Media Lab explores practice-as-research

05 Media Lab
06Tinkering withTechnology
10 Practice-as-Research and LASALLE’s Media Lab
13 Art and Urbanization: New Media Explorations in Southeast Asia
16 Urban Explorations
38 Data ExplorationTool
42 Clicks and Strokes
46 Continuum
52 Line Array
56 Within 140 Characters
58 Constellations
62 Sonic Flux and Reﬂex
70 Universes
74The River
80 ArtScience Revealed
82Three Projects
84 Shift
90 Foris
98 CodedTransformations
104The Bleeding Edge of Art: CodedTransformations
107Technological StepsTowards Future Performance
110 Abstraction
114 Interweave
118 Memory.Station
122 Interface
127 Of Art and Logic
128 Chronolien
130 Aleph of Emotions
134 Flood Helmet
136 Air Monsters
138 Flux
140 Sum ofThree Parts
142 Sori Pan
144 Autoexposure
146 Light Grafﬁti
148 Megabyte
150 Stereodermis
152 Re-Load
154 Sound Scribble
156 Sound Plankton
158 Invisible Noise
160 Kriyaworks
162 Experimental Live Visuals
164 DIY Controller
166 Digital Fabrication
168 Alternative Conductive Materials
170 Moving Objects
172 Introduction to Programming
Andreas Schlegel
Professor Steve Dixon
Collaborative Projects
Venka Purushothaman
Dr. Charles Merewether
Joleen Loh
Interdisciplinary Projects
Aubrey Mellor
Student Projects
Wolfgang Muench

05
Media Lab
The Media Lab at LASALLE College of the Arts operates as a
research and practice-oriented environment within the Faculty
of Media Arts. It is focused on creating artefacts and prototypes
with the use of technology. It is concerned with research involving
computational design, physical computing and digital fabrication
applicable to everyday situations, the design process, or within an
artistic context.
Although works realized within the Media Lab are strongly centred
on technological tools, they may also be driven by art practices
with a DIY approach and open source cultures. Rather than purely
working with high-tech technologies, the lab explores the potential
of low-tech technologies by developing its own tools using low
cost materials, custom electronics and open source hardware
and software.
Whilst the results that emerge from this lab can be experimental
and playful, they can also be applied to real world scenarios.The
Media Lab is primarily interested in investigating the potential of
using technology in an audio, visual and spatial arts context. With
a strong interdisciplinary approach and collaborations with other
disciplines such as Music,Theatre, Dance, Design or Fine Arts, the
Media Lab aims to expand the use of technology into myriad forms
of artistic expressions.

06 07
Tinkering withTechnology
A large part of what is done at the Media Lab at
LASALLE College of the Arts requires the various
modes of tinkering, be it the act of playing, fixing,
tampering or just fiddling around with hardware
and software. I see this idea of tinkering and the
many manifestations of it as a very important
aspect of the Media Lab and also in art making
and research. Without that experimentation,
one first of all cannot hope to find much joy and
excitement in the act of making nor would there
be spontaneity and discovery through trials
and errors.
Technology had become such a pervasive aspect
of our everyday life that it is becoming harder to
ignore its potential and its consequences. People
from many societies and from all walks of life
and age groups are unwittingly a part of this
scheme of things.Technology is encroaching not
just in our visible world but also presents itself
as a powerful tool that commands our invisible
world, be it by analyzing and controlling data or
making systems work. With this, I believe that it is
not just pertinent but urgent that people be more
aware of the ubiquitous nature of technology
today and to understand how it functions in
order to question it and eventually create one’s
own technologies to shape our world. In short, to
quote Douglas Rushkoff “It is really that simple:
Program or be Programmed.”1
Certainly, technology that one encounters on
a daily basis is typically entertaining and even
superficial - bringing us games, social media and
TV shows on the smart phone or the changing
media façade of buildings and malls. What is
more to technology than its obviously playful,
information-laden and entertaining nature, I
would like to ask?
What we do in the Media Lab is in a large part
situated in that ‘playfulness’ that characterized
it. We want to adopt the ‘playfulness’ not just
in the way of making but also in encouraging
the viewer to be part of that playing. In the
making, it is crucial that there should be much
playing, tinkering and testing the boundaries
and the potential of technology, so that it can
go beyond to become a tool to discuss and
reflect on what it can do. Furthermore, it is about
conducting research, going ‘behind-the-scene’,
delving into the invisible world of technology via
programming in order to manipulate how the
sensorial world can be felt.
On the viewer’s part, the Media Lab hopes to
engage them to play as well.Their involvement
and interactions with the works transverse the
maker’s world, affecting how technology had
initially set out to achieve but is constantly
being shaped and reshaped by the user.This
is in a way a direct reference to how we are
indeed not passive by-users, but one who plays
an active role in intentionally and sometimes
unintentionally altering the technology as we
use it.
With these thoughts and guiding principles
about technology, the Media Lab had been
involved in a range of projects and research
activities that provide different angles of what
technology is capable of as a medium, equipment
or tool. Whether it is about addressing social
phenomena and concerns or reinventing ideas
or conventions between art and technology, the
Media Lab strives to provide multiple dimensions
to storytelling and to art making. On the other
hand, the Media Lab also plays an active role in
bringing various disciplines of art together. With
these interdisciplinary projects, the development
1
Douglas Rushkoff. Program or be Programmed:Ten
Commands for a Digital Age. NewYork: OR Books, 2010.
of the artwork becomes a platform and avenue
for artists to find solutions and coalesce thoughts
and practices from differing art disciplines.
Yet, more so than others, I find that the act of
tinkering becomes most pronounced in student
projects for they in essence were done with much
trial and error, with much propensity to explore,
drift and invent.
It is with these thoughts about technology
and what we had done thus far that drive me
to envision how the Media Lab is part of the
dialogue in understanding what technology
means in our lives, through artistic projects that
highlight its multifarious roles. In here, tinkering
with technology requires a spontaneous approach
to making, combined with a good dosage of
curiosity in order to bring forth the technological
narratives we want to create.
Likewise, the Media Lab hopes to motivate the
act of tinkering as well, encouraging a space for
people to explore, interact and communicate
with technology, and also to spur one to ponder,
reflect and question what lies beyond that
first encounter, so that it generates a constant
dialogue between play and thought.
As part of the Faculty of Media Arts, the Media
Lab has created a range of projects that are
featured in the following pages.These projects
and research activities are some of the highlights
for the past 6 years, which include exploring
open source hardware and software, prototyping,
interdisciplinarity and collaboration.
Andreas Schlegel
Coordinator, Media Lab
LASALLE College of the Arts

10 11
Practice-as-Research and LASALLE’s Media Lab
The fascinating activities and work produced
by staff, students and guest practitioners at the
Media Lab in LASALLE College of the Arts is
close to my heart.This is, firstly, because I am
an academic who researches into and publishes
about the field of digital creativity and, secondly,
because it accords with ideas of ‘practice-as-
research’, which I have been undertaking for over
twenty years. Practice-as-research has recently
become an increasingly significant and dynamic
part of the culture of research within art and design.
Not all creative practice is research, but much
of the work produced by the Media Lab is
research by virtue of the ambitious objectives
and strategies undertaken. A key criterion that
distinguishes research from other activities
(such as general scholarship or professional
practices) is that it produces and provides an
original contribution to knowledge in the research
field. ‘Originality, significance and rigour’ are
criteria commonly applied to evaluate academic
research, and one of the most-quoted and abiding
Western definitions comes from the 1993 OECD
Frascati Manual: “Research comprises creative
work undertaken on a systematic basis in order to
increase the stock of knowledge.”
The use of the word ‘creative’ here refers both to
originality in published research (including PhD
studies) and also to innovative creative practice-
as-research that – as we find in work produced
at the Media Lab – is systematic and produces
new manifestations that add to our knowledge
and understanding of (in this case) interactive
media arts. While operating within a practice-
based mode, these works adhere precisely to the
three principles of a traditional academic research
investigation: a question is posed; a method is
applied; an answer is deduced, produced and
disseminated. In our Media Lab this ‘answer’
(or ‘research findings’) will be in the form of an
interactive artefact/artwork whereas in traditional
research it would be, for example, a publication,
or a scientific or medical patent.
So, practice-as-research follows the principles
and methods of conventional research. What
distinguishes it from more general creative or
professional practice and defines it as research
is when it is: a) an original investigation or a
new articulation; b) a systematic, methods-
focused enterprise; and c) a questioning and an
answering. Practice-as-research is predicated
on the idea of developing art as an innovative
process, and it should be remembered that the
process is often as, or more, important than
the resulting product.The artist-researcher is at
the intersection of – and breaks down barriers
between – theory and practice, and combines
creative doing with reflexive being. Practice-as-
research at its best is not just a combination of
creative practice and theoretical research, but
rather a practice that embodies research.
As such, practice-as-research practitioners
are often forward-looking auteurs, pioneers,
inventors and influencers. As one clearly finds in
the work of Andreas Schlegel and his Media Lab
collaborators, they are simultaneously artistic and
scientific, systematic and instinctive, and they
know no boundaries.
Such research work is not easy, and particularly
in an emergent disciplinary field in continual
development, and still (despite popular
rhetoric) beset with huge technical obstacles
and digital gremlins. But it is also a field of real
excitement, dynamism and innovation, where
new methodologies, theories and paradigms
are continually being developed or ‘discovered’.
The interdisciplinary nature of interactive media
demands multidisciplinary skills of the artist-
researchers, and the technological basis of
the field offers particular challenges, but also
inspiring opportunities to develop new custom-
built technological systems and genuinely
original arts manifestations and genres.
As an emergent discipline, interactive media
arts is a rich research area where there are real
opportunities to develop new methodologies,
hypotheses, and creative outputs.The Media Lab
at LASALLE College of Arts is a research centre
that contributes to the global development of this
field, and where our academics, students and
guest artists explicitly seek to develop pioneering
artworks and paradigms through a distinctive
practice-as-research.
President

13
This book is a compendium of new media
projects undertaken by the Media Lab at LASALLE
College of the Arts, Singapore from 2008 to 2013.
These projects revolve around many issues
emerging amidst a fast developing Southeast
Asia.1
Before I engage with some of the key
projects of the Media Lab, it is important to locate
the work within the geography of its practice:
Southeast Asia.
Southeast Asia, with an approximate population
of 600 million people in 10 countries, remains
a sleepy enterprise trapped within geographies
and neo-colonialist cultural formulations.This
fecund region of fast emerging economies has
a deep and ancient history of arts and cultural
development that is still alive and vibrant; and
it continues to brand a collection of nations and
states historically known for its trade and spices.
Southeast Asia is seeing a renaissance in
industrial and economic growth propelled by
industrialization and globalization. But the
development of the arts and culture continues
to be plagued, well into the 21st century, by
debates about preservation and promotion of
the traditional arts against the development
and promotion of contemporary arts that are
demonstratively having an alignment with
economic development and an emerging affluent
and mobile society. The preservation and
sustenance of the traditional arts and crafts have
found the twin agents of change – globalization
and internationalization as an opportunity
to continue their sustained production and
circulation.There are numerous examples of this
and, both, globalization and internationalization
Art and Urbanization: New Media Explorations in
Southeast Asia
1
Southeast Asia is a composite of ten countries: Brunei,
Cambodia, Indonesia, Laos, Malaysia, Myanmar, Philippines,
Singapore,Thailand, and Vietnam.
have been used as tools of cultural
policies in rising economies in Asia. Whilst
internationalization has been useful, for example,
here I am reminded of the way Indonesian
gamelan music found its way into the musical
compositions of many globally; globalization, on
the other hand, has reduced Asian arts to brands,
embellishments and consumables where they
play to highlight the flow of cultures within cities
and here I am reminded of the intoxicatingly
MTV-styled popular music of Asia. Furthermore,
as institutionalized world economies face the
darkest hour, nation-states are increasingly
closing ranks to support and protect their
economies – through the embrace of community
participation and engagement. For example,
the National Arts Council in the city-state of
Singapore has implemented a five-year National
Traditional Arts Plan, which sets aside S$23
million to support the traditional arts.This type of
participatory politics in countries like Singapore
has seen a resuscitation of the traditional arts,
which serves as a compass of locatedness for a
fast consumerizing society.
New studies show2
that the digitization
of Southeast Asia through Information,
Communication andTechnology (ICT) policy
drivers accompanying economic growth, is
seeing an opening of cultural, technological and
socio-political bandwidths.This is evidenced
by the use of apps, social networking sites,
and online videos to affect change in the
political landscape of countries in the region.
Accenture Research (2012) has shown that
concepts of traditional community cultures are
emerging online as the idea of a community
2
Sleigh, Andrew, et. al. Surfing Southeast Asia’s Powerful
Digital Wave. Report by Accenture Management Consulting
Innovation Centre. www.accenture.com. 2012.

14 15
and its communitarian ideologies (family, trust,
collaboration and courtesy) are fundamentally
core to Southeast Asians. While globalization has
swept through Southeast Asia through notional
ideas of sustainability, economic empowerment
and technological revolution, the community
spirit of helping one another, or in the Bahasa
Melayu parlance ‘gotong royong’ spirit remain
rooted to the idea of sustainable development.
With an increasingly well-educated and confident
population asserting its presence in the global
platform, artists in Southeast Asia (e.g. House
of Natural FiberYogyakarta, Media Lab at
LASALLE) are finding new ways to express
their sense of being by revisiting their history
and tradition.The past locked in the treachery
of a dichotomous binary – propositioned as
cultural value that is taught, institutionalised
and venerated – is undeniably under siege by
the epochal shifts in time.The dichotomy (where
tradition is history, religion, genealogy and
cultural preservation whilst contemporary arts is
speed, contemporaneity, technology and the self-
developed creative enterprise) is fast dissolving.
Media Lab Projects at LASALLE
The précis on Southeast Asia was intentional
as it anchored the arts as a pre-occupation.
But there is another anchor: urbanization.
While urbanization has and continues to be a
critical core of modernization of Southeast Asia
countries, various models encapsulating the
socio-cultural connections and religious and
cultural specificities have been used to intervene
into the urban landscape (Hans-Dieter Evers and
Rudiger Korff 2003).3
The Media Lab seeks to
bridge both art and urbanization in its enterprise.
The Media Lab enterprise seeks to advance new
forms of art that embrace history, tradition and
the contemporary through collaboration across
art forms, genres, technologies and ideologies.
The purpose is to foster a new vocabulary of
inclusionary practices that speak for a new
generation of art makers who are rooted in
place but global in ideas: hence, investing in the
new – an emerging aesthetic and epistemology
– the acme of contemporary art. It is in the
making, incidental, sudden, and epiphanic.
But the process of getting to the emergence
of the new fosters conversations around new
things read, seen, experienced and discovered
and how these can become engines for the
making of the contemporary.The potential for
the contemporary is detected through aesthetic
and critical hypotheses that serve to provide a
series of piers to discover the emerging new.
To remain at the forefront of critical inquiry of
the contemporary, the Media Lab increasingly
embed in its enterprise the difficult terrain of
inter-disciplinarity: a highly intense hothousing
environment that conjures new possibilities
through the tough negotiation of ideas, play with
aesthetics and exchange of artistic vocabularies.
Through facilitation it engages in an extreme
sport of articulating the contemporary.
A case in point is the magical installation-
performance piece, Abstraction based on
a devised play byThéâtre de Complicité.
Performed by students of Interactive Art,
Theatre+Performance and Acting in 2012, the
work and relationship between the mathematical
genius Srinivasa Ramanujan and G.H. Hardy
came alive.The students were challenged to
negotiate their take on themes of spirituality,
logic, and passion through technology and
performance resulting in a powerful adventure
into the new and delighting audiences with
the seamless integration of technology,
performance, text and people. In Line Array
(2012), an installation project by the Media
Lab and ‘Alumni-in-Residency’ programme
participants, Dhiya Muhammad and Darrick Ma,
the traditional Javanese instrument, Angklung
became a centrepiece. In this installation, the
artist as researcher engaged with the opportunity
to discover alternative approaches to creating
sounds from Angklungs through a range of
electronic pulses generated from algorithms.
This work was part of an exhibition KLUNG!
Contemporary interpretations of Angklung and
intended to locate the identity of the instrument
into today’s music through design
and technology.
3
Hans-Dieter Evers and Rudiger Korff. Southeast Asian
Urbanism:The Meaning and Power of Social Space. Hamburg:
Lit Verlag Münster, 2003.
Interdisciplinary works such as Abstractions
and Line Array engage with the artist of today
who is multi-focal in thought, technological,
and transnational in communication and
expediently broad-based in action. Hence, the
traditional practice of teaching, nurturing and
developing a reflexive artistic leader has to be
re-thought, or for that matter, dismembered so
that we can develop new methods of engaging,
communicating and creating new knowledge. In
actual fact, we want to excite in student-artists
interest in reading, thinking and research; and
making connections across art forms and with
life; develop their curiosity and imagination.
Thinking outside of the terror of late 20th
century’s postmodern stranglehold on art, we
want to develop a platform that opens the field
wide open to a new world of adventures in
research, knowledge and possibilities.
In this same intervention, the Media Lab project,
Urban Exploration (2012) sought to critically
review the urban as phenomenon. This project
was located within a key socio-political project,
Singapore Portraits (2012) which sought to paint a
picture of the concept of being a Singaporean in a
21st century world.
Urban Explorations studies Singapore history
through the lens of eight new media explorers
who sought to “re-imagine the Singapore
narrative”. These eight projects – self initiated
by the explorers – located the study under the
skin of the urban landscape by ignoring and at
times embracing ways of looking at the urban as
critically framed by urban sociologists, planners
and builders.Through a recording of visual,
aural, olfactory, kinesthetic and material forms
the explorers drew a connective line from the
sights they visited, objects they accrued, data
samples they analysed to the viewer/audience
and their interpretation of these concepts as
phenomena.There is a subtlety to the softness of
the investigation against the consuming concrete
and clinical harshness of the urban terrain.
As you study each of the projects in this
compendium, you will realize the power
of the investigation is not looking at the
phenomenological propositions that are readily
emergent but rather the incisive thrust of a
communitarian philosophy of rootedness that
seems to emerge out of this. In other words, the
investigation reveals an avowed commitment to
community spaces, human dimensionality and
tactile sensibilities that are often missing from
the megapolis in emerging monster cities such
as Beijing, Seoul and Mumbai.The definition of
the new urban must be located in the attempt
to create a socio-cultural ecology of cultures,
languages and communities to map a sustainable
future for their world. For such an ecology to
work, there must be sincere attempt to accept
the unintended consequences of scientific and
technological advances, rapid industrialization
and their impact on society.These works by the
Media Lab seek to contribute to this inquiry.
Venka Purushothaman
Provost

16 17
Urban Explorations
The Urban Explorations project stems from an
interest in documenting the various phenomena
in the urban landscape.Through the retrieval of
sound, colours, smell or merely collecting objects
discarded by people, it aims to investigate what
ordinarily goes on in the heartlands of Singapore.
Through a strategy called urban sensing,
the team of 8 explorers utilized custom-
built instruments in which recordings and
observations were visually translated. With these
data, they then provided a deeper but preliminary
understanding about the activities and the
locations that were visited.
The objects and artefacts that were exhibited
not only provided a glimpse of the explorers’
perceptions and observations, but were
also intended to ignite questions and
generate dialogues.
Contributions by
Andreas Schlegel, Patrick Kochlik, Muhammad
Dhiya Bin Rahman, Ma Jiahao Darrick, Judith
Lee, Germaine Chen Shiyun, Muhammad Reza
Bin Nooresani, Benson ChongThong Pin, Rashid
Saini, Jeremy Chua, Hazel Lim, Jessica Angelique
Gabrielli, Jacky Boen, Sivaraj Pragasm, Mithru
Vigneshwara

18 19
Urban Explorations
PantingTrees
Air temperature in industrialized
Singapore was Judith’s main
focus in the exploration project.
As the population expands, the
need for more infrastructures
increases manifold.This leads to
an increased effort to replenish
the depleting greenery at
strategic locations on the island
in order to enhance and balance
the thermal air quality.
By seeking out Singapore’s
new and old residential estates,
industrial parks, ﬁnancial
district and coastal areas,
Judith investigated how the
surrounding greenery of an area
affected the site’s temperature,
her own bodily temperature
as well as her own perceived
notion of temperature. With
the use of a portable hand-held
device, she compiled these 3
main types of data to be used
comparatively and translated
visually.
Materials andTools Arduino,
Processing, tripod, temperature
board, infrared temperature
sensor, button, potentiometer,
sd card, GPS moduleYear 2012
Credits Judith Lee, Andreas
Schlegel
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Perfect
Warm
Hot
Burnt
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20 21
Urban Explorations
Urban Sounddrifts
To understand how the urban landscape and
nature co-exist in Singapore, Germaine set out to
investigate the multitude of soundscapes, both
man-made and natural and documenting the
cacophonous sounds that pervaded the places
that she visited.
A sound recorder and microphones attached to
her backpack enabled her to collect sounds as
she threaded through the different suburban
heartlands. With the device, Germaine could
be more sensitive to the sounds she was
experiencing at the moment of drifting through
the heartlands.This spontaneous act of walking
allowed her to track the natural sounds so that
they could guide her towards a natural landscape
located within a heartland.
The immersive experience of the recorded
soundscapes provides one an imaginary visual
encounter of the heartlands of Singapore – one
that is composed of a hustle-bustle of city life
interspersed increasingly with the sound of
nature, as the explorer lets the sound guide her
towards the rainforests.
Materials andTools Arduino, Processing,
backpack, stepper motors, miniature ﬁgurines,
GPS, smart phone, microphones, sound recorder,
head phonesYear 2012 Credits Germaine Chen
Shiyun, Patrick Kochlik

22 23
Urban Explorations
Transitional Shift
Collapsing the present and the past was what
Reza wanted to achieve through his segment
of the exploration project. After seeking out
the street roads of old Singapore that still
exist today, he decided to visit these roads in
order to capture the type of activities that were
happening there.
With a custom-built time-lapse remote control,
he would seek out unobstructed views of the
roads and then stationed himself at high-rise
HDB blocks or bridges, so as to capture human
trafﬁc and vehicular behaviour on these roads.
The resulting video footages collected gave
interesting accounts of the differing levels of
activities at these road junctures. In fact, the
ﬂow of moving people and vehicles became
abstract moving patterns that provided
information about the physiological and
emotional states of the people.
Through the documentation of these patterns
and movements, Reza was able to meld and
collage the history of these old roads with the
contemporary movement and speed of today’s
human activities.
Materials andTools Arduino, Cinder, DSLR
camera, magnets, iron dust, historical maps,
custom time-lapse trigger device, infrared
LEDYear 2012 Credits Muhammad Reza Bin
Nooresani, Patrick Kochlik

24 25
Urban Explorations
Mnemonic
The premise for Benson’s exploration was
based on locating objects that signify a sense of
emotional attachment to particular heartlands.
These objects of modern-day Singapore paint
different stories of the various places that
Benson visited. With the use of a tool with
precise rotating platform and a line laser beam,
Benson was able to capture sharp imageries of
the objects he found with speciﬁc intervals of
rotation.The series of captured images enabled
a 3D façade of the scanned object to be formed,
and later replicated and generated into an
actual physical object.
When he found objects he felt were represen-
tative of the various places, he would ‘reclaim’
them and place them in his suitcase to be
brought back for 3D scanning in the lab.
These abandoned objects, he believed, would
be revived and given new meanings when
he picked them up and used for this project,
elevating them to become artefacts of modern
day Singapore.
found objects, labels, pelican case, 3D milling
machine, custom 3D laser scanner, resin,
silicone putty, chemical woodYear 2012 Credits
Benson ChongThong Pin, Andreas Schlegel

26 27
Urban Explorations
Destinations
To investigate the activities of commuters
and their relationship with public spaces,
Darrick decided to follow a number of people
he would encounter and record the GPS
locations for the duration of the tracking.
After randomly selecting a person, he would
jot down some basic data about this person
such as ethnicity, age, gender and demeanour.
These serendipitous encounters allowed him
to observe the activities that they partook in as
they made their way through the heartlands to
arrive at their respective destinations.
For this exhibition, each of these data pertaining
to the individual’s movements were interpreted
and presented through churned print outs on a
roll of paper and displayed alongside the GPS
readings. For some, these readings could be
seen as subjective indication of their precise
locations as they travelled toward their intended
destination or it could be perceived as minute
and microscopic updates on the commuter’s
intimate meanderings within the heartlands.
Materials andTools Arduino, backpack, GPS,
paper, pen, optical mark recognition sheet,
thermal printer, notebookYear 2012 Credits Ma
Jiahao Darrick, Jacky Boen, Andreas Schlegel

28 29
Urban Explorations
TerritorialTransformation
For Dhiya, the interest in land reclamation led
him to investigate Singapore’s coastal areas and
collecting soil samples from the places he visited.
By making comparative studies of old and current
maps, he was able to distinguish the transformed
areas of Singapore due to land reclamation.
A number of factors were used to guide him in
this exploration such as terrain, GPS location
as well as achieving maximum proximity to the
coastline.Through the inventory of soil samples
collected from the selected sites, their similarities
and differences were surveyed and highlighted,
in a bid to encourage a hypothetical conversation
about territories and boundaries of the island.
In the lab, images of the soil samples were
magniﬁed via a lens mounted onto a smart
phone. Custom-built software was able to extract
height map information in order to translate the
imageries into 3D models. A milling machine then
produced a series of textural landscape artefacts
presented in this exhibition that were directly
related to the soil samples collected.
Materials andTools Processing, soil samples,
test tubes, custom-built microscope, boring
tools, pelican case, GPS, smart phone,
notebook, stereoscopic glassesYear 2012 Credits
Muhammad Dhiya Bin Rahman, Patrick Kochlik

30 31
Urban Explorations
Scentscapes
As a foreigner on a short trip here to participate
in this exploration project, Patrick wanted to rely
on his immediate experiences and impressions.
With this in mind, he decided to centre his
investigation about the heartlands in Singapore
through measuring, classifying and visualizing
location-speciﬁc odours.
After immersing himself and exploring the
selected sites more thoroughly, he not only had
the opportunity to experience Singapore’s socio-
cultural diversity much more intimately but
also observed subtle differences in architecture
and people’s behaviour, which he thought
made up for an idiosyncratic local identity.
More importantly, what he got out from his
observations about the heartlands was the range
of olfactory smells that were signature of certain
places in the city.
Inspired by Henning’s Odour System, which
classiﬁes odours into 6 primary smells, Patrick
custom-built an acrylic pad with laser guides to
help him document and capture his impressions
of smell as he explored the nooks and crannies of
the heartlands.
Materials andTools GPS, paper, optical mark
recognition sheet, pen, dried orange, pandan
leaves, tar, cloves, ashes, dried chilliesYear 2012
Credits Patrick Kochlik
1559
Flowery
Fruity
Putrid
Spicy
Burnt
Resinous
1609 1619 1822 1849 1920 Time
SEMBAWANG
Flowery
Fruity
Putrid
Spicy
Burnt
Resinous
KAMPONG GLAM
Time1839 1846 1853 1904 1911 1945 1953 1954 2005 2010 2015 2026 2030 2037 2053
Flowery
Fruity
Putrid
Spicy
Burnt
Resinous
PIONEER
1522 1534 1549 1603 1624 1704 1746 1826 1844 Time
Flowery
Fruity
Putrid
Spicy
Burnt
Resinous
TOA PAYOH
1630 1621 1629 1636 1658 1708 1739 1754 1806 Time1837

32 33
Urban Explorations
Urban Colours
Tracking and documenting
dominant colour schemes that
best represent the heartlands
was what Andreas wanted to
do during his ﬁeld trips for the
exploration project. He built
a mobile phone application
that would allow him to snap
a photo with his mobile phone
in which the colour information
within the photo could be
extracted based on analysis of
hue, saturation and brightness.
2 colours with the highest
density for the 3 above-
mentioned factors would
be chosen to represent the
corresponding heartlands.
Along with the colours,
the image, time that it was
taken and his GPS location
would all be presented as a
series of narrative about a
particular place.The resulting
380 colour samples collected
were translated into a colour
spectrum hand-painted with
acrylic paint.
With each heartland possessing
its own unique character, the
samples that Andreas collected
are meant as a reminder of the
colourful and vibrant portrayal
of the heartlands.
Materials andTools Processing,
smart phone, GPS, acrylic paint
Year 2012 Credits Andreas
Schlegel, Jessica Angelique
Gabrielli

38 39
Data ExplorationTool
The Data ExplorationTool was a 5-day exercise exploring a
location-based weather data set comprising 880,716 entries.
This custom-built software tool was the result of following and
visualizing patterns found within this given data set where 3
assumptions were made and documented based on the findings.
The 3 assumptions that were recorded and documented with this
data are: Weather patterns, low usage between the hours 6 to 9
pm as well as traffic movement patterns of single data profiles
that suggest the following characteristics such as taxi, commuter,
delivery services, stationary, overseas traveller and more.
Here, the Data ExplorationTool is used to describe methods and
approaches rather than developing a finished tool to find patterns,
similarities, relationships and more within an unknown set of data.
Materials andTools Processing, data set in .csv format Year 2012
Event Urban Prototyping Singapore, Big Data Credits Andreas
Schlegel, Fung Kwok Pan, Newton Circus

42 43
Clicks and Strokes
Clicks and Strokes is a drawing application
developed for the Android based Samsung Galaxy
Note tablet.This app was used by a group of
students to create digital drawings for a competition
called Masterpieces.sg, a digital art gallery.
Instead of using existing sketching apps, the Media
Lab designed a custom application for the device
that would allow participants to draw simple shapes
and then distorting them with a pixel manipulation
algorithm. By using the computing capabilities
of the device, the participants were able to create
unique digital drawings that could not be achieved
with conventional drawing tools such as the pen
and pencil.
Materials andTools Processing, Android tabletYear
2013 Event Samsung Masterpieces

46 47
Continuum
Continuum is a series of audio-visual experiments
performed in real time. It played with the
possibilities of ever-changing visuals affected by
a flow of circulating signals rendered within the
algorithmic spectrum of a computer system.
A custom control interface was developed to
which visuals would respond to a set of changing
parameters in real time. Different algorithms
were used to define the visual structure of
projected images.
Continuum was first performed at the Seedfest
Festival held atThe Arts House, Singapore in 2011.
It was also performed and featured occasionally
at Home Club Singapore events and as a visual
performative backdrop for the LASALLE Fashion
show in 2013.
Tools Processing, Ableton Live, MIDI controller
Year 2011- on going Credits Muhammad Dhiya
Bin Rahman, FaridTalib, Andreas Schlegel

52 53
The installation Line Array was made up
of octave-resonating traditional Javanese
instruments named Angklungs. With the use of
electronic pulses, the work aimed to discover
an alternative manner of creating sounds with
the Angklung instrument.These pulses were
generated from algorithms, which were initiated
by a line of movement over the Angklungs.
Line Array was part of an exhibition held in
Singapore in 2012 called ‘KLUNG! Contemporary
interpretations of Angklung’.
Materials andTools Arduino, DC motors, distance
sensors, Angklungs Dimension 150 x 100 x 50cm
Year 2012 Credits Muhammad Dhiya Bin Rahman,
Ma Jiahao Darrick, Andreas Schlegel
Line Array

56 57
Within 140 Characters
Within 140 Characters is a project initiated by Ong Kian Peng,
with technical support from the Media Lab. It is an interactive
sonic composition, which aimed to explore the social media
phenomenon ofTwitter, and its ability to not just entertain, but also
give voice and power to those who participate in it.
With a unique limited space of 140 characters,Twitter is constrictive
yet liberating and none can deny that it has become a personal
broadcast station for a sundry of proclamations, from the succinct
to the banal.This sound installation aimed to investigate this by
grabbing live data fromTwitter to create an immediate soundscape.
Within 140 Characters was a selected proposal forThe Substation’s
Sound Art Open Call.
Materials andTools Processing, Arduino, Powermate controllers,
LCD displays, six channel sound systemYear 2011 Credits Ong Kian
Peng, Andreas Schlegel, Low HanYuan, Lim Hong Zeng Vic

58 59
Constellations is a large scale interactive mural
installed alongside a staircase in theYouth
Olympics Village. Located at the common dining
area, the staircase was widely used by people
to go from the atrium to the main plaza in the
village. Reminiscent of a pencil drawing with
dark grey strokes against a beige background, the
design of the mural was inspired by the idea of
constellation drawings through the depiction of
clusters of stars connected via lines. LED lights
that were installed at the intersections of these
lines light up when triggered by the movement of
people climbing up and down the staircase.
The aim of this work was to create constellations
of LED stars that would fade in and out based
on detected motion, with light trails that would
follow people on the staircase like ﬁreﬂies or
shooting stars.Through the use of custom-
built hardware, movement could be sensitively
detected on every step of the staircase whilst the
quantity of LED being lit up was based on the
speed of pedestrians’ motion.
Materials andTools Arduino, ultrasonic
sensors, conductive tape, light emitting diodes
Dimensions 13x5m VenueYouth Olympics Village,
SingaporeYear 2010 Credits Andreas Schlegel,
EricTan Wei Ming, Low HanYuan, Onellyantie
Chuah, Everina Lim Mei Li, Liew Wei Kai Shaun,
MelissaTan Wei Xiang, Gan Kwang Chuan,
Nur Azam
Constellations

62 63
Sonic Flux and Reﬂex
The Media Lab was
commissioned to design two art
installations that interpret the
fascination of light and sound
for the launch of the new Audi
A8 in Singapore. Responding
to the theme LightYears Ahead,
the Media Lab worked closely
with the architectural team to
develop two interactive spaces:
Sonic Flux – visualizing sound
and Reﬂex – hearing light,
installed at the Promontory,
Marina Bay in December 2010.

64 65
Sonic Flux
To make sound visible, a sound reactive system was developed in
order to sense spatial audio activity.These activities would then
be translated into light particles ﬂoating below and alongside the
participants on low-resolution LED panels.
To illustrate the responsiveness of the visuals proposed for this
installation, a software based sketching tool was developed which
could simulate different stages of visual activity that would then
later be triggered by sound sensed inside the space.
This tool was created to generate dynamic visuals responding to
different sets of parameters.The behaviour of these visuals would
change according to the audio activity sensed inside a space, which
could be very dynamic or subtle.
Materials andTools Processing, microphones, LED panels
Dimensions 6 x 6mYear 2010 Event Audi A8 Launch Singapore
Credits Andreas Schlegel ArchitecturalTeam FACE2050

68 69
Reﬂex
The second installation used
a sensory object that reacted
to gestural motions and would
then translate the movements
into a 6-channel surround sound
experience.
Centrally placed in the room,
the object emitted slow
vibrating pulses of light that
engaged the audience to
approach it. As more activity
was sensed, these pulses of
light became stronger and
the texture of the surrounding
sound would alter.
Ableton Live, Processing,
6 channel audio system,
ultrasonic sensors Dimensions
6 x 6mYear 2010 Event Audi
A8 Launch Singapore Credits
Andreas Schlegel, Brian
O’Reilly, Low HanYuan, Lim
Hong Zeng Vic, Hector Lee
ArchitecturalTeam FACE2050

70 71
Universes
Complementing the annual LASALLE Fashion
Show 2010, the Media Lab produced a screen-
based projection that introduced each of the
13 designers and the collections they were
presenting that evening.
Through the development of a custom-built
software tool, a text-based animation was created
and then projected onto a translucent dark fabric.
This dark fabric not only allowed the visuals to
ﬂoat in space but the translucency of the material
captured the light from the projectors and let
the light travel further onto the ﬂoor, casting a
mirrored projection onto the runway.
The projected animations could be toggled
between two visual states, the default state,
which was made up of readable text as well
as the extended state that was made up of
an unfolded arrangement of tiny triangular
fragments originating from the letters of the
text itself.
Materials andTools Processing, projectors, semi
translucent dark fabric Dimensions 6 x 2.5mYear
2010 Credits Andreas Schlegel, Colin Faulks Event
LASALLE Fashion Show 2010, organized and
coordinated by the Fashion Design programme,
Faculty of Design

74 75
The River
The River, a data responsive light sculpture, was
installed inside a shipping container during the
iLight Marina Bay Festival 2012 in Singapore.
Rows of lights in the shape of the Singapore
River represent waves ﬂowing throughout the
space, giving the audience a spatial experience of
the artwork.
The sculpture was based on the idea of changing
patterns of light and colour that evolve over
time.These patterns were based on an analysis
of sound samples taken along the Singapore
River, with the sounds representing activities
and life along the river itself, including recorded
soundscapes of commercial, leisure or civic
scenarios. Here, the light sculpture The River
became an abstraction of the Singapore River
and its surroundings.
Materials andTools Arduino, Processing, wood,
wires, electronic circuit, light emitting diodes,
acrylic panels, sound recorder Dimension 5 x 2 x
2m Event iLight Marina Bay Festival, Singapore.
SIGGRAPH Asia Singapore 2012, Art Gallery
Year 2012 Credits Aw MengTiong Adam,
Benjamin LowTeck Hui, Jacky Boen, Mithru
Vigneshwara, Mui RuiYi, Zac Ong Chee Chou Zac,
Andreas Schlegel

76 77
The sculpture consists of 3
elements: Shape, Data and Light.
ShapeThe shape of the sculpture
derived from an abstraction
of the original shape of the
Singapore River and comprised
24 standing acrylic plates
installed on the ﬂoor of the
container. Each individual plate
was equipped with a set of LED
lights, mounted at the bottom
of each plate. Lights were
controlled by a micro controller
animating the ﬂow of lights
based on sound recordings
collected along the river.
Data Sound recordings were
collected and then analysed
by a computer program.The
results were used to trigger and
animate the lights of the light
sculpture creating a snapshot
of the river’s activity expressed
through light.
Light By lighting up a clear
acrylic plate along one edge,
the light will travel to and light
up the remaining edges of the
plate.This technique was used
to illuminate and animate the
edges of the 24 acrylic plates.

80 81
ArtScience Revealed
In March 2013, the Media Lab was invited to showcase selected
works during the monthly event - ArtScience Revealed at the
ArtScience Museum in Singapore.
ArtScience Revealed allows visitors unique access to cutting
edge projects being undertaken by different institutions across
Singapore.The series invites the creators and their work into the
ArtScience Museum on the ﬁrst Sunday of each month. During the
showcase, the Media Lab was present throughout the afternoon to
talk with visitors about our works, the creative processes, and to
facilitate visitors’ interaction with the projects. For this event, it is
meant to be a hands-on, accessible showcase where visitors could
come up close and interact with what we do.
Event ArtScience Revelead at the ArtSciene Museum Singapore
Works Urban Explorations,The River, Aleph of Emotions,
Chronolien, Beam, ContinuumYear 2013

82 83
One of the most exciting ventures in recent years
has been the intersection of the digital domain
with the arts.That is to say, not only is the digital
domain about information and connectivity but,
equally, about creativity and experimentation. This
relationship has both challenged and expanded
the field of what may be defined as contemporary
art practice.
What is distinguishable about the research of
the Media Lab at LASALLE College of the Arts
is the introduction of the digital domain into
the equation. Andreas Schlegel, who has been
leading the Media Lab over the past couple of
years, together with his team of colleagues, staff
and students had explored the intersection of
the digital domain and the arts.Three of these
projects have been exhibited in the Institute of
Contemporary Arts at LASALLE.
The first project was Shift produced for Sonorous
Duration, an annual sound and music festival
hosted at the Project Space of the ICAS in
October 2011.This project involved placing 8
white computers on the floor of Project Space
that display very colourful patterns. But the
significance of the exhibition lay in the array of
machines in which shifting bytes were informed
Three Projects
1
Benson ChongThong Pin, Felix Sng, Ma Jiahao Darrick,
Marvin LiangYong Jie, Mike Chen, Muhammad Dhiya Bin
Rahman, Sid Lim Xian Hao
2
Apart from Schlegel and Sharma, there were eight
participating artists: Riduan Mohamad, Jessica Gabrielli, Low
HanYuan, Lim Hong Zeng, Chen Kerui, Foo Hui Ping Lucinda,
Ngiam Shi Xiong, Wong Sze Wei Frederik.
by simple and highly repetitive algorithms.This
process and set of rules had been shaped by
Andreas Schlegel and his collaborators. (1
) Any
movement such as created by an audience was
registered and responded to through a built-in
camera. A member of the audience for instance,
could pass their hand over or across the computer
creating audio and visual abstractions that became
in effect a part of the subject of the exhibition.
In October 2011, Schlegel collaborated with the
artists Jeremy Sharma and Mohammed Riduan to
create Foris. Built of wooden portals that looked
like large picture frames and small listening
devices attached along their side, the exhibition
was held in the Earl Lu Gallery of the ICAS.The
audience could walk through the portals, stopping
to hear the ambient sound of the space and noise
of the people inside the gallery.The idea of the
portal suggested a form of threshold but, rather
than offering a shift in the visual orientation, it
introduced sound as if to re-orient or make the
viewer also sensitive to sound as much as sight. (2
)
The third project CodedTransformations was held
in January 2013 that explored the relation between
physical and digital domains. Through a series
of experiments physical data was transformed by
3
The participating artists included Andreas Schlegel,
Muhammad Dhiya Bin Rahman, VladimirTodorovic, Riduan
Mohamad, Mithru Vigneshwara, and Judith Lee.
digital processes leading to their re-production in
various physical formats. Using new technologies
such as custom-built software and hardware, rapid
prototyping techniques and physical computing,
new forms and cultural artefacts were produced.
Ranging across eight different projects, Coded
Transformations was the most ambitious and
experimental. (3
) As Schlegel has noted, the project
explored how the access to and the use of these
technologies affect the way we produce, consume,
collect and memorize today.
From the first project that generated new images
in which the audience could participate in the work
being shown to the second project Foris where
there was an interplay of visual perception and
ambient audio sound and a third project Coded
Transformations in which the digital domain
was utilized to transform data and reproduce the
original. With each of these, the Media Lab has
boldly explored the boundaries of contemporary
art, of experimenting as to how images are made
and the interaction between sensory experiences
and the relations of the visual arts to technologies
of reproduction.
Director, Institute of Contemporary Arts Singapore

84 85
Shift
Shift originated from an independent
programming study group in 2011. Starting
from basic programming exercises, a template
program that would generate simple glitch
effects was developed. Initially created for a
single screen, it is then extended to multiple
screens interconnected through a network
resulting in an array of machines shifting bits
and bytes informed by simple and highly
repetitive algorithms. Shift pays attention to its
environment through the ever-watchful eye of
a built-in camera and responds to movement.
Changes in state are expressed through audio
and visual abstractions.
An algorithm is a process or a set of rules. Here,
the algorithms are shaped by Andreas Schlegel,
Benson ChongThong Pin, Felix Sng, Ma Jiahao
Darrick, Marvin LiangYong Jie, Mike Chen,
Muhammad Dhiya Bin Rahman, Sid Lim Xian Hao.
Materials andTools Processing, Supercollider, 9
iMacs, 4 speakers, sound mixer, ethernet switch
Dimension 5 x 3 x 2m Venue Project Space,
Institute of Contemporary Arts SingaporeYear
2011 Event Sonorous Duration

90 91
Foris is an installation work that interprets the
outdoors in both an imaginary and allegorical
dimension in sound, sculpture and space.
Based on prepared mechanical systems and
using simple structures and commonplace
materials like wood and nylon, Foris opens up
both imaginary and allegorical dimensions of
the outdoors in sound, sculpture and space,
inviting the audience to participate in an acoustic
experience.This collaboration between Fine Arts
and Media Arts staff and students at LASALLE
College of the Arts explores the relationships of
the artiﬁcial and the organic.
Materials andTools Arduino, wood, motors,
solenoids, nylon strings, ultrasonic sensors Venue
Earl Lu Gallery, Institute of Contemporary Arts
SingaporeYear 2011 Credits Riduan Mohamad,
Jessica Angelique Gabrielli, Low HanYuan,
Andreas Schlegel, Lim Hong Zeng, Chen Kerui,
Jeremy Sharma, Foo Hui Ping Lucinda, Ngiam
Shi Xiong, Wong Sze Wei Fredrik
Foris

98 99
CodedTransformations
CodedTransformations is a project that takes place in between
the physical and digital domain.Through a series of experiments,
physical data is transformed by digital processes, where the
resulting outcomes are re-productions expressed in various
physical formats.Throughout these transformative processes,
new technologies are used and new forms and cultural artefacts
are produced.
Here new technologies include custom-built software and
hardware, rapid prototyping techniques and physical computing.
The attribute new only applies temporarily and will be outdated
in the near future, but how does the access to and the use of
these technologies affect the way we produce, consume, collect
and memorize today?The CodedTransformations project aims
to investigate this question and suggests a series of applications
through experimentation.
Materials various custom-built software and hardware Venue
ICA Gallery 1, Institute of Contemporary Arts SingaporeYear
2013 Contributions by Andreas Schlegel, Muhammad Dhiya
Bin Rahman, VladimirTodorovic, Riduan Mohamad, Mithru
Vigneshwara, Judith Lee

104 105
While software has too often been undermined
as merely an instrument for executing pre-
existing neutrally formulated tasks, there is
certainly more to the significance of software
art than the argument that these tools brought
about by digital technology are what makes it
relevant to contemporary society.There is an
extended potential of software for contemporary
artistic thought, which artists have continually
demonstrated in their forms of cultural
expression through the usage of software and
new technologies. At the same time these works
and their driving principles, to varying degrees,
have art historical precedents or are informed by
conceptual practices.
New media artist Andreas Schlegel’s practice
traverses the shifting and blurry terrains of art
and new technologies, playing a significant role
in the shaping of media art in Singapore. Born
in Germany and based in Singapore, his artistic
practice extends the use of emerging and open
source technology simultaneously on several
fronts, often seeking to generate new forms
of audio, visual and physical output. Coded
Transformations exhibited at ICA Gallery 1 in
January 2013 brought together a number of
works which explore software and emerging
technologies as a cultural form in order to create
a dialogue between the digital and physical
domains of art.Through a series of clever
experiments, new computing and manufacturing
technologies are used to transform physical
input to produce new forms of cultural objects or
formats.The methods and technologies employed
here, although used by artists or within the
digital domain for years, have not yet attained
mainstream status in contemporary art today.
In RandomNoiseFlow, Schlegel explores
The Bleeding Edge of Art: CodedTransformations1
2
Rachel Greene. Internet Art. London:Thames & Hudson, 2004.
3
Ibid., p.152.
1
Bleeding edge refers to technology that has been released
but is still not ready for or not adopted by the general public
due to the fact that it has not been reliably tested.The term
‘bleeding edge’ was an allusion to the similar terms ‘leading
edge’ and ‘cutting edge’.
aesthetics and form of natural hazards through
the mediation of computer software.The work, a
triptych of large black and white prints, consists
of an immense traffic of tiny rectangular particles
generated by the program. At a distance, they
simulate and aestheticize the flow within natural
structures, from lava to rock strata. Upon closer
inspection, we see the particle is a tiny white
rectangle with a one-pixel black outline. What
is apparent in these reproductions is a unique
computer-generated image, which is given by
algorithms and inscribed in the language of
prototyping machines. On the one hand, there is
interplay between an active setting of parameters
and defining of algorithms by Schlegel and
his collaborators, and on the other, the active
‘participation’ of the computer, the medium.The
work examined the subliminal aspects of natural
phenomena, converting physical input into an
aesthetic experience mediated by the prototyping
by machines and custom software.The imagistic,
beautiful and invented mutations of natural
phenomena position the work on an artistic
borderline between abstraction and custom
software programming.
Discussions surrounding the historical precursors
for software or generative art have often
focused upon Fluxus art and Happenings, which
rely on instructions or a set of rules.2
As with
many Fluxus projects, the work of Schlegel
problematizes notions of authenticity and
uniqueness by removing or blurring the artist’s
role in artwork production. Even if the physical
and visual manifestations of digital art conceal
the layer of data and code, any ‘digital image’
are essentially produced by instructions and
the software that was used to manipulate it. In
RandomNoiseFlow, the algorithms are used to
position a set of particles in a 2D-space over
time, and parameters are set to determine the
aesthetics of the outcome. It is these layers of
‘code’ and the set of determined parameters that
form a conceptual level of the work, connecting
it to previous conceptual experiments by artists
who share the same strategies – of instructions,
dematerialization, appropriation – for example
such as Marcel Duchamp, John Cage and Sol
4
The Aleph, according to author Jorge Luis Borges refers to a
point in the Universe where all other points exist.Therefore,
anyone looking at the Aleph could see everything in the
Universe at once. Mithru Vigneshwara, CodedTransformations
exhibition notes, 2013.
5
Rachel Greene, 2004, p. 152.
LeWitt, whose works are based on the execution
of instructions.3
Schlegel’s concerns with human-computer
interactions in the context of the everyday
unfolded through works like Aleph of Emotions,
a project by Mithru Vigneshwara.4
As an attempt
to archive emotions, data is collected from
Twitter’s public feeds over one month based
on keywords defining emotions. It is presented
together with an interactive camera-like interface
that reacts to a particular direction and focuses
on a particular city.The information collected
is then colour coded according to Robert
Plutchik’s Wheel of Emotions and linked to
specific geolocations. Once all the data were
collected, it is visualized into a graph according
to countries.The work treated custom software
and hardware as fodder for experimentation to
explore the relationship between Internet space
and geographical organization, and to suggest
the possible observable patterns of ‘global
emotions’. It transformed physical data taken
from social networking platforms, processing it
through custom software and hardware, before
its eventual physical output that allows us to
contemplate the way in which these applied
technologies can affect the way we express or
archive ourselves today.
This strong focus on the process of
transformation is what all of the works in the
exhibition share. Like RandomNoiseFlow, works
like Formations and Syntboutique for example, all
begin with physical input in the form of samples
or data sets and undergo a digital process
performed by a computer and custom software to
be transformed into physical output. It has as its
drive the need for dialogue about the boundaries
between digital and the physical registers.
Another layer to CodedTransformations is
the reference to politics and commerce in his
work. Albeit less direct, Schlegel’s use of open
source software, DIY process and his display
of the assembled parts adhere to an aesthetic
and philosophy of resistance to capitalist
monopoly of technology. It is a critique against
the assumptions of existing computer and
information technologies and its limited set
of commands that inhibits autonomy. Unlike
proprietary software which does not allow
alterations and is expensive, open source
systems allow for experimentation, innovation,
and collaboration. In fact, it is common that the
open source technologies and its users often have
communities that organize and share libraries of
codes. Open source software has been described
as a ‘bottom-up’ system, rather than ‘top-down’
systems such as proprietary software (such as
those developed by Microsoft Corporation) in
which its basis of capitalist monopoly relies
heavily on the secrecy of its source code.5
Politics and commerce, as Greene suggests,
are “often referred to with internet art as it is
no straightforward complement to dot.com era
capitalism” but is, somewhat, a counterbalance
to its excess and injustices, developing actual
alternatives. Schlegel’s assembly of parts on
the DIYTable such as electronic components,
batteries, screws and wires are a deliberate
gesture.The equipment laid here, inexpensive
and easily obtainable, are enough to assemble
various forms of electrical devices, which
elsewhere in the commercial market, would be
expensive and have pre-designed functions.
CodedTransformations demonstrated the
significance of the role of software and new
media technologies in cultural expression today.
Rather than simply a tool to process pre-set
tasks, the works in the exhibition demonstrated
the conceptual strategies and the malleability
of new technologies that Schlegel and his
collaborators take advantage of in their artistic
processes.Through creating a dialogue between
the digital domains and physical formats in art
through producing new forms of cultural objects,
Schlegel reveals that there is still much more
that technologies can contribute to the way we
produce, consume, collect and memorize today.
Joleen Loh
Institute of Contemporary Arts Singapore

107
Integrating new technology with live
performance has been a hallmark of LASALLE
productions for the last ﬁve years and
continues to grow thanks to the advocacy and
work done by Andreas Schlegel in the Media
Lab and the Interactive Art programme. His
collaborations involving writers and directors
inTheatre+Performance a programme led
by Elizabeth de Roza with students in Media
Arts, Fine Arts and Video Art, as well as
students in Dance, under Melissa Quek have
been regular and incremental. The School of
Contemporary Music has also been integrating
live performance with computerised visual
programs developed under Brian O’Reilly
and Justin Hegburg in the MusicTechnology
programme. Regular collaborations with the
Media Lab explore possibilities in responsive
audio and visual elements, combining technical
means to sense and actuate body movements
as an integral part of the live performance.
With productions such as Interweave, Interface,
Memory.Station and Abstraction, LASALLE now
leads tertiary arts training in Southeast Asia and
Australasia in its integration of technological
arts with performance arts.
Whilst maintaining a conservatory basis,
LASALLE is keenly future-looking and has long
deﬁned itself as a contemporary arts college,
investing in the necessary equipment; further,
its faculties are uniquely collaborative and hold
a diverse range of arts training not available in
colleges with a narrow focus. The integration
of new technology with live performance has
emerged as one of the two main paths leading
to future theatre; and staff members often
arrive at LASALLE expressly to work in a multi-
disciplinary way and quickly take advantage
of the possibilities, furthering explorations in
cross-media art.
Technological StepsTowards Future Performance

108 109
When technology was limited to front or back
projections, using stills or film, its use was an
important advance on painted scenery, allowing
both naturalistic images and abstractions in
productions. In the 60’s, for example, the
Australian Opera advanced the 19th century
‘magic lantern’ and used a series of painted
transparencies, to create storm-tossed ships for
Der fliegende Holländer (Flying Dutchman). In
the 80’s, I commonly incorporated projections
as a scenography element; though the
necessary stage lights on the performers
themselves often washed out the projections
– a continuing problem until stronger lamps
and the introduction of mini-spots manipulated
by electronic connections to the performers.
Dance, however, was always further ahead; first
innovative stage lighting (eliminating the ‘front-
of-house’ as dancers’ faces don’t need to be as
readable as actors’) and developing side, top and
back lights. The great European dance companies
like Netherlands Dance have long been known
for technological advances with both still and
moving images and later with electrodes worn on
the dancers’ costumes. MerylTankard from the
Pina Bausch company, projected patterns onto
her dances; Gideon Obarzanek of Chunky Move
in Melbourne attracted new audiences through
continual innovation with new technology
integrated with live performance; and even the
great Cloudgate dance company fromTaiwan,
famous for the pure aesthetic of the body, and
Butoh companies of Japan, like Saikai Juku,
are now continually creating works based on
the creativity of the technology designer – e.g.
Cloudgate’s Water Stains on the Wall danced on
top of a huge LED screen magnifying the live
effects of a calligrapher, being an enormous
advance. Similarly, pre-programmed moving
lights have long been a regular part of pop
concerts and LED screens effectively used in
Broadway musicals.
The other path to future theatre is essentially
Luddite, resisting technology, sometimes
philosophically following Peter Brook’s and
Grotowski’s advocacy of a poor theatre,
sometimes through necessity – especially in Asia,
Africa and South America – when not being able
to afford the continually advancing equipment.
But world theatre changed forever in 1994 when
Robert Lepage brought an actor and his briefcase
onstage in his Seven Streams of the River Ota:
when the briefcase was opened, out flew a
roaring jet plane, appearing to increase, fill the
stage and fly over our heads. Not only could
we now compete with film for the first time in a
hundred years, but theatre could also create its
own magic and open new vistas of possibilities.
And now that the performer’s entire body and
features can be illuminated in part or whole, and
effects can disguise, blend with or support the
performer as desired, I believe digital technology
will grow to sometimes rival the performer in its
importance. At LASALLE we can rest assured that
we remain in the vanguard, as we have followed
the lead of Matthew Ngui’s brilliance with Ong
Seng Ken in suchTheatreWorks productions as
Desdemona (2000) and later innovations by Choy
Ka Fai.The past semester achieved extraordinary
effects integrating live and moving imagery in
Edith Podesta’s Memorabilia, collaborating with
another Singapore genius, Brian GothongTan;
and, in Memory.Station, Benjamin Low, a Level
3 student from Media Arts, contributed dynamic
abstractions projected on sections of curved
walls to create a three-dimensional vortex and
overrode the performers in the most entertaining
and stimulating way.
It is a myth that stage machinery was invented
relatively recently in the West; from manual to
computerised, technology has commonly been
part of performance in many countries and
is increasing rapidly. I recently returned from
working with Hitata Oriza and his roboticist
Hiroshi Ishiguro in Japan, where robots
perform with live actors and androids are
computer-operated to reproduce human facial
movements. Elsewhere, as in the sepia-toned
animations integrated with life-size puppets in
Warhorse, and the advanced animatronics in
the five-meter-high gorilla in the new musical
King Kong, the advances continue to inspire
theatrical possibilities. However, the real future
of theatre will involve greater engagement with
audiences; and the experiments with interactivity
at LASALLE are empowering and transforming
passive viewers into participants. No future
performance event will be planned without
the involvement of a creative technologist or
interactive designer to continue extensions.
Integration of advancing technology with the
bodies of performers and with the bodies of
the audiences is a positive new horizon. As
thrilling and awesome as Miranda imagined in
Shakespeare’s Tempest: “Oh brave new world”.
Aubrey Mellor
Senior Fellow

110 111
Abstraction
Inspired byThéâtre de Complicité’s A Disappearing
Number, this performance installation explores
the key themes of mathematics, collision between
East and West, and the interconnections of
human relationships. Conceptualized as a visual
score, and drawing references from leading
contemporary artists like Robert Wilson and
Robert Lepage, the performance installation seeks
to explore a new perspective accessible to the
audience of the 21st Century.
Merging real-time technologies with live
performance, this re-invention blurs the lines
between art and science. Abstraction aims to
leave behind something of permanent value,
reverberating the life of memories.
Materials andTools Arduino, Processing, custom
electronics, custom software for Projection
MappingYear 2012 Programmes involved
Theatre+Performance, Interactive Art, Acting
Supervision Elizabeth de Roza, Andreas Schlegel,
Rashid Saini, Edith Podesta

114 115
Interweave
Interweave is a collaborative project that explores
the relationship of interactive media with
dance performance. Custom-built technology is
designed to respond to body movements and
translates these into audio-visual expressions
in real-time. In each dance work, interactive
technology serves as a choreographic tool and
expressive media.
wearable circuits, custom DMX controller,
infrared camera, KinectYear 2012 Programmes
involved Dance, Interactive Art Supervision
Melissa Quek, Andreas Schlegel, Rashid Saini

118 119
Memory.Station
Memory.Station is a contemporary performance-installation
project.This immersive site-speciﬁc work combines text,
movement, and technology to look at the meanings of memory and
history.To fully experience this intimate performance, audience
will be split into small groups and will be dispatched at 15 minutes
interval. Over the period of 45 minutes the audience would visit 5
site-speciﬁc stations each created by a group of students from each
programme mentioned above.
Materials andTools Arduino, Processing, projection, xbee wireless
communication, wearable circuits, various sensors and actuators,
DC motors, wireless DMX control, KinectYear 2013 Programmes
involvedTheatre+Performance, Interactive Art, Dance, Acting
Supervision KayleneTan, Elizabeth de Roza, Andreas Schlegel,
Melissa Quek

122 123
Interface is a collaboratively conceived
performance that involves the disciplines of
Interactive Art and Dance.This performance uses
movement explorations and physical responses
of dancers and audience members to discuss
the relationship between human beings and
machines to examine the meeting points between
the physical and the digital.
As the Memory.Station performance preceded
this production, the challenge was to use the
same technologies used in that performance but
adapt them to a new space and context within a
two-week span of time.
The Interface performance was followed by
a show and tell between the artists and the
audience, which allowed for a detailed and
better understanding of techniques and
technologies used.
Materials andTools Arduino, Processing, xbee
wireless communication, wearable circuits,
various sensors and actuators, DC motors,
wireless DMX control, KinectYear 2013
Programmes involved Dance, Interactive Art
Supervision Melissa Quek, Andreas Schlegel
Interface

127
Student Projects
The confidence with which our students approach
theoretical concerns of digital technology in the
age of new media certainly is an intriguing aspect
of the already complex projects that were realized
in the Interactive Art programme. Among such
concerns are issues related to the conception of
personalized time in public space (RuiYi Mui’s
Chronolien), the representation of the emotional
state of citizens at a global level (Mithru
Vigneshwara’s Aleph of Emotions), the design of
a tangible user interface for representing complex
environmental data (Ong Kian Peng’s Flood
Helmet), and playful approaches to generating
sound (Onellyantie Chuah’s Sound Scribble).
That applies similarly for the deployment of
digital technology on stage. Combining non-
linear technology with the largely scripted realm
of theatre and performance is still a relatively
new area for directors, actors, and digital
artists. Especially when the already multifaceted
propositions are enriched with topics such as the
real-time generation of light, sound and images
in virtual space based on the actors’ and dancers’
actions in real space, the deployment of forced-
feedback systems for the coupling of audience
and dancer, and the association of mental
impulses in the human brain to body movements.
All these individual parts of a larger performance,
that were conceived, developed and realized in
an collaborative effort of students from three
specialist areas, form a noteworthy 21st
century
comment on the problem of the Cartesian mind-
body divide in digital virtual environments.
Many such topics have been discussed at
international conferences just about fifteen
years ago, although more as a distant possibility
than as realizable projects.The proposition to
use a smart, automatized evaluation of short
Of Art and Logic
Twitter messages in order to visualize the current
emotional state of our global village’s citizens
by deploying a smartphone as a directional
input device would have aroused disbelief then.
Not only because neitherTwitter nor smart
phones, the latest and most mobile incarnation
of digital computer technology, were invented
fifteen years ago. It is only the mind-boggling
rapid advances of technology over the last
decades that allowed one to even consider such
attempts, and it is nothing short of amazing to
experience the matter-of-factness in which such
concepts are now proposed for realization at
undergraduate level in tertiary arts education.
And it is equally remarkable to witness how these
projects are able to withstand the onslaught of
reality in exhibition and performance spaces:
Even after two weeks of visitors, or more than
25 performances over three nights, the technical
set-ups are still operational.This, too, would have
aroused disbelief at international conferences not
too long ago.
All projects have been developed and realized
from scratch as part of the Interactive Art
Programme’s Studio Practice module within
one semester in less than 15 weeks, with
support provided by LASALLE’s Media Lab
whenever appropriate.This, by all means,
rather tight schedule for dealing with the
complex technological issues of digital media
is a testimony to the high standards that the
programme has achieved over the last years. It
is also vivid evidence for the value and benefit of
close interrelations between research activities
and educational approaches in arts universities.
Wolfgang Muench
Dean, Faculty of Media Arts

128 129
Chronolien
Mui RuiYi
Chronolien is an interactive and wearable piece
that consists of a necklace and belt.The digital
components embedded into the piece allow
users to change the state of the necklace when a
particular area of the belt is pressed. Chronolien
represents time in 2 states. One is grand and
golden and symbolizes the luxury of time in a
natural environment.The other state is black
and comments on the rush for time in an urban
setting and is activated by the user when taking
up a hands-on-hips position.
Materials andTools Arduino, servo motors, nylon
stringsYear 2012, Interactive Art, Level 3

130 131
Aleph of Emotions is an archive of emotions
collected from the public twitter stream. Here,
data is collected based on keywords that deﬁne
various emotions including joy, fear, sadness
or surprise. A custom-built interface is used to
browse through this data archive by pointing the
device towards a direction of interest.
Materials andTools Processing, Arduino, Python,
compass, potentiometer, button, Android Phone
Year 2012, Interactive Art, Level 3
Aleph of Emotions
Mithru Vigneshwara

134 135
Flood Helmet
Ong Kian Peng
Flood Helmet is designed as a mobile device that
visualizes possible future ﬂood scenarios based
on the user’s physical geolocation.The ﬂood
level indicated inside the helmet is determined
by the GPS location and elevation height of the
land that the user is standing on.This work gives
users a sensory and experiential exploration of
their surroundings and the future scenarios it
might hold. It also creates a sense of immediacy
in users regarding the issues of rising sea levels
while reminding us that climatic disasters are not
always far away.
Materials andTools Processing, Arduino, GPS
module, water pump, custom backpack, custom-
built visor Year 2009, Interactive Art, Level 2

136 137
Air Monsters
Ong Kian Peng
Air Monsters is a portable inﬂatable object that
seeks to explore the issue of air pollution.This is
achieved by the invention of invisible monsters
that reside in the air which metaphorically
represent air pollutants in the atmosphere.The
function of Air Monsters is to translate actual
air pollution data into visual information in the
form of monsters-like visual characters, from
the invisible to the visible.These monsters
possess a behaviour of their own and are directly
affected by the various changes in location and
environment.
Materials andTools Arduino, Processing, air
pollution sensors, LCD screen, inﬂatable

138 139
Flux
Alvin Chua
Flux is the prototype of a ﬂoating canopy where
panels are kept suspended overhead with motors
and sensors instead of traditional lateral support.
Flux explores what a canopy can be by employing
non-conventional materials and techniques to
create variation in shapes and forms.
Materials andTools Arduino, Processing, remote
controlled motors, distance sensorsYear 2008,
Interactive Art, Level 2

140 141
Sum ofThree Parts
Alvin Chua
This project is an exploration
into the geometric relationship
between music and space.The
intent is to express musical
scores as physical forms by
mapping them as a physical unit
of measure. Custom software is
used to create a dynamic visual
music score, which is then
translated into a 3-dimensional
model and fabricated as a
physical polygonal object.
wood, aluminium, resin, digital
fabricationYear 2009, Interactive
Art, Level 3

142 143
Sori Pan
Han Seung Jin
Sori Pan is devised as a
musical instrument primarily
for children to play with.
When interacting with Sori
Pan, children and adults alike
can experience the creation of
sounds whilst making objects
out of play dough.
Processing, play dough, custom
pressure sensorsYear 2008,
Interactive Art Level 2

144 145
Autoexposure
Han Seung Jin
Autoexposure is a wearable
interface that explores social
communication in both private
and public space.The interface
consists of a dress and a tail
look-a-like attachment, which
reacts to handshake gestures.
The tail starts moving when a
handshake is detected. Here, the
speed of movement is directly
proportionate to the quality of
communication.
servo motors, soft switches,
custom made dressYear 2009,
Interactive Art Level 3,
Studio Practice

146 147
Light Graffiti
EricTan Wei Ming
This project is a tongue-in-cheek response to
the state of vandalism in Singapore. Reflecting
on the plight of graffiti artists in Singapore, and
others who share an interest in street art, Light
Graffiti communicates the deprivation of free
expression and space in a playful way.Through
the use of existing low-tech technology, it aims to
bring people together as well as creating social
opportunities to encourage people to interact and
play together in public spaces.
Materials andTools Arduino, Processing, 7x5 LED
Matrix displayYear 2010, Interactive Art, Level 2

148 149
Megabyte
Joel Wee
Megabyte is a reﬂection upon the concerns about
technology’s possible far-reaching harm and
overarching consequences.The audience will be
encouraged to consider these issues through
their interaction with this cell phone-like object,
which will ‘bite’ when touched.
Materials andTools Arduino, servo motor, light
dependent resistor, cardboard, balsa woodYear
2010, Interactive Art, Level 2

150 151
Stereodermis
Paviter Singh
Stereodermis is designed to look at how sound can be generated
by the sense of touch.The piece is inspired by the idea that we
often pay little attention to many of the objects we interact with.
Each object has its own signiﬁcant texture so by creating an audio
communication between things we touch, Stereodermis aims to
provide a new perspective on the way we react with our natural
surroundings.
As much of our sensuous stimuli are located in our ﬁngers and
hands, the interface created for Stereodermis is worn as a ring.
The sounds created in this project are meant to be a translation
of whatever the user interacts with.The sounds create multiple
layers, constantly overlapping one another to form a continuously
changing soundscape.
Materials andTools Pure Data, microphone, piezo sensor, head
phonesYear 2008, Interactive Art, Level 2

152 153
Re-Load
Onellyantie Chuah
Re-Load consists of 2 interactive objects that look at the use of high
and low technologies in everyday life.The work aims to combine
the use of high and low tech objects to address the development of
technologies and how people are embracing these rapid changes.
In today’s modern society, high tech products are increasingly
used and low tech products are slowly left behind.The computer,
for instance, has replaced many objects and activities, such as
abacus counting, musical instruments, typewriters or writing. With
the click of a button, many high tech products have generalized all
physical gestures that signify the character of an object, such as
the ﬁnger movements of a pianist or the hand gestures of a person
calculating using an abacus.These can now be easily replaced by
typing on the keyboard and clicking with the mouse. As such, the
intended outcome of Re-Load is to allow for both high and low
tech users to be able to experience physical gestures from low tech
devices through the utilization of high tech devices.
Materials andTools Processing, Arduino, webcam, light dependent
resistor, balsa wood, plastic tubesYear 2010, Interactive Art, Level 3

154 155
Sound Scribble
Onellyantie Chuah
Today, people prefer to
use faster technology as
traditional communication
methods such as letter
writing are slowly declining.
However, the most important
element of communication
is the interpretation and
understanding of the message
itself. Sound Scribble uses
hand writing and hand
drawings as input to create
sounds. Here sounds are used
as the universal language of
communication.
With a mechanism similar to
that of a music box, Sound
Scribble requires the user to
turn a knob to listen to the
sound.The drawn lines and
writing produced by users
are captured by a hidden
webcam and data is sent to a
computer where it is processed
and translated into a custom
soundscape. Depending on the
position and the thickness of
drawn lines, different sounds
are played.
webcam, blasa wood, inkYear

156 157
Sound Plankton
Han Seung Jin
Sound Plankton is a sound toy designed with the use of an
electronic circuit, drawing paper and a pencil. Sounds are created
when users touch a drawing with a metal clip that is connected
to an electronic circuit. Sound Plankton’s main target group
is children aged 4 to 9 years old but also appeals to a general
audience interested in sound making.There are no rules and no
restrictions when playing with Sound Plankton, anyone can create
sound simply by drawing.
Materials andTools Processing, Arduino, pencil lead, paperYear

158 159
Invisible Noise
Abdul Rashid Bin Abdul Razak
Invisible Noise is based on the idea of
interactions between body, space and sound. A
customized Wii controller acts as an extension of
the body to explore a virtual sound space through
movement. Motion and different gestures allow
the user to ﬁnd various sound sequences and
textures to play with to create their own custom
soundtrack. Movements can be derived from
dance, performance, everyday movements or
martial arts.
Materials andTools Processing, Wii Controller

160 161
Kriyaworks exhibition
In the spirit of interdisciplinary collaborations, Kriyaworks was
the culmination of a 4-day study trip toYogyakarta, Indonesia in
March 2010 by Fine Arts and Interactive Art students.The works
showcased in the exhibition were based on the collaborators’
utilization of collected data and information from this culturally
and historically rich destination and their translation into a new
media outcome that intersects notions of craft and technology.
It also celebrates the exchange of ideas and perspectives in the
joint authorship of the artworks created.The exhibition and short
trip to Indonesia were organized by the Fine Arts and Interactive
Art programmes.
Year 2010

162 163
Experimental Live Visuals
The ﬁnal presentation of the Experimental
Live Visuals class took place in a local club in
Singapore. Students from the Interactive Art and
Video Art programme presented their ﬁnal works
as part of a one evening event at the Home Club,
Singapore.
Projects on display included live audio-visual
performances, collaborative and individual VJ
acts.The projects made use of manipulated video
camera feeds, live computer generated visuals,
video performances and live sounds using
custom software synthesizers.
Year 2008

164 165
DIY Controllers
DIY Controllers was concerned with creating audio, visual and
electronic applications using various open source and prototyping
technologies. Participants were introduced to basic software
and hardware programming, the Open Sound Control (OSC)
protocol and simple rapid prototyping techniques to build custom
synthesizer-like control interfaces.
One of the focuses of this course was to equip participants
with code literacy, that is to have the ability to write software
code in order to instruct a computer to do things.This being an
increasingly valuable skill in today’s creative industries would
train participants to learn how to use basic programming skills to
create generative visuals, write and apply simple algorithms and
exchange data using various protocols.
Materials andTools Processing, Arduino, OSC, MIDI, RS-232,
various electronic parts, wood, cardboard, acrylicYear 2013

166 167
Digital Fabrication
Conducted as a 4-day workshop, Digital
Fabrication focuses on methods to create physical
3-dimensional objects from a digital model.
Here, the outcomes were objects created from
different materials such as paper, cardboard
or chemical wood. Participants used various
software methods to create 3D models, which
were then fabricated by a machine or by hand.
Techniques demonstrated throughout the
workshop were then applied to additive and
subtractive fabrication techniques to build parts
and components for custom prototypes, small-
scale models or artefacts.
Materials andTools Processing, Sketchup, paper,
chemical wood, Styrofoam, CNC-milling desktop
machineYear 2011-2012

168 169
Alternative Conductive Materials
This class introduced students to alternative
conductive materials such as conductive ink,
thread, and tape as a replacement for wires.
Making use of these materials in combination
with wood, acrylic, and low power LEDs, students
were briefed to design and craft a lamp for a
purpose of their own choice, which ranged from
table lamps and torch lights to reading lamps.
Materials custom hardware, conductive tape,
conductive ink, conductive thread, balsa wood,
transparent acrylic Year 2011

170 171
Moving Objects
Moving Objects was an exercise
which explored the technical
and mechanical characteristics
of different types of motors
including DC, stepper and
servo motors. Participants
developed motor driven objects
that created audio or visual
outcomes through movement.
Here, the technicality of the
subject is strongly interwoven
with a playful and experimental
implementation. Motors are
controlled through custom
hardware and micro-controllers.
Processing, DC motor, stepper
motor, servo motor, wood, tape
Year 2010-2012

172 173
Introduction to Programming
Introduction to Programming teaches participants
basic but fundamental programming concepts
used to develop human computer interactions,
real time animations and sound or computer
generated imagery. Rather than teaching
programming with a scientiﬁc approach,
participants learn skills working on exercises
which explore the potential of code through
computer generated imagery and simple human
computer interaction.
Tools Processing Year 2008-2012

Text Contributions
Andreas Schlegel
Aubrey Mellor
Joleen Loh
Venka Purushothaman
Wolfgang Muench
Brian O’Reilly
Colin Faulks
Jeremy Sharma
Patrick Kochlik
Rashid Saini
Riduan Mohamad
Aw MengTiong Adam
Benson ChongThong Pin
Chen Kerui
EricTan Wei Ming
Everina Lim Mei Li
FaridTalib
Felix Sng
Foo Hui Ping Lucinda
Gan Kwang Chuan
Germaine Chen Shiyun
Hector Lee
Jeremy Chua
Jessica Angelique Gabrielli
Judith Lee
Liew Wei Kai Shaun
Lim Hong Zeng Vic
Low HanYan
Ma Jiahao Darrick
Marvin LiangYong Jie
MelissaTan Wei Xiang
Mike Chen
Mithru Vigneshwara
Mui RuiYi
Muhammad Dhiya Bin Rahman
Muhammad Reza Bin Nooresani
Ngiam Shi Xiong
Nur Azam
Onellyantie Chuah
Ong Chee Chou Zac
Ong Kian Peng
Sid Lim Xian Hao
Sivaraj Pragasm
SUSEJ
Wong Sze Wei Frederik
The Media Lab within the Faculty of Media
Arts works closely with the Research Committee,
chaired by Wolfgang Muench.
Coordinator Media Lab
Andreas Schlegel
andreas.schlegel@lasalle.edu.sg
medialab.lasalle.edu.sg
Supervision
Andreas Schlegel
Edith Podesta
Elizabeth de Roza
KayleneTan
Melissa Quek
Rashid Saini
Teresa Almeida
Wolfgang Muench
Technology
Aw MengTiong Adam
Benjamin LowTeck Hui
Foo Hui Ping Lucinda
Jacky Boen
Lim Hong Zeng Vic
Low HanYan
Mithru Vigneshwara
Mui RuiYi
Ong Chee Chou Zac
TitusTay
Choreography
Angel Lee
Anita Anton
Charmain Ho
EvaTey
E-VaTham
Huang Lin
Lim Ming Zhi
MelodyTee
Mohamad Sufri Bin Juwahir
Samantha LauYing Ling
Stepharina Chan
Tunku Kurshiah
WahYi Xin
ZhouYiru
Directing
Cherilyn Woo
Delia Png
Fairuz Atiqah
Khairul Kamsani
Marie Lee
Rachael Nonis
Rachel Boo
Tabitha Loh
Tan Cheng Liang Frasier
Student Projects
Supervision
Andreas Schlegel
Rashid Saini
Teresa Almeida
Wolfgang Muench
Students
Alvin Chua
EricTan Wei Ming
Han Seung Jin
Jacky Boen
Joel Wee
Mithru Vigneshwara
Mui RuiYi
Onellyantie Chuah
Ong Chee Chou Zac
Ong Kian Peng
Paviter Singh
Workshops and classes conducted for students
from Interactive Art Level 1/2/3, Video Art Level 2,
Animation Art Level 2, MusicTechnology Level 2,
Kriyaworks exhibition organized by Fine Arts and
Interactive Art
Images courtesy of
Alvin Chua
Andreas Schlegel
Benson ChongThong Pin
EricTan Wei Ming
Han Seung Jin
Institute of Contemporary Arts Singapore
Joel Wee
Louis Kwok
Low HanYuan
Mithru Vigneshwara
Muhammad Dhiya Bin Rahman
Mui RuiYi
Onellyantie Chuah
Ong Chee Chou Zac
Ong Kian Peng
Paviter Singh
Samsung Electronics
Vincent Nghai

1 McNally Street
Singapore 187940
www.lasalle.edu.sg
ISBN 978-981-07-7024-2
Editor
Hazel Lim
Design and Layout
Andreas Schlegel
Colin Faulks
SUSEJ
Printed in Singapore
2013 © LASALLE College of the Arts.
All rights reserved. No part of this publication
may be reprinted, reproduced, utilised or
appropriated in any form or by any electronic
or mechanical means, including photocopying,
recording or information storage and retrieval
systems, without the permission of LASALLE
College of the Arts.
If you are interested in any of the works in this
publication, please contact
andreas.schlegel@lasalle.edu.sg

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