homotopy: an experience-in-progress

Can you travel through time with an ear to your heart?

An excavation of the soma as an acoustic artefact, the project is an intercultural exploration of sound that dives deep into the intersections of cognitive neuroscience, metaphysics, multimedia art, and the (un)conscious body in performance. Through tactile experimentations with immersive data and musicology, homotopy 2.0 will be an intimate study of human modalities — all within a communal act of listening.

Join us as we endeavour to map what's hidden below the surface, and trace personal topologies. Three months' worth of research has culminated in an interactive experience-in-progress, where the audience is invited to discover in a raw, introspective world.

More information 🎨 

We have translated our project to the screen! If you were not able to attend our initial exhibition in person back in March, we'd love to have you participate in homotopy 2.0.

It is a durational event, which allows for movement in and out of the digital space in your own time.  We would recommend setting 30 - 45 minutes aside for the experience. A laptop will be required to enter the experience, and a pair of earphones / headphones. You can access the website whenever and wherever you like between 12th and 30th June — in the quietude of your bedroom, on public transport, sitting on a bench in a park. Feel free to experiment!

All artefacts on display are suitable for ages 15 and above. Accessibility features are integrated into the site, with visual descriptions of sounds, and a widget that allows you to switch to a version that's compatible with screen readers. Please contact outreach@fromabasement.co if there are any issues.

About the team behind homotopy:

Rebecca G (Director / Artist-Facilitator)

Rebecca [they / them] is an interdisciplinary theatre director, writer, and critical practitioner. They are currently the artistic director of from (a)basement theatre collective, a company that strives to uncover what remains hidden between the lines in multidimensional conversations. Passionate about celebrating the diverse narratives around them, Rebecca's work straddles boundaries and borders. They have trained / collaborated internationally with theatres and organisations in Poland, Germany, Singapore, India, the Czech Republic, and the UK. With the act of reimagination at its core, their creative ethos is based on hybrid processes of experimentation, empowerment, and excavation — with a particular focus on site-specific physicality, the aesthetics of research, and expressionist multimedia performance.

madam data (Composer / Artist-Facilitator)

madam data no longer provides information about what they do. They have settled on two ways of interfacing with the outside world:

• Prayer
• Sabotage

Kapilan Naidu (Creative Technologist)

Kapilan Naidu is a multimedia artist, designer and aspiring music producer. He enjoys working across a large variety of disciplines and is particularly known for his use of real-time data in his works. His love for technology and his background as a graphic designer motivate his use of data as a tool for creative expression. When he isn’t busy tinkering with the latest technology has to offer, Kapilan also works on more traditional projects involving Visual Communication, Branding and Advertising. He has branded start-ups, bookstores, and cafés, in addition to working on motion design and social media campaigns for companies such as Netflix and StarHub.

Artist-Collaborators:

Melva is a young, aspiring, actress who is currently based in Singapore. Previously, Melva spent many years abroad in the United States and Australia, identifying strongly with the third-culture model. After returning, she completed a Diploma in Performance and her Bachelor’s Degree in Acting, both from Lasalle College of The Arts. Highly-energetic and passionate, she strongly believes in collaborative ensemble based work. Melva fervently believes in representation in Singapore’s diverse theater industry and is drawn to explore the unconventional and untold stories of theater and performance. She is also a keen teacher, utilizing speech and drama and her theatrical background to build confidence in children and adults. Some of her recent acting credits include: Anna in Vassa directed by Daniel Jenkins, Viola in Twelfth Night directed by Prof. Michael Earley, Li Ting in Subtitled1.0 directed by Alvin Tan. Melva also ventures into commercial work on TV and Film.

Coming from a family where English language and literature are a strong suit, Ness started taking an interest in theatre, due to their passionate interest in literature and analysis of literary text. Currently, they are a student in LASALLE College of The Arts, Diploma in Performance. They are interested in the concept of breathing techniques, how breathing changes the intentions of a character. In a similar fashion, they are also keen in researching further on physical techniques and elements when it comes to performance. They have exemplary experience in stage managing during Bangsawan with Firdaus Bin Faisal and movement based work in Talking Bodies with Leela Alaniz during their studies in LASALLE. Their wish in the future is to be able to challenge people’s ideologies and hopefully make their audience realise that things aren’t always one dimensional.

A visual creator both on the dance floor and through the lens, Ammar spends most of his time creating magic. Driven by adrenaline, Ammar loves pushing and transcending boundaries and believes in experiences more than certificates. He was born hearing but due to a high fever when he was an infant, he gained deafness. Growing up in both Deaf and Hearing worlds, he has witnessed and identified many differences and similarities. Being part of the Redeafination dance crew since 2011, the experience has taken his passion for dance to greater heights. As an artist, Ammar’s focus is to integrate the relationship between the Deaf and hearing to spread a message that both worlds can work together.

Su is an actor, theatre practitioner, educator and access worker of Burmese-Chinese descent. She graduated from LASALLE with first-class honours in BA (Hons) Acting. Besides acting, Su is a budding theatre researcher whose work explores minority representation and the integration of the D/deaf and persons with disability. She strongly advocates for representation and accessibility in theatre. She recently worked as a creative captioner for Singapore  Repertory Theatre and an Accessibility Intern with The Necessary Stage for M1 Fringe Festival.

Raj has worked in both the English and Tamil theatre scenes in Singapore and has undergone training Edith Podesta as part of Young & Wild by Wild Rice. His notable stage credits include: The Outsiders (Ravindran Drama Group); Encounters on a Crowded Island (Tapestry Playback Theatre); And Then There Were None, 12 Angry Men (Avant Theatre); Anything Can Happen / Something Must Happen (Wild Rice); and To Speak Quietly (Pink Gajah Theatre). Raj made his debut as a playwright in 2019 with Chandramukhi (Avant Theatre) and Ashes, Ashes (Toy Factory Productions). He is currently a member of the Brown Voices playwriting collective. His short story, “The White Lotus: Sinking to the Bottom” was recently published in the anthology In This Desert, There Were Seeds by Ethos Books and Margaret River Press.