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Anna Lovecchio: Welcome to AiRCAST, AiRCAST takes us inside the Residencies
Studios of NTU Centre for Contemporary Art Singapore, located right at the
edge of a lush tropical forest in Gillman Barracks. On this podcast, we broadcast
the inner lives of our Artists-in-Residence entering their studios during their
residency and inviting them to share about ideas, materials, processes, influences
and research methodologies behind their practice. I am Anna Lovecchio. I am a
curator and Assistant Director for Programmes at NTU CCA and I am your host
for today.
Today I speak to Tini Aliman. Tini is a Singaporean artist, sound designer, field
recordist and foley artist working with sound, theatre, installation and film. Her
artistic practice encompasses sonic and spatial experiments that focus on forest
networks and plant consciousness, acoustic architecture and biodata sonification.
She is a long-time friend of NTU CCA where she has performed on several
occasions in the past four years. And since five months she is also an Artist-inResidence with us and she has been working on a project tentatively titled Close
Circuits and Underground Networks which looks at tree stumps as sonic archives
of the environment and of collective memories. Hi Tini! It’s wonderful to have
you here!
Tini Aliman: Thank you Anna and a big thank you to the NTU CCA Singapore
team for the opportunity to be a part of the residency programme. It has been
a rewarding experience.
Tini Aliman, Pokoknya: Intrusive Transducers, 2021, single channel video. Courtesy of Eswandy Sarip.
Anna Lovecchio: It’s been so great having you around these past few months.
But let’s start from the beginning. I always like to find out how artists become
artists. All the more so when an artist’s trajectory does not follow the beaten track
�of conventional training. Would you like to share about your background and
how you straddle the worlds of theatre, music and contemporary art?
Anna Lovecchio: ‘The Aunties’s Corner’? That’s funny. And then there was
theater as well.
Tini Aliman: For most of my life, I have always been the audience, the listener
and the observer. I grew up with music, played in school bands and in punk
bands. I downloaded music-making applications like Fruity Loops and then
moved to DAWs. The only instrument I learned to play was the drums and back
then I thought it did not give me a lot of options to make music on my own and
I decided to have fun with electronic music in my bedroom. I did not know a
Cheryl Ong could exist!
Tini Aliman: Yes, In 2009 I auditioned with a sound piece for a youth theatre
programme by Teater Ekamatra. And I got in, yay. The Artistic Director at that
time, Zizi Azah asked if I would like to work on the sound design for a play
called Charged! by Chong Tze Chien. That was my debut in 2010 and I am
still doing theatre sound design up to this day. Thinking, sensing and perceiving
more carefully the visual, sonic and tactile elements in art has always been
the key learning point in my short stint in the arts. I still work in theatre sound
design, but I have recently drifted towards a more cross-disciplinary and
collaborative approach.
Anna Lovecchio: That’s very true!
Tini Aliman: Like many of my peers growing up in the early 2000s, I spent
weekends at local gigs at times in tiny venues like a 3x2m2 recording studio
where we were licking each others’ sweat. The garden of the Substation, which
is Singapore’s first contemporary arts centre, was also significant to me. That’s
where new bands constantly emerged and performed there regardless of genre.
The noisier the music, the further my body was flung around, the more I enjoyed
it and soon I found myself moving further to the back of the moshpit, or what we
now call ‘The Auntie’s Corner’.
Anna Lovecchio: Currently you are enrolled in the Interdisciplinary Music Studies
programme at Berklee, a college of contemporary music in Boston and you are
taking online classes.
Tini Aliman: Yes I am.
Anna Lovecchio: I’m not sure this applies to you, but I feel that when we go back
to school as adults, we have a stronger agency in shaping our learning experience
compared to our younger selves. So I am curious to hear how this experience has
been for you so far.
Tini Aliman: Well I have never had a formal education in music or the arts.
I spent the first half of my life in media and advertising and it has been about 15
years since I last went to school. The Interdisciplinary Music Studies programme
at Berklee College of Music covers modules from my favourite subjects like
Critical Listening, Acoustics and subjects which I wished I learned in my tertiary
years like Art History, Music History, History of Sound in Film and Music Therapy.
The Substation, image by Choo Yut Shing, 2012
www.flickr.com/photos/25802865@N08/7933525394, some rights reserved
I am neither for nor against arts education. Some musicians do not think that
music theory is necessary to be a good musician for example. Not all engineers
are musicians and not all musicians are engineers. For me, it gives me room to
unlearn my personal biases and artistic preferences. Studying these modules
gives me the language facility to appreciate, to analyse and subscribe to artistic
expressions and I discover an important lesson that there is no right or wrong
�answer when it comes to art-making and creative processes, especially in the
open-ended and speculative aspects of research or the technical aspects of
audio engineering. I apply what I learn to my work on the fly! For example, the
analog phase cancellation work for the second iteration of Pokoknya presented
at the National Gallery was the result of the module on amplitude, constructive
and destructive interference. My friends often ask, at times with worry in their
tone, when am I going to be done with school. I thought about it and I don’t think
I ever want to be done with learning.
measuring the galvanic conductance on plants’ surfaces and textures and
converting them into sound like in these early recordings of plants I made
at Fort Canning Park.
[Recording of plants in Fort Canning Park, Aug 2018. Courtesy of the artist.]
Anna Lovecchio: That resonates so much with me… At times I catch myself
longing to go back to school as well… just to regain that undivided attention
and mental focus on certain subjects that I cannot really afford to have in this
multitasking job that I am doing now. I am possibly idealising the school years, but
maybe I should follow your example. Let’s talk about your relationship with sound
and nature which seems to be generative of so much of your artistic practice. You
spend quite some time outdoors, mostly in the forests and along the coastline,
looking, listening and recording… How did you become entangled with nature in
the first place?
Tini Aliman: Isn’t nature something most of us run to these days, especially
during these strange times we are in? Some of us go out there as an escape,
others have been doing this all their lives. I am very fortunate to meet and spend
time with some biodiversity ‘experts’ on my field trips, learning and meeting new
lives within our shores. And I am truly inspired by the works of other artists here
too, like Lucy Davis’ Migrant Ecologies Project and Zai Tang’s works with nature
in times of ecological crisis. Hi Lucy, hi Zai!
Anna Lovecchio: Hi guys!
Tini Aliman: My interest in working with nature also stems from my deep
appreciation for silence and the silenced. For this I’d like to quote Ryuichi
Sakamoto in an interview where he said “Why do I want to play much slower
than before? Because I wanted to hear the resonance. I want to have less
notes and more spaces. Spaces, not silence” Having quiet moments alone and
in silence became more important to me over the years. I engage in listening
through playing, moving to the depths and appreciating the informal structure
of composition in the subtle vibrations of living things. That led me to start
Fort Canning, image by Corey Seeman, 2016
www.flickr.com/photos/cseeman/27604751935, some rights reserved
Anna Lovecchio: You were born and raised in Singapore, a highly urbanised but
also extremely green city where manifestations of nature are shaped by political
agendas. These agendas have evolved considerably over the last years, decades
actually, moving from the post-independence concept of Garden City from
1967 to the notion City in a Garden introduced in 2008. Now, the Green Plan
2030, which was unveiled just a few months ago, does away with the notion of
‘Garden’ altogether advancing the vision of “City in Nature” instead. What are
your thoughts on growing up and living in an environment that is so pervasively
controlled and imbued with national-building politics?
�Tini Aliman: By the time I was born, Singapore was already quite urbanised.
The village I was born in was removed by the government in the 80s when I was
about 5 years old. In the village, we used to be able to walk a few hundred meters
in the little forested area around the radius of our house. At some point, they
started constructing a large drainage system in our area with drains deeper than
the height of any 5 year old. I never got lost in the forested area but one day I fell
into a drain and it took my family the whole evening to find me becasue I was too
short to climb out.
Anna Lovecchio: Oh no… that sounds like such a traumatic experience!
Tini Aliman: It really was! After that we were relocated to high-rise flats and I was
too young to remember the move, but I have these vague memories of space
and height. I remember taking the lift down from the 10th floor by myself and
not being able to find my way back up. That called for another search party to be
sent out. I was getting lost in the heights. Similar narratives about having people
moved to HDB flats are really not that uncommon and have been quite prevalent
since the 1960s. The evolution of public housing and the redevelopment of land
inevitably led to green spaces in Singapore being altered which then impacted
the flora and fauna on this island. Even the physical landscape was reshaped to
support urbanisation and commerce.
I am however quite grateful for the consolidated approach towards nature and
environmental conservation of groups like Nature Society, NParks and more
recently, the SG Climate Rally which protects places, animals, plants and other
organisms with historical or scientific interest. For example, NPark has this
“Heritage Tree Scheme” which advocates for the conservation of Singapore’s
mature trees. Anyone can nominate a tree to be a heritage tree. It is based on
their botanical, historical and/or aesthetic values. There are about 250 heritage
trees in the Heritage Tree Register now. Well, you know what they say about
living here, we do what we can lah…
Anna Lovecchio: Oh yes, the Heritage Tree Programme is actually amazing. I
really appreciate this bottom-up approach which allows any citizen to step in and
highlight the importance of a tree. When I see a heritage tree sign, I always go
closer and read the label… And that is how a few months ago, I found out that
there is a Baobab in Fort Canning! Baobabs are these prehistoric species which
pre-dates even the splitting of the continents millions of years ago. And for me, in
my imagination, they are epic trees since I read The Little Prince when I was a kid
and so I was very excited to chance upon a baobab in person for the first time.
Tini Aliman: Oh really? They are very good looking trees.
Anna Lovecchio: Although it did look quite different from the drawings in the
book. And it was also a surprise because Baobabs are originally from Africa and
they normally thrive in dry and arid environments so it was stunning for me to find
out that we have one here, in our humid tropical climate. But let’s move on to
talk about one of your main interests, which is plant consciousness. Philosophies
and studies on plant consciousness are sometimes criticised because they project
characteristics and emotions that belong to humans onto our non-human
fellows. However, you seem to be rather aware and wary of this tendency to
anthropomorphise non-human beings...
Tini Aliman: When it comes to plant consciousness, the association with new
age world views or the contrast between science and pseudo-science, are not
that relevant for me. Many multidisciplinary works of art we see today, both
in visual arts and music, draw from multiple reference points, and they can be
simultaneously poetic, intellectual, scientific or traditional. In them, the tendency
to humanise objects or living things is very blurred. For myself, I decided to let
go of all the fixations and methods and let the movement of the musical imagery
flow and progress with more emotions, more meaning and mostly intuitions.
I am still on the fence about the ethics of working with these living materials but
I want to understand more about how they perceive the world, from the colours
they ‘see’, to the sensations they ‘feel’ and how they ‘hear’. I am very interested
in genetics studies that draw parallels between the human and plant senses. For
example, what do we have in common with say a banana plant or a banyan tree?
Anna Lovecchio: In your engagement with non-human life forms, is there a
specific encounter that marked a watershed in your way of thinking and/or
making art?
Tini Aliman: Already In the 19th century, scientists discovered that the impulse
that causes a plant, say a venus flytrap to close, is electrical. And that it actually
�resembles the signal of an animal nerve or muscle. Because they are rooted,
plants cannot escape their environment and they have to adapt biologically. For
instance when a tree is exposed to the wind, it responds by retarding its growth
or making a thick trunk in order to protect itself. Plants also respond to touch.
This response is called thigmomorphogenesis which permanently changes the
structure of a plant in response to mechanical stimulation. Have a listen to this…
[Audio excerpt from Plants emit sound when stressed, ILTV Israel News,
Dec 11, 2018, https://youtu.be/5YHnVdA2ZG8]
Tini Aliman: This is a clip of plant under stress recorded from a group of
researchers. These researchers argue that when plants emit ultrasonic sounds
between 20 and 100 kilohertz, it is to convey their distress to other plants and
organisms in the immediate vicinity. Our human ears can hear up to 20KHz, so
the screaming we just heard is actually quite a cute human rendition of plants
screaming in pain, so like you said – anthropomorphise right.
Anna Lovecchio: Disconcerting.
Tini Aliman: So Professor Daniel Chamovitz from Tel Aviv University, observed
that the same chemicals, the same drugs that inhibit the movement of water in
humans, influence plants the exact same way – for example, what Panadol does
to our brain to stop us from feeling pain which leads us to realise that plants and
humans share the basic cellular mechanisms. However, while plants respond to
mechanical stimulation, they don’t have a frontal cortex like we do. The frontal
cortex is that which defines emotional status and, essentially, processes pain and
suffering for us even though pain is really subjective. Professor Daniel Chamovitz
is really confident to say that while plants feel mechanical stimulation, they don’t
feel pain and they don’t suffer. So I guess, this is good news for vegetarians!
Anna Lovecchio: Yeah maybe. Let’s hope Professor Chamovitz is correct! And
that our alimentary survival as a species does not cause undue suffering in the
vegetable kingdom. You are researching a fair bit on plants and your works are,
as you say, ‘collaborations’ with plants which often involve the sonification of the
biological data of the plants themselves. How do these collaborations unfold?
And which data are you interested in?
Tini Aliman: So at the very beginning, in my head, I had a tentative format for this
collaboration with plants as a substantial communication done through sound.
And I had some unconstrained timings for the arrangement and composition.
My first departure point on capturing data from plants was Cleve Baxter’s
plant polygraph, an experiment conducted in 1966, where he hooked up a
galvanometer to the leaf of a houseplant that he kept in his office and based on
his observations, he claimed that plants have extrasensory perception. So that
led me to many other readings on plant neurobiology and I approached these
research materials not so much, returning to your previous question, to find out
if plants have emotions and any other kinds of anthropomorphic qualities, but
more as a sound technician. I was interested in using technology to measure the
galvanic conductance in plants, which is a form of bio-electricity, and transform
that data into sound. Some sound artists record wind and kites, water and whales
or metal, bridges and monuments. I just record water movements in leaves and
stems and events in soil.
Anna Lovecchio: And your way of recording is not a purely distanced, hands-off,
and ears-only act. There is always quite a bit of hardware and circuitry, wiring-up
and synthesising involved in your making process, right?
Tini Aliman: That’s right. The first plant I recorded was a ficus microcarpa or
the Malay Banyan. By attaching electrodes to the leaves or the skin of a plant,
fluctuations in galvanic conductance will produce MIDI notes. These notes are
transmitted on a configurable MIDI channel. There was a lot of playing involved
in the process of experimenting with what I learned about plant responses to
touch, light and the vibrational effect of external soundwaves. And there were
also collaborations with other musicians. In a way, plants have been acting as
MIDI controllers triggering sounds of virtual instruments using their electrical
and chemical signalling systems. They exhibit, so to say, a brainy behaviour in the
absence of brains. Through these experiments, I found that larger leaves, thicker
ones, with non-complicated vein patterns. Leaves like the Sansevieria Moonshine
or the Banana Tree leaves produce slower rhythms and that we can get a nice
constant beat from smaller leaves like the microcarpa or the kaffir lime.
Anna Lovecchio: Which brings us straight to Pokoknya, a project that spans
several years and started out with one specimen of the species you just
mentioned, the ficus microcarpa, this specimen in particular sits peacefully in
�a pot in your own backyard. It is a tree that you and Zarina Muhammad, who is
your partner but also an artist and an Alumna of our Residencies Programme,
affectionately call Ara. Ara has been your muse and collaborator for this project
and she has ‘performed’ with you here at NTU CCA a few times. Shall we talk
about your collaborations with Zarina and Ara?
Tini Aliman: Zarina and I have quite diverging interests, but our respective
research overlaps on topics such as plant consciousness, plant communication
networks and interspecies entanglements so this is where we share resources and
support each other’s practice. In the last few years, we have also been looking
into indigenous names, knowledge, ecologies and contested histories of plants.
Researching also the cultural associations rooted within Southeast Asian beliefs.
The lecture performance Flowers of our Bloodlines in 2017 was the first time
Zarina and I collaborated with Ara, our Banyan tree. Banyan trees in Southeast
Asia are well known for their associations with spirits and it is believed they
provide a shelter for them. So in the region, the ficus benjamina, ficus microcarpa
and ficus religiosa often lend themselves to become homes for spirits, as shrines
for elemental deities in temples. This idea became one of the tangential points
explored in Flowers of our Bloodlines.
[Audio excerpt from Zarina Muhammad, Flowers of our Bloodlines, lecture
performance, NTU CCA Singapore, 2017]
Ara returned to NTU CCA two years later, in September 2019, as part of Zarina’s
Open Studio during her residency here. For that event Ara was accompanied by
6 other plants who were selected for their polyphonic histories and particular
connections with mythical and historical figures based on Zarina’s research.
Finally, Ara performed again at NTU CCA in January 2020 where we were
commissioned to create a performance in response to your exhibition –
The Posthuman City.
Anna Lovecchio: Oh that feels so long ago, so much has changed since January
2020.
Tini Aliman: Yes it felt long ago. So for this performance I collaborated again with
Zarina alongside gamelan musicians Zachary Chan and Rosmainy Buang (from
Singa Nglaras Gamelan ensemble) and musician/sound artist Eswandy Sarip.
Tini Aliman, Pokoknya, performance, 17 January 2020, NTU CCA Singapore,
Courtesy of NTU CCA Singapore.
It is also when the title of the project Pokoknya was used for the first time.
Anna Lovecchio: What does Pokoknya mean?
Tini Aliman: Pokoknya is Malay for either ‘a tree belonging to’ or ‘the root of
the matter’. I find the Malay language simply poetic and full of nuances that
sometimes we cannot be translate it to English. I was very happy with the title
Pokoknya as I felt that the term encompassed and embodied a range of layered
meanings, significant to the process and intent of the work.
Anna Lovecchio: Here we were interested in exploring the politics and themes
of a very well-known gamelan song - It’s called the Ketawang Puspawarna attributed to Prince Mangkenugera IV of Surakarta, who reigned in the mid 19th
century in central Java. This piece of music has even been included in the Golden
Voyager Record that was sent up into space in the late 1970s along with alot of
other songs, to signal human presence to whatever extraterrestrials may find it.
Tini Aliman: I wonder where it is now.
[Audio excerpt from Tini Aliman, Pokoknya, performance, 17 January 2020, NTU
CCA Singapore]
�Tini Aliman: The song mentions 9 types of flowers meant as an allegory to
the women in the court. Ketawang Puspawarna is often only sung with three
stanzas, but in our performance nine stanzas were sung. Each stanza features a
specific flower and incorporates a poetic riddle. We started performing the piece
traditionally at first. After a few stanzas, the musicians gradually broke out of the
traditional structure into an improvised form where we were taking cues from the
plants and from each other.
Anna Lovecchio: I remember that very well.
Tini Aliman: Oh do you.
Anna Lovecchio: And then Pokoknya: Organic Cancellation came about.
The work was commissioned by National Gallery Singapore for the exhibition
An Exercise of Meaning in a Glitch Season curated by our mutual friend
Syaheedah Iskandar. This is your first attempt at articulating your experiments with
plants into an interactive mixed-media sculpture which also incorporates videos.
The work is a modular structure made of plywood cubes arranged to suggest
the shape of a tree, lets say a three-dimensional pixellated tree, and viewers can
interact with its sonic emanation…
In this iteration, I further explored the limits of interspecies communication, the
remembered afterlife of performances, the nature of glitches, and the polarities
of sound. The videos act as a memory map, capturing the sonic semblances
of specific places that have undergone environmental change. The sound part
experiments with analog audio phase cancellation, which is a phenomenon
where the two sound waves of the exact same frequency cancel each other out
when one of them is being inverted. And visitors can interact with the speakers
and disrupt the ‘sound cancellations’ by stepping on a foot pedal between the
two speakers on the tree sculptures.
Anna Lovecchio: While preparing for this interview, I read somewhere someone
saying that phase cancellation is some sort of ‘mystical matter in studio
engineering’!
Tini Aliman: Phase cancellation is actually considered some sort of a mistake
in audio engineering. But what is considered a technical mistake can be used
creatively. For example, think of the music from the 1970s. Led Zeppelin used
a lot of phases in their music.
Anna Lovecchio: I am not sure I completely get this. If the frequencies cancel
themselves out, what do we hear?
Pokoknya: Organic Cancellation, 2020, mixed media installation, installation view.
Courtesy of the artist.
Tini Aliman: Well it depends on many factors like the speaker attributes, the
size of the room or even the temperature of the space. This refers to analog
phase cancellation using speakers, not on a DAW. So at times if the waveforms
are not exactly the same, what we get is called a phase shift, an additional
‘unwanted’ sound that many mix engineers would want to get rid of. Going back
to Pokoknya: Organic Cancellation, for me this acoustic dynamics very much
correspond to the state of the world at the time the work was made. We were
in ‘Circuit Breaker’ in Singapore at the time, all boxed up in our little apartments
and this cancellation reflects the impact of this paradigm shift on our being.
�How the state of our being in these strange times is rendered cancelled...
[Audio excerpt from Tini Aliman, Pokoknya: Organic Cancellation, 2020, mixed
media installation]
Anna Lovecchio: Collaborating with humans and non-human beings especially
appears to be a key aspect of your working methodology. To me, this approach
evokes Donna Haraway’s concept of sympoiesis – of working together, creating
together, making with. It is concept that Haraway puts forth to reconfigure human
relations to the other inhabitants of the earth in these troubled times we are living
in as you said before. What have you learnt from your collaborations so far?
Tini Aliman: About collaborations I’d like to make a point made by Prof Anthony
Scibilia from Berklee College of Music, where he spoke on art that increasingly
used unconventional materials/methods to create the work, and of the idea
that we may sometimes fear what we do not understand. That made a strong
impression on me. My work as a sound designer for theatre is largely defined by
a set of ‘rules’ where the outcome of the work is based on the play’s narrative, the
notes from the director, and the actors’ interpretation. In the last few years, I have
been involved in collaborations with filmmakers, choreographers, dancers and a
range of visual and performance artists. This journey enabled me to better reflect
on the intersections between these specific art forms.
I appreciated the collaborations where the roles of artists shifted, where artworks
contain a multitude of ways of thinking of the world in which we live in and
articulate critical questions on originality, on authorship and authority. I realise
that I do not see music, visual art, philosophy and literature as distinctively
separate entities, and I appreciate the ways different modes of expressions
influence and enrich each other.
that I wish to continue pursuing, to explore music and sound through more
synesthetic approaches.
Anna Lovecchio: Great that you have such a clear sense of purpose!
Tini Aliman: I try my best.
Anna Lovecchio: Is there anyone in particular, human or non-human, you would
love to collaborate with?
Tini Aliman: If presented with the opportunity, I would like to collaborate with Dr.
Monica Gagliano, my favourite researcher in Animal & Plant Behavioural Ecology.
I mean of course, she comes second after my favourite rockstar academic-artistresearcher Zarina Muhammad!
Anna Lovecchio: Of course!
Tini Aliman: So why I would want to collaborate with Monica Gagliano is because
up to 2012, there was no scientific evidence that plants can hear. Previous
experiments were done with rock and classical music, but given the timeline of
music and plant evolution, music seems not to have evolutionary pressure on
plant development. A new study on plant cognition by the Center for Evolutionary
Biology of the University of Western Australia which is led by Monica Gagliano
herself found that plant root systems travel toward water sources by sensing
acoustic vibrations. The researchers played water flowing through a sink and
a recording of the same sound to common pea plants and examined how the
roots responded. They found that root systems did not grow toward the recorded
sound but they did grow towards the water flowing through a sink.
Anna Lovecchio: Interesting.
I have been reflecting a lot on my collaborations with these artists, who do
have varying methods and modes of working that I initially was not very familiar
with and did not understand very well. While challenging, these collaborations
have also mirrored my journey – in the sense that my understanding of creative
practices and languages have expanded and I’m seeing more clearly how there
can be a symbiotic relationship between these different art forms. Through
strategies of collaboration, I learned the seamless ways in which we communicate
across different modes and mediums. This is the trajectory in my own practice
Tini Aliman: Gagliano’s team found that plants could distinguish between
‘fake’ water sounds and the real thing, it’s like as if they can feel sound. I am
still following their development closely and would like to try this at home.
Anna Lovecchio: That sounds like a fun DIY experiment. I wonder how happy
Zarina is going to be with this... Let’s move on to talk about what you have been
up to during the residency. Over the past 5 months, we have seen your studio
�Tini Aliman: Miracles? Well if I can go back to the point I made about the ethics
of working with these materials. Well, I am still finding my footing there. For
this residency, I proposed to work with ‘dead trees’ and also repurpose wood
materials from my previous projects to ‘breathe new life into them. To me
these remains of what appears to be lifeless trees are witness to the changes
in their environment, for example resistance to pestilence and other ecological
changes. They have also witnessed the extractive hand of urban capitalism. I see
the remains of these dormant tree bodies as potentially embodying an archive
of environmental soundscapes. While it is impossible to bring a dead tree back
to life, for this project I intend to explore ways of engaging with these tree
stumps through other sensory modalities. What does it mean to try to listen to
an organism that appears, on first sight, to be lifeless? Can tree stumps present
meaningful frames for deep listening? Do they embody/possess their own sitespecific acoustical signature? So these are some of the questions guiding my
residency research.
Anna Lovecchio: Can you expand more on the process you are undertaking?
Where do you source your materials and how are you working with them?
Studio of Tini Aliman at NTU CCA SIngapore. Courtesy of NTU CCA Singapore.
morph into something in-between a carpentry workshop and a mixing studio.
[Sounds from Tini Aliman’s studio]
Anna Lovecchio: You are working with tree stumps but you are also ‘re-cycling’
plywood from your work Pokoknya: Organic Cancellation, which we discussed
just before. I see this gesture of pulling apart and repurposing the materials of
your sculpture as a strong, ecological statement against the dynamics of the art
world where once a work is made, it is meant to stay as is and can no longer be
touched. And also, when I think about what you are doing, a quote from a book
that I really enjoyed reading last year during circuit breaker comes to my mind.
This is the quote: “What you make from a tree should be at least as miraculous
as what you cut down”. It is kind of a warning or invitation. The book is called
The Overstory, it’s a novel by Richard Powers, and my question is what ‘miracles’
are you concocting with your wood?
Tini Aliman: Most of the found wood I collected so far comes from different
locations on East Coast Park, since I have been following closely the tree
pruning schedule along the East Coast. I have also acquired pieces of mahogany
or Khaya, oak, there’s ash and Angsana wood pieces with nice looking textures
from the rings that formed over the years. And, as you mentioned, I have also
scrapped the wood structure of Pokoknya: Organic Cancellation and I am
reusing that material. At this stage of the project, I am trying to figure a way
to make these pieces move mechanically, as kinetic sculptures. I also plan to mic
them up to hear what they sound like. For this, I am attempting to recreate
a network of closed circuits, mimicking how the trees communicated when they
were still alive.
Anna Lovecchio: Let’s dig deeper into your understanding of trees as
environmental archives, which I find very fascinating. As you just mentioned,
you regard trees as witnesses of a multiplicity of events, either natural
occurrences or anthropogenic events. What are you discovering about the
Singaporean environment through this project?
�Tini Aliman: Going back to what I said before, I see tree remains as potentially
embodying an archive of environmental soundscapes. It is well known and
understood that this island’s landscape has undergone dramatic and immense
environmental changes, particularly in terms of land use due to human activities;
the rapid urban redevelopment and cycles of deforestation have made way for
plantations, roads, MRT and other modern infrastructure. I’ve been thinking
a lot about how these human acts have impacted the biodiversity and the
small remaining pockets we can still consider to be ‘natural environments’.
For example, in 1819 it was noted that an estimated 13% of the island was
made up of mangrove ecosystems. Today we have less than 0.5% remain.
trips to find wood along East Coast Park, I stumbled upon a tree graveyard where
large mahoganies, rain trees and some smaller sea almond lay in a large carpark.
The subsequent times I went there, I saw that they have been cut and shaped like
seats and I reckon they are going to get a new life along the East Coast beach. I
wrote to Nparks but I am still waiting for them to reply to my email.
Anna Lovecchio: What did you write them about?
Tini Aliman: I want to know where these trees come from and how old are they?
Why were they cut, where are they going, what they are going to do with them.
Yeah stuff like that so Mr Jeremy Ng please call me.
Anna Lovecchio: Yeah, that’s terribly sad.
Tini Aliman: A very good example of a tree that has generated a slew of artistic
responses is the Malayan Banyan at the Substation. That tree has witnessed
human impositions of ‘development’ like the demolition of the National Library,
where we used to hang out there alot as students. There are artworks by Robert
Zhao. Lucy Davis engrafted parts of the tree to grow into seedlings, and Tan Pin
Pin documented the process of removing the tree. From my sonically-leaning
perspective, the tree has also witnessed over two decades of local acts performed
at the Substation garden before it was cleared in 2014. Growing up, I remember
watching bands like Humpback Oak, Stompin’ Ground, Plainsunset, and Astreal
to name a few and these gigs were organised independently by the artists
themselves. Some of these gigs were not recorded nor archived. I don’t know,
maybe we can ask the tree?
Anna Lovecchio: Yes please reply to Tini. As part of your research during the
residency, you are also looking at analogies between underground fungal
networks and printed circuit boards, commonly known as PCBs. Could you talk
more about this?
Tini Aliman: I started becoming interested in forest underground network after
I acquired this microphone called Geofón by LOM. Not very easy to get it. So
it is designed based on devices used for seismic measurement, quantifying the
tremors and shakes propagated through the ground. I went around at the back
of Gillman Barracks sticking the spike of the mic into the ground, but it seems like
we do not really have many activities going on in there other than the movement
of some living things like worms and bugs. This is what it sounds like.
Anna Lovecchio: That’s right.
[Underground sounds from the forest at Gillman Barracks captured by Tini Aliman
with a geophone, August 2021]
Tini Aliman: Through this project, I learned that there are conservation and
recycling efforts where industries can leverage technology for productivity
and the environment. The Sungei Kadut eco district, for example, launched
Singapore’s first wood recycling plant in 1999, converting wood chips into new
products like furniture, wood pallets and flooring strips. Other timbre companies
are also trying new ways to improve their process like generating electricity from
unwanted wood. One of our local woodcrafters, Roger&Sons started The Local
Tree Project, salvaging trees that have been felled for urban development and
turning these abandoned logs into durable future-proof objects and furniture,
using every single part of the tree to minimise wastage. On one of my cycling
So underground, there is a complex network connecting trees using a symbiotic
relationship with microbes in the soil like fungi and bacteria. Fungi covers a large
surface area by developing white fungal threads called mycelium. They take up
sugar from the roots of the hub tree, the tallest and oldest tree in the forest, and
give back vital minerals like nitrogen and phosphorus to the trees surrounding
this hub tree. They also communicate to each other and facilitate tree resilience
to certain environmental stressors like predators and toxins. A printed circuit
board, or PCB, is used to mechanically support and connect electric components
using conductive pathways etched on copper sheets laminated on nonconductive substrate.
�Anna Lovecchio: That’s very technical.
Tini Aliman: A PCB allows signals and power to be routed between physical
devices. You can take any electronic device that you don’t want anymore of
course, pull it apart and see what’s inside. To design, build and troubleshoot
circuits, we use schematics as a map. And there are many parts to it, for example,
we have resistors, capacitors, inductors and of course we need the power source.
I noted the strong resemblance between the mycorrhiza network and the PCB
etching design while working with these components. They are both about
Interconnectivity, signal transfer, data communication, to name a few. Reliance
on the hub tree in the underground forest network can be likened to a power
source on a PCB. There are so many more discoveries to be made to understand
the wisdom of the forest and their invisible microbes. Right now, I am organising
these ideas in a series of drawings that explore this analogy.
Anna Lovecchio: I can’t wait to see more of these drawings and, also, the
prototypes of your kinetic sculptures at your open studio which is happening in
a few weeks!
Tini Aliman: Yes it is.
Anna Lovecchio: We are keeping you quite busy at the end of the residency. As
we wind down this conversation, we must not fail to mention that you made a
long-term contribution to this podcast! You created the sound compositions we
hear at the beginning and at the end of each episode. We absolutely love them,
thanks so much Tini for making them!
Tini Aliman: Oh no, that was so much fun.
Anna Lovecchio: Our desire for the intro/outro sound clips was to share with
our listeners the soundscape we work in every day at NTU CCA. So we invited
you to take field recordings of the Gillman Barracks forest, where the Centre and
the studios are located. Can you tell me what you discovered about the ecology
of this area and the types of living entities you’ve identified through listening
and recording?
Tini Aliman: The opening and closing of the tracks were recordings of the
Tini Aliman, Of Underground Schematics & The Fallen Tree, performance, Residencies INSIGHTS,
18 September 2021, Residencies Studios. Courtesy of NTU CCA Singapore.
dusk and dawn of the space in front of Block 37 Malan road, where my studio is
situated. I made my way here at about 6am to set up and recorded during civil
twilight timing of 6.41am to 7.03am on that day. The birds here are relatively
quiet as compared to the ones at East Coast, but the ones which were obvious,
were the oriental pied hornbill. They just wanted to be recorded! Other sightings
include Pink-necked Green-Pigeon, Black-naped Oriole, Yellow-vented Bulbul,
and I once saw a Brahminy Kite when I was standing outside my studio the other
day. I am always happy to see a Brahminy Kite, they are very elegant and sexy.
An interesting observation was made by a fellow artist, Nina Djekic when I was
doing some recording at the back of Gillman Barracks.
[Field recordings of a walk through the forest at Gillman Barracks, December 2020]
Tini Aliman: I recorded a walking loop. Starting from the back of Mizuma Gallery
and I climbed my way to Telok Blangah Park via the metal bridge. On the way
back, I walked through the Earth Trail towards the same starting point. As there
are a lot of roads surrounding the little forested area we have here, we always
hear traffic, even in the very early hours of the morning. It was interesting that
Nina heard that difference in sound as I escalated higher on the bridge. It was as
�though the traffic sounds were drowned by the sounds of the biodiversity living
higher up on the trees. Maybe the birds are louder up there. On my way back
through the earth trail, I observed that the traffic sounds were still quite apparent
but under a canopy of tunnel-like trees closer to the ground, it created some
sort of layer and that felt quite surreal, like being in a maze or an underground
longkang drain system. You don’t know where you are but you know the city is
above you.
Anna Lovecchio: There we go! Back you are into the drain once again, as when
you were a kid!
Tini Aliman: I seem to like drains very much.
Anna Lovecchio: Yes. This a wonderful, circular way to close this conversation.
Thank you Tini, it’s been a pleasure talking to you.
Tini Aliman: Thank you again for having me Anna.
Tini Aliman and Anna Lovecchio recording AiRCAST on 30 August 2021,
Courtesy of NTU CCA Singapore.
Anna Lovecchio: You listened to AiRCAST, a podcast of NTU Centre for
Contemporary Art Singapore, a national research centre for contemporary art
of Nanyang Technological University. If you want to find out more about our
programmes, visit our website at www.ntu.ccasingapore.org and sign up to
our newsletter. Or you can follow us on your favourite social media platforms.
And of course, if you’d like to hear the voices and thoughts of our other Artistsin-Residence, do subscribe to this podcast AiRCAST is produced by NTU CCA
Singapore with the support of National Arts Council Singapore.
This episode featured artist Tini Aliman in conversation with myself, Anna
Lovecchio. I am also the editor of this podcast series. The Programme Manager
is Kristine Tan, the Audio Engineer, Rudi Osman. The intro and the outro were
composed by Tini Aliman herself with field recordings taken at different times of
the day in the beautiful forest around us. This episode was recorded on the 30th
of August 2021. Thank you for listening.
�
Dublin Core
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Title
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Resources
Programme Resource
Collateral and other print or digital materials pertaining to residency programmes. Examples include residency brochures, postcards, etc.
Short Description
Transcript of podcast with Artist-in-Residence, Tini Aliman. In the first episode of AiRCAST, NTU CCA Singapore curator Dr Anna Lovecchio speaks to Artist-in-Residence Tini Aliman about how her sonic practice revolves around a close listening of the natural environment.
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Programme Series
Residencies AiRCAST
Dublin Core
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Title
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Transcript of Residencies AiRCAST Episode #1: Tini Aliman
Publisher
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NTU CCA Singapore
Date
A point or period of time associated with an event in the lifecycle of the resource
2021-08-30
Contributor
An entity responsible for making contributions to the resource
Tini Aliman
Anna Lovecchio
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Description
An account of the resource
In the first episode of AiRCAST, NTU CCA Singapore curator Dr Anna Lovecchio speaks to Artist-in-Residence Tini Aliman about how her sonic practice revolves around a close listening of the natural environment. Tini shares about the experience of growing up in a fast-developing city, her encounters with nature, the human and other-than-human sources of inspiration for her work, and the sonification of tree stumps she is experimenting with during the residency.
Subject
The topic of the resource
Artistic Research
Nature
Format
The file format, physical medium, or dimensions of the resource
Transcript
-
Dublin Core
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Title
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Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Programme Type
Performance
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
No
Commissioned Work
Yes
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Short Description
Exiting-Traversing-Disembark consists of three parts with three points of departure and ways of traversing paths that sometimes may not have points of return.
Audience
General
Dublin Core
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Title
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Tini Aliman <i>Exiting-Traversing-Disembark</i>, 2021 Commissioned by NTU CCA Singapore
Description
An account of the resource
<i>Free Jazz III. Sound. Walks.</i> <br /><br /><i>Exiting-Traversing-Disembark</i> consists of three parts with three points of departure and ways of traversing paths that sometimes may not have points of return. <br /><br /><i>Exiting-Traversing-Disembark</i> is a meditation and reflection on what it might mean to move from one point to another, to cross waters. Visualising the sea as ‘ground’ as a departure point, this soundwalk gives attention to the multiple trajectories in which we perceive what it means to travel or traverse through space, especially against the constraints of the present times. On an island city state like Singapore with its high rise concretised built environment, it is easy to forget we are surrounded by water and connected to the archipelagic. How can we be more attentive to the soundscape of these journeys where we cross water, whether that crossing is figurative, imaginative, speculative or actual?
Date
A point or period of time associated with an event in the lifecycle of the resource
22 January - 28 March 2021
Contributor
An entity responsible for making contributions to the resource
Tini Aliman
Subject
The topic of the resource
Experiential
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
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Dublin Core
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Title
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Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Short Description
Furthering her long-term research on bioacoustics, botanical histories, and interspecies communication, Tini Aliman intends to approach tree stumps as a sonic archive of the environment and engage them with various sensorial modalities.
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Cycle
Cycle 8 (2021 – 2022)
Dublin Core
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Title
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Tini Aliman
Subject
The topic of the resource
Botany
Ecology
Description
An account of the resource
<span>Furthering her long-term research on bioacoustics, botanical histories, and interspecies communication, Tini Aliman intends to approach tree stumps as a sonic archive of the environment and engage them with various sensorial modalities. Within the framework of this project, tree stumps are regarded as witnesses to the ecological and anthropogenic changes resulting from land development, extractive capitalism, and climate change. Despite being seemingly devoid of life, felled trees and their stumps are in fact connected to underground forest ecologies and are part of sprawling fungal and bacterial networks through which plants communicate and send out signals that are not immediately graspable by the human ear. Shifting the acoustic experience of listening to one that is attuned to the sonic manifestation of non-human organisms, the artist will attempt to translate these signals into audible frequencies that merge deep listening and site-specificity. Furthermore, drawing parallels between the organic plant networks and the structure of printed circuit board (PCB), she will also map various sonic and spatial trajectories of plant sensing, survival, and communication. </span>
Date
A point or period of time associated with an event in the lifecycle of the resource
1 April – 30 September 2021
Contributor
An entity responsible for making contributions to the resource
Tini Aliman
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
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Dublin Core
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Title
A name given to the resource
<span>Tini Aliman, </span><em>Pokoknya: Intrusive Transducers</em><span>, 2021, single channel video. Courtesy of the artist. Photo by Eswandy Sarip.</span>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Tini
Surname or Business Name
Aliman
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2017/2018/2020/2021
Birthplace
Singapore
Occupation
Professional title or identity
Sound Artist
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
<span>Working at the intersection of film, sound, theatre, and installation and often through collaborative projects, the sonic and spatial experiments of </span><strong>Tini Aliman</strong><span> (b. 1980, Singapore) focus on forest networks, plant consciousness, bioacoustics, and data translations via biodata sonification. Her recent projects and collaborations have been presented at </span><em>Free Jazz III: Sound. Walks.</em><span> NTU CCA Singapore (2021); </span><em>An Exercise of Meaning in a Glitch Season,</em><span> National Gallery Singapore (2020); </span><em>Sound Kite Orchestra,</em><span> Biennale Urbana, Venice, Italy and </span><em>Stories We Tell to Scare Ourselves With</em><span>, Museum of Contemporary Art Taipei, Taiwan (both 2019). </span>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Singapore
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
Artist Research Platform
Contributor Type
Artist-in-Residence
Artist
Performer
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Climates. Habitats. Environments.
Birth Date
1980
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tini Aliman
Subject
The topic of the resource
Performance
Nature
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Sound
Contributor
An entity responsible for making contributions to the resource
Tini Aliman
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
As a new development of her long-term research on plant consciousness and biodata sonification, Tini Aliman has come to regard ‘dead’ trees as potential archives of environmental soundscapes, witnesses of urban development and extractive capitalism, ecological events and climate change.
Audience
General
Programme Series
OPEN Studios
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies OPEN: Tini Aliman
Description
An account of the resource
Saturday, 18 September 2021, 1:00 – 7:00 pm Block 37 Malan Road, #01-03<br /><br />Residencies OPEN showcases the diversity of contemporary art practices and the divergent ways in which artists conceive of an artwork with the studio as a constant space for experimentation and research. A<span>s a new development of her long-term research on plant consciousness and biodata sonification, </span>Tini Aliman<span> has come to regard ‘dead’ trees as potential archives of environmental soundscapes, witnesses of urban development and extractive capitalism, ecological events and climate change. Breathing new life into tree stumps, fragments of felled trees, and repurposed wood from previous artworks, the artist is reconfiguring these materials into kinetic and sound sculpture prototypes and she is experimenting with a range of sensory and mechanical modes of activation. Conjunctly, inspired by the structural and functional similarities between Printed Circuit Board (PCB) etching designs and forest underground network ecosystems, Tini is also speculatively imagining a functioning network of closed electronic circuits that mimics how these trees would have communicated while they were still alive. This project is realised in collaboration with Trying.sg.</span>
Date
A point or period of time associated with an event in the lifecycle of the resource
2021-09-18
Contributor
An entity responsible for making contributions to the resource
Tini Aliman
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Botany
Ecology
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
01:03:46
Event Type
Podcast
Participants
Names of individuals or groups participating in the event
Yuen Chee Wai
Anna Lovecchio
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies AiRCAST Episode #6: Yuen Chee Wai
Subject
The topic of the resource
Experiential
Technology
Artistic Research
Description
An account of the resource
<p>Wrapping up the first season of AiRCAST, in the sixth and final episode former Artist-in-Residence<span> </span><b>Yuen Chee Wai</b><span> </span>speaks to<span> </span><b>Dr Anna Lovecchio</b>, Assistant Director, Programmes.</p>
<p>Get acquainted with Chee Wai as he meditates on his long and expansive journey in experimental music, collaborative networks, and multimedia crossovers. Grown out of an interest in independent music, his creative practice has evolved into a vortex of acts of resistance, melancholic drifts, and world-making gestures that reverberate with critical perspectives on the status quo. Through the course of this exchange, you will also discover how the unprecedented challenges brought about by the pandemic triggered an outburst of creative energy and pushed him even further into the exploration of new alliances and forms of expression.<br /><br />Musician, artist, designer, and curator<span> </span><b>Yuen Chee Wai</b><span> </span>(b. 1975, Singapore) is known for his commitment to improvised music and experimental projects that explore memory and loss, indeterminacy and invisibility. Ranging from the obsolescent and the newfangled, his eclectic toolbox comprises noise, field recordings, found sounds as well as guitars and various electronic instruments which reverberate with critical perspectives inspired by philosophy, literature, film, and politics. Together with FEN (Far East Network), an improvised music quartet he co-formed in 2008, Yuen is active in triggering multifaceted collaborations across Asia. Since 2014, he is Project Director of Asian Music Network for which he co-curates Asian Meeting Festival. Yuen is also a member of the experimental band The Observatory with whom he plays guitar, efx and objects, and organises a range of projects such Playfreely and BlackKaji.<br /><br /><span>Contributors: Yuen Chee Wai</span><br /><span>Conducted by: Anna Lovecchio</span><br /><span>Programme Manager: Nadia Amalina</span><br /><span>Sound Engineer: Ashwin Menon (The Music Parlour)</span><br /><span>Intro & Outro Music: Tini Aliman</span><br /><span>Cover Image & Design: Arabelle Zhuang, Kristine Tan</span><br /><br /><b>Credits<br /></b><span>02’15”: Audio excerpt from installation recordings of </span><em>REFUSE</em><span>. Courtesy The Observatory.</span><br /><span>12’26”: Audio excerpt of George Chua and Yuen Chee Wai live session at </span><em>Strategies v.02</em><span>, The Substation, 2003. Courtesy the artist.</span><br /><span>27’38”: Audio excerpt from unreleased studio recordings of Ishikawa Ko, Iman Jimbot, and Yuen Chee Wai, for </span><em>Asian Meeting Festival</em><span>. Courtesy the artist.</span><br /><span>30’36”: Audio excerpt of The Observatory and Haino Keiji, </span><em>Authority is Alive,<span> </span></em><span>Playfreely, 2019. Courtesy the artist.</span><br /><span>48’40”: Audio excerpt of </span><em>Imprisoned Mind</em><span> from the upcoming album </span><em>Demon State</em><span> by The Observatory and Koichi Shimizu, 2022. Courtesy the artist.</span><br /><span>56’59”: Audio excerpt from installation recordings of </span><em>REFUSE</em><span>. Courtesy The Observatory.</span><br /><span>1h00’52”: Audio excerpt from Yuen Chee Wai’s recording of packing up the studio in the last hours of his residency at NTU CCA Singapore, 30 March 2022. Courtesy the artist. </span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2022-03-30
Contributor
An entity responsible for making contributions to the resource
Yuen Chee Wai
Anna Lovechio
Nadia Amalina
Ashwin Menon
Tini Aliman
Kristine Tan
Arabelle Zhuang
Format
The file format, physical medium, or dimensions of the resource
Podcast
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
<a href="https://www.buzzsprout.com/1845756/10684176-aircast-6-yuen-chee-wai">https://www.buzzsprout.com/1845756/10684176-aircast-6-yuen-chee-wai</a>
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:46:06
Event Type
Podcast
Participants
Names of individuals or groups participating in the event
Han Xuemei
Hsu Fang-Tze
Anna Lovecchio
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies AiRCAST Episode #5: Han Xuemei
Subject
The topic of the resource
Theatre
Artistic Research
Description
An account of the resource
<p>For our fifth episode of AiRCAST, we entrusted curator and scholar Hsu Fang-Tze to pick the mind of our Artist-in-Residence Han Xuemei. In their insightful exchange, Xuemei discusses how her urgency for engagement steers her fluid theatre practice towards experimenting with different modes of audience participation. As she shares about her current efforts to carve out “intervals of quiet” and “plots of rest” in the hectic context of Singapore, you will also discover that the research on the topic of “rest as resistance” she conducted throughout her residency at NTU CCA Singapore grows out from another residency she did in Taipei a few years ago.<br /><br />Committed to socially engaged practices, multi-disciplinary theatre practitioner Han Xuemei (b. 1987, Singapore) employs art as a tool for bringing communities together and engaging the audience in visceral and personal ways. In her practice, she creates spaces and experiences that incite participants to think outside the box of existing paradigms and articulate forms of hope and resistance. Since 2012, she is Resident Artist at the Singapore-based theatre company Drama Box. In 2021 she received Young Artist Award, Singapore’s highest award for young arts practitioners.<br /><br />Hsu Fang-Tze is a lecturer at the Communications and New Media Department, National University of Singapore where she is also a coordinator of the M.A. in Arts and Cultural Entrepreneurship. Her research interests include the formation of audiovisual modernity in Asia, Cold War aesthetics, philosophies of sonic technology, and the embodiment of artistic praxis in everyday life. Apart from her academic work, she is also active as a curator and has curated exhibitions such as A<em>rt Histories of a Forever War: Modernism between Space and Home</em><span> </span>at the Taipei Fine Art Museum, Taiwan (2021-2022) and<span> </span><em>Wishful Images</em><span> </span>at National University of Singapore Museum (2020). <br /><br />Contributors: Han Xuemei, Hsu Fang-Tze<br />Editor: Anna Lovecchio<br />Programme Manager: Kristine Tan <br />Sound Engineer: Ashwin Menon (The Music Parlour) <br />Intro & Outro Music: Tini Aliman <br />Cover Image & Design: Arabelle Zhuang, Kristine Tan</p>
<p>CREDITS<br />12’38”: Audio excerpt from<span> </span><em>MISSING: The City of Lost Things</em>, 2018. Courtesy Drama Box.<br />15’07”: Audio excerpt from<span> </span><em>MISSING: The City of Lost Things</em>, 2018. Courtesy Drama Box.<br />19’15”: Audio excerpt from<span> </span><em>FLOWERS</em>, 2019. Courtesy Drama Box.<br />21’00”: Audio excerpt from<span> </span><em>FLOWERS</em>, 2019. Courtesy Drama Box. <br />26’24”: Audio excerpt from Taipei Main Station & Research Field Recording workshop part of<br />Asia Discovers Asia Meeting for Contemporary Performance Artist Lab, 2019. Courtesy the artist. <br />35’30’’: Audio excerpt from Han Xuemei, field recordings at Tanah Merah, January 2022. Courtesy the artist.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2022-03-02
Contributor
An entity responsible for making contributions to the resource
Han Xuemei
Hsu Fang-Tze
Anna Lovecchio
Kristine Tan
Ashwin Menon
Tini Aliman
Arabelle Zhuang
Fang-Tze Hsu
Format
The file format, physical medium, or dimensions of the resource
Podcast
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
<a href="https://www.buzzsprout.com/1845756/10518783-aircast-5-han-xuemei">https://www.buzzsprout.com/1845756/10518783-aircast-5-han-xuemei</a>
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:52:08
Participants
Names of individuals or groups participating in the event
Chua Chye Teck
Anna Lovecchio
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies AiRCAST Episode #4: Chua Chye Teck
Subject
The topic of the resource
Ways of Seeing
Cultural Production
Technology
Description
An account of the resource
<span>Artist-in-Residence Chua Chye Teck speaks to Dr Anna Lovecchio, Assistant Director, Programmes, in our fourth episode of AiRCAST. Follow Chye Teck's stream of consciousness as he tells us about his journey with the medium of photography and his enduring fascination for fleeting forms and makeshift compositions. In recent years, Chye Teck is developing a more experimental attitude towards the image-making process creating works that respond to the specificity of a site, rather than to a subject matter, and reverberate with emotional vibrations. He has also become involved in several collaborations with other artists and he is cultivating a new fascination for cellphone images and the creative potential of readily available, off-the-shelf digital technologies.<br /><br />Contributor: Chua Chye Teck <br />Conducted by: Anna Lovecchio <br />Programme Manager: Kristine Tan <br />Sound Engineer: Ashwin Menon (The Music Parlour)<br />Intro & Outro Music: Tini Aliman<br />Cover Image & Design: Arabelle Zhuang, Kristine Tan<br /></span>
Date
A point or period of time associated with an event in the lifecycle of the resource
2022-03-02
Contributor
An entity responsible for making contributions to the resource
Chua Chye Teck
Anna Lovecchio
Kristine Tan
Ashwin Menon
Tini Aliman
Arabelle Zhuang
Format
The file format, physical medium, or dimensions of the resource
Podcast
Identifier
An unambiguous reference to the resource within a given context
<a href="https://www.buzzsprout.com/1845756/10394357-aircast-4-chua-chye-teck">https://www.buzzsprout.com/1845756/10394357-aircast-4-chua-chye-teck</a>
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Short Description
In our third episode, we open up this platform for the first time to a guest interviewer. We invited artist and filmmaker Kent Chan to pick the brain of our Artist-in-Residence Yeo Siew Hua.
Audience
General
Programme Series
Residencies AiRCAST
Location
Onsite (CCA)
Offsite
Online
Offsite
Collaboration
No
Commissioned Work
No
Education
No
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:43:15
Event Type
Podcast
Participants
Names of individuals or groups participating in the event
Yeo Siew Hua
Kent Chan
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies AiRCAST Episode #3: Yeo Siew Hua
Subject
The topic of the resource
Artistic Research
Institutional Critique
Cultural Production
Description
An account of the resource
<p>In our third episode, we open up this platform for the first time to a guest interviewer. We invited artist and filmmaker Kent Chan to pick the brain of our Artist-in-Residence Yeo Siew Hua. Beyond being both filmmakers and artists, Siew Hua and Kent have been occasional collaborators in the past and, most importantly, they are also long-time friends. Hear them speak candidly about the intertwined cycles of art-making and fund-raising, the blurred line between cinema and visual arts, as well as the philosophical underpinnings and the importance of collaboration in Siew Hua’s practice. </p>
<p>The practice of Yeo Siew Hua (b. 1985, Singapore) spans film directing and screenwriting. His films probe the darkest side of contemporary society through narratives layered with mysterious atmospheres, inscrutable characters, and mythological references, all steeped in arresting visuals and sounds. His last feature film <em>A Land Imagined </em>(2018) harnessed recognition around the world receiving the Golden Leopard at the 71st Locarno Film Festival and the Best Original Screenplay and Best Original Music Score Awards at the 56th Taipei Golden Horse Film Festival. </p>
<p>After <em>A Land Imagined</em>, Siew Hua has created a number of short films, one of which, <em>An Invocation to the Earth </em>(2020), commissioned by the Singapore International Film Festival and TBA21, was co-produced with NTU CCA Singapore. <em>An Invocation to the Earth </em>can be viewed online at <a href="http://www.stage.tba21.org/" target="_blank" rel="noreferrer noopener">www.stage.tba21.org</a>. During the residency, Siew Hua has been completing his next major production titled <em>The Once and Future</em>, an expanded cinema project which will premiere at the Singapore International Festival of Arts 2022. In 2021, he received the Young Artist Award, Singapore’s highest award for young arts practitioners.<br /><br /><span>Kent Chan (b. 1984, Singapore) is an artist, curator, and filmmaker currently based in Amsterdam. His practice weaves encounters between art, fiction, and cinema with a particular interest in the tropical imagination, colonialism, and the relation between heat and art. He has held solo presentations at Bonnefanten Museum, Maastricht, Netherlands (2020-21), National University Singapore Museum (2019-21) and SCCA-Ljubljana, Centre for Contemporary Arts, Slovenia (2017). He was Artist-in-Residence at Jan van Eyck Academie (2019-20) and at NTU CCA Singapore (2017-2018). </span><br /><br /><span>Contributors: Yeo Siew Hua, Kent Chan </span><br /><span>Conducted by: Anna Lovecchio </span><br /><span>Programme Manager: Kristine Tan </span><br /><span>Sound Engineer: Ashwin Menon (The Music Parlour)</span><br /><span>Intro & Outro Music: Tini Aliman </span><br /><span>Cover Image & Design: Arabelle Zhuang, Kristine Tan</span><br /><br /><span>Credits:</span><br /><span>06:42: Audio excerpt from Yeo Siew Hua, </span><em>A Land Imagined</em><span>, 2018. Courtesy the artist.</span><br /><span>11:46: Audio excerpt from Yeo Siew Hua, </span><em>The Obs: A Singapore Story</em><span>, 2014. Courtesy the artist.</span><br /><span>22:55: Audio excerpt from Yeo Siew Hua, </span><em>The Once and Future</em><span>, 2022. Courtesy the artist.</span><br /><span>40:49: Audio excerpt from Yeo Siew Hua, </span><em>The Lover, The Excess, The Ascetic and the Fool, </em><span>2021. Courtesy the artist.</span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2022-02-22
Contributor
An entity responsible for making contributions to the resource
Yeo Siew Hua
Kent Chan
Anna Lovecchio
Kristine Tan
Ashwin Menon
Tini Aliman
Arabelle Zhuang
Format
The file format, physical medium, or dimensions of the resource
Podcast
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
<a href="https://www.buzzsprout.com/1845756/10373860-aircast-3-yeo-siew-hua">https://www.buzzsprout.com/1845756/10373860-aircast-3-yeo-siew-hua</a>
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Participants
Names of individuals or groups participating in the event
Tini Aliman
Anna Lovecchio
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:52:34
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies AiRCAST Episode #1: Tini Aliman
Subject
The topic of the resource
Nature
Experiential
Performance
Date
A point or period of time associated with an event in the lifecycle of the resource
2021-08-30
Contributor
An entity responsible for making contributions to the resource
Tini Aliman
Anna Lovecchio
Kristine Tan
Arabelle Zhuang
Format
The file format, physical medium, or dimensions of the resource
Podcast
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
<a href="https://www.buzzsprout.com/1845756/9279419-aircast-1-tini-aliman">https://www.buzzsprout.com/1845756/9279419-aircast-1-tini-aliman</a>
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Description
An account of the resource
In the first episode of AiRCAST, NTU CCA Singapore curator Dr Anna Lovecchio speaks to Artist-in-Residence Tini Aliman about how her sonic practice revolves around a close listening of the natural environment. Tini shares about the experience of growing up in a fast-developing city, her encounters with nature, the human and other-than-human sources of inspiration for her work, and the sonification of tree stumps she is experimenting with during the residency. As a special treat to our ears, the conversation is punctuated with excerpts from her recordings. <br /><br />Contributor: Tini Aliman<br />Conducted by: Anna Lovecchio <br />Programme Manager: Kristine Tan <br />Sound Engineer: Rudi Osman <br />Intro & Outro Music: Tini Aliman<br />Cover Image & Design: Arabelle Zhuang, Kristine Tan <br /><br />Credits: <br />9:11: Recording of plants in Fort Canning Park, Aug 2018. Courtesy the artist. <br />17: 20: Audio excerpt from Plants emit sound when stressed, ILTV Israel News, Dec 11, 2018, <a href="https://youtu.be/5YHnVdA2ZG8">https://youtu.be/5YHnVdA2ZG8</a> <br />24:01: Audio excerpt from Zarina Muhammad, Flowers of our Bloodlines, lecture performance, NTU CCA Singapore, 2017. Courtesy the artist.<br />26:35: Audio excerpt from Tini Aliman, Pokoknya, performance, 17 January 2020, NTU CCA Singapore. Courtesy the artist. <br />30:37: Audio excerpt from Tini Aliman, Pokoknya: Organic Cancellation, 2020, mixed media installation. Courtesy the artist. <br />36:08: Sounds from Tini Aliman’s studio. Courtesy the artist. <br />44:54: Underground sounds from the forest at Gillman Barracks captured by Tini Aliman with a geophone, August 2021. Courtesy the artist.<br />49:06: Field recordings of a walk through the forest at Gillman Barracks, December 2020. Courtesy the artist.