Apr 1985
Aug 1985
Sep 1985
Dec 1985
May 1986
Sep 1986
Oct 1986
May 1987
Jun 1987
Aug 1987
Nov 1987
Feb 1988
Mar 1988
Aug 1988
Nov 1988
Jan 1989
Apr 1989
Jun 1989
Aug 1989
Nov 1989
Dec 1989
Feb 1990
Apr 1990
Jun 1990
Jul 1990
Nov 1990
Dec 1990
Jan 1991
Mar 1991
Apr 1991
May 1991
Jun 1991
Jul 1991
Aug 1991
Sep 1991
Oct 1991
Nov 1991
Dec 1991
Jan 1992
Feb 1992
Mar 1992
Apr 1992
Jun 1992
Jul 1992
Aug 1992
Sep 1992
Oct 1992
Dec 1992
Jan 1993
Feb 1993
Mar 1993
Apr 1993
May 1993
Jun 1993
Jul 1993
Sep 1993
Oct 1993
Nov 1993
Jan 1994
Feb 1994
Apr 1994
May 1994
Jun 1994
Jul 1994
Aug 1994
Sep 1994
Oct 1994
Nov 1994
Dec 1994
Jan 1995
Mar 1995
Jun 1995
Jul 1995
Aug 1995
Sep 1995
Oct 1995
Nov 1995
Dec 1995
Feb 1996
Mar 1996
Apr 1996
May 1996
Jun 1996
Aug 1996
Sep 1996
Oct 1996
Nov 1996
Feb 1997
May 1997
Jun 1997
Jul 1997
Aug 1997
Sep 1997
Oct 1997
Dec 1997
Feb 1998
Apr 1998
Jun 1998
Aug 1998
Sep 1998
Nov 1998
Jan 1999
Feb 1999
Mar 1999
May 1999
Jun 1999
Jul 1999
Aug 1999
Sep 1999
Oct 1999
Dec 1999
Mar 2004
Mar 2003
May 2000
Mar 2000
Jul 2000
Dec 2000
Feb 2001
Mar 2001
Apr 2001
May 2001
Jun 2001
Aug 2001
Sep 2001
Oct 2001
Jan 2002
May 2002
Jun 2002
Jul 2002
Aug 2002
Sep 2002
Nov 2002
Apr 2003
May 2003
Jun 2003
Jul 2003
Aug 2003
Sep 2003
Nov 2003
Dec 2003
Feb 2004
Apr 2004
May 2004
Jun 2004
Aug 2004
Sep 2004
Oct 2004
Nov 2004
Dec 2004
Dec 2008
Feb 2005
Mar 2005
Jul 2005
Sep 2005
Oct 2005
Nov 2005
Dec 2005
Jan 2006
Feb 2006
Mar 2006
Apr 2006
May 2006
Jun 2006
Jul 2006
Aug 2006
Sep 2006
Oct 2006
Nov 2006
Jan 2007
Feb 2007
Mar 2007
Apr 2007
May 2007
Jul 2007
Sep 2007
Oct 2007
Nov 2007
Dec 2007
Apr 2008
Jun 2008
Jul 2008
Aug 2008
Sep 2008
Oct 2008
Nov 2008
Jan 2009
Mar 2009
Apr 2009
Jun 2009
Jul 2009
Aug 2009
Sep 2009
Oct 2009
Nov 2009
Oct 2014
Apr 2014
Jan 2010
Apr 2010
May 2010
Jul 2010
Sep 2010
Dec 2010
Jan 2011
Jun 2011
Jul 2011
Sep 2011
Oct 2011
Nov 2011
Dec 2011
Mar 2012
May 2012
Jun 2012
Jul 2012
Sep 2012
Oct 2012
Nov 2012
Jan 2013
Feb 2013
Apr 2013
May 2013
Jun 2013
Aug 2013
Sep 2013
Nov 2013
Dec 2013
Feb 2014
Mar 2014
May 2014
Jun 2014
Jul 2014
Aug 2014
Aug 2019
Dec 2014
May 2016
Nov 2016
Dec 2016
Sep 2015
Oct 2019
Feb 2015
Mar 2015
May 2015
Jun 2015
Oct 2015
Dec 2015
Feb 2016
Apr 2016
Jul 2016
Sep 2016
Oct 2016
Feb 2017
Mar 2017
Jul 2017
Oct 2017
Nov 2017
Jan 2018
Mar 2018
Apr 2018
May 2018
Jul 2018
Sep 2018
Nov 2018
Dec 2018
Mar 2019
Apr 2019
May 2019
Jul 2019
Sep 2019
Nov 2019
Dec 2019

˅ Hide
Programme Details
Open Call – I Have Escaped Even Myself

Key Words

Collage, Contemplation, Cybernetic, Cyborg, Escape, Existentialism, Experimental Music, Fantasy, Flow, Fragmentation, Ghost, Haunting, History, Identity, Image, Improvisation, Language, Liberation, Materialism, Memory, Mirror, Paradox, Personality, Reality, Self, Self-Reflection, Solo, Solos, Sonic Arts, Sound Art, Spirit,


Am I? Who am I? What am I? How did I come to be this, the person I suppose I am? What does it mean for me to be me? Is this character a manifestation of my being, a mirror to my consciousness, or even a splinter of my unconscious, a link to deep and hidden secrets about myself that I never even knew? So who is the real me? Do I know? How would I know? What does it mean to know something? Why should it even matter? I create. I experience. I apprehend. I think. I taste. I breathe. I exist. But am I?

No man is an island. Fragmented, multiple and malleable, the voices within the socialised self allow the individual to imagine the world in the terms of ‘self’ and ‘other’ according to the structure of a universal society. I am merely myself. So who asked the question? Is the singularity, continuity, consistency and identity of the self a mere illusion? ‘I’ has no meaning without ‘you’, without the ‘other’ of the social. I cannot see, much less recognise myself, without someone else. History. Memory. Language. Image. In the mirror, I see that which the others see is ‘me’.

Hello. And you are? The body. The brain. The mind. That’s me? Which me? If ‘I’ am but an illusory side effect of biochemistry, is the image that meets my gaze in the looking glass, the me that the world sees, not also a representation, a symbol of this thing called ‘me’? A representation that guarantees my false sense of uninterruptedness and self-consistency. The ‘I’ is merely an abstraction, a short-handed way of addressing the complexity of the self. So what?

And beyond the instant caught in the here and now, where is the ‘I’ of the moment? The subjectivity of experience and existence is mine and mine alone to have. The only true thing that I can completely trust. Or should I? Is the world an illusion beyond ‘me’? But am I not also a similar caricature? So I am not what I was five minutes ago, much less five years ago. Yet I am still me. Only me? Thoughts. Flashbacks. The will to be. A will that is stamped on my actions. The will to create. This is me. Because I will it to be. My things. My belongings. My work. My creation. My art. That will is me, yet beyond me. An extension of myself, a part of my many selves, yet also immeasurably greater than the sum of my collective selves. Or perhaps it was just a figment of my imaginary being that has managed to escape the confines of my self. It is, is it not? Would you happen to have the answer? If only you were me. Or if I were you. Though I also believe I truly were you. And still am. Am I not? I have not escaped. I have escaped.

I Have Escaped Even Myself is the second in a continuation of a series of experimental music/sound art events presented by Singapore Sonic Arts Collective (sporesac). Building upon the success and goodwill of ‘I Have Lost Friends’, an interpretive and cross-cultural interrogation of the meaning of loss via four sets of performances presented in February 2005, ‘I Have Escaped Even Myself’ continues to showcase a range of local and global artists in their attempt to ground abstract experimentation in the reality of everyday experiences and real-world issues.

Turning a reflective eye inwards upon the seat of the human psyche, I Have Escaped Even Myself will attempt to address the elusive nature of the self and the divide between the inner (though probably not any more ‘true’) self and the represented externalised selves that are taken to denote that self, whether in terms of body image, material possessions, or even creative output. In the realm of performance and art, what defines the artist as a self? Is this their own undertaking alone? Or is the artist and their art defined by that which is created and the meanings that are derived thereof? Or continuing along the same vein, is the artist not in a sense a fictive construct, one fashioned by an audience, even a non-existent one?

Featuring six solo sets of about 16 minutes each, presented by a collection of local and international sound experimenters, the intention is to have a continuous collage of sound with five bridging segments, each one a brief improvised collaboration between the artists concerned, that flows seamlessly from and to the preceding and following sets, allowing a non-stop flow of processes that dissolves the very idea of a ‘solo’. An examination of the deterritorialised extensions of the self in the realm of performance, this performance will also question the ubiquity of the concept of the ‘solo’.

What does it mean to be solo? What does a solo performance actually mean, and where does it begin and end? A solo refers to a sense of singularity, but is that singularity referring to the performer, their performance, or the larger context of the event? So who and what is this solo? A soul trying to raise its voice? Or an implicit recognition of our (misplaced) belief in the singular unity (and primacy) of the category called the individual? If the self is but a fragmented bundle of conflicting subjectivities, is not the idea of a ‘solo’ a paradoxical suggestion? Perhaps, the existential loneliness of the human condition is not an issue of the randomness of life or the impossibility of companionship, but rather the inability of the self/selves to escape their prison. And with laptops and other musical instruments through which performers work, create and speak, there could and should also be a reconsideration of the kind of identities, personalities and selves made possible by the intensifying nature of the nexus between man and machine/instrument by the rise of cybernetic beings. Other than the manipulation of space, sound artists and musicians have always relied on machinic appendages, even if these are but extensions of the body, such as a voice or limbs. In this sense, the man-machine linkage is not clearly just a novel one. Is the voice that is ‘liberated’ through the act of performing the hidden self of the artist or merely the proverbial ghost in the machine? A resounding solo performance indeed. Does one perform or is one performed through, giving voice to circuits that hum with a life of their own?



25 March 2006

Concept: Researcher: Producer:

Commissioned By:>

Produced, Managed or Presented By:>

Printed Matter

Click on thumbnails to view high resolution files.

Related Programmes


Showing 1 programmes

Open Call – I Have Escaped Even Myself

Genre:> Contemporary Music
Electronic Music
Live Music
Sonic Arts

Year:> 2023

View details