School of Contemporary Music

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’. This paper introduces the cellF project highlighting the background, biotechnology, embodiment, design and performance capabilities.

The experimental music scene in Singapore emerged in 1990s and grew out of the underground rock music scene of the 1980s. In this sense, the experimental scene has a shared history with the development of popular music in Singapore that occurred concurrently with Western popular music movements. Over the past 20 years, the scene has gained momentum and developed into a small, yet vibrant community. Similar underground experimental music scenes have also emerged throughout South-East Asia, e.g., in Kuala Lumpur, Hanoi, Ho Chi Minh City, Bangkok, Yogyakarta, Jakarta and other major centers, which has led to an increase in experimental musical activity in the region.

The methods in which music producers affect the sound of an artist, in terms of instrumental arrangement, recording and production techniques, also identifying the difference in their outcomes. This paper will focus on music producers Chris Walla and Greg Kurstin, with their impact of producing artists Tegan and Sara.

The notion of the convergence between sound and visuals emerged as an exploration of new digital processes, creative possibilities of media technologies and creation of new artistic artefacts. With advancements in technology, creative audiovisual practices employ explorations in technological processes, software experimentation and creative aesthetics that are pursued by most artists. Music plays a significant role in this combination of art forms, bridging and forming connections and relationships between visuals and sound. With the prominence of music in such practice, music producers have since taken steps to bridge their initial field of music across to an interdisciplinary audiovisual combination. This paper examines this form of audiovisual practice from the viewpoint of a musician - specifically a music producer or one that creates and produces his or her own music. This paper discusses current trends within audiovisual practice, highlighting relevant relationships and integrated technologies, along with the reasons, roles, and impact in terms of the artistic, economic, social and cultural aspects. A practical field research was also conducted in Berlin, Germany, where my findings from volunteering at an audiovisual arts festival are discussed within this paper as well. Future work would involve creating audiovisual works of my own, creating a sense of personal artistic practice in response to the results of this paper.