haykal. Part of an ongoing series, Dormant Music+ uses the gallery as an acoustic chamber to house various de- constructed musical elements that visitors can interact with. By participating in the work, visitors are encouraged to reflect on cultures of listening in Singapore, and how these cultures are dominated by globalised forms of music. Bani Haykal will be joined by Tim O’Dwyer on saxophone and electronics in an interactive pre-show performance with the installation on 10th and 11th October from 7.30-8pm.

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