Hotdesk is a programme that supports artistic and critical research processes and values space as a crucial condition of artistic production. We hope to share and open our studio space as a resource to seed more possibilities for thought, conversations and collaborations.

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A (fictional) record label featuring visual tracks and exploring the musicality of images.

Hotdesk #1
Record label

About R∞pt R∞pt is a (fictional) record label producing visual tracks, serving as a breezy platform of image sampling and mutating.

R∞pt Principles

  • Breezy Platform : Consuming and producing images as we do for music.
  • Organic Swimming Hybridity : Dissolving the boundaries to swim around in music and images.
  • Replaced Tool : Photoshop replacing music producing softwares such as Garageband and Ableton. 
  • Constant Looping and Mutating : Looping the existing images to be re-used, mutating them into the artists’ composition.
  • Rooted in Experimental music : Based on Sampling and Producing in electronic music.

Featuring Musicians

  • Chinesecaipng
  • Neptune
  • Twenty Inch Waters
  • Filipgudovik
  • Alspeedo
  • Bedok-Bandits
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R∞pt Launch

R∞pt (@roooooooopt) on web is out July 8th. It is a (fictional) record label featuring visual tracks. Breezy platform to experiment consuming and producing images in musical functionality.

Featuring Musicians:
Bedok-Bandits, Chinesecaipng, Neptune, Filipgudovik, Twenty Inch Waters, Alspeedo, and many more.

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Musical Images

The very first memorable experience of music as a 90s baby was not actually through a musical experience. It was from sweeping through the album images in the neighbourhood’s record stores (or watching corny Kpop music videos). In a way, we were (and are) in the era when images are inseparable from music.

Album art gave the bizarre feeling as they felt like they meant something more. Situated in an intersected zone between layers of music, image, design, culture, trends, and marketing strategies, images in plastic cd cases sometimes diffuse as much aura as framed images in a gallery.

Although those images are made through the interplay of many layers, the main logic behind its creation is completely musical. Decisions followed by the ‘vibe’ of music or musicians’ random choices on an image following their preferences. Either way, album image links directly to the music, by directing audiences’ expectations of their upcoming musical experience.
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R∞pt is a fictional indie record label/studio producing tracks in visual, in a speculative setting where visual things are audible, and audible things are visible.

R∞pt focuses on the experimental-electronic music genre, looping and mutating the image fragments into a full musical composition. Situated in-between image and music, the purpose of this small record label is aimed at the search for musical~~lyrical image production and consumption. 4 anonymous artists will be releasing their albums via R∞pt.

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Conversations with Mark Wong, Mengju Lin and Jeremy Sharma

Art-making in the lens of capitalism often creates a monotonous rhythm from the start to the end of production. Not only as a medley of the artist and a white cube cycle—artists and their commodified objects in the gallery. But also how it’s now accommodating various platforms for a self-commodification of an artist as a brand—such as social media handles. It is interesting how art production reflects the social changes, but the idea of hyper-productivity and self-exploitation is quite daunting.

The possible outlet that I can think of now is 1) to form a folk community that goes against this bottomless capitalism, or 2) put the system in fragments, and instrumentalise to play with it.

I often try to think about the whole thing in troubadour (lyric poet)s’ perspective, with the fact that on a micro-level, how music presents a way of intertwining melody, rhythm, and narrative organically. And on the macro-level, the fact that albeit the infamous commercial music industry, there are small labels to support the indie and experimental musicians.

I took this chance to chat with more artist-musicians and music-lovers to learn about their wisdom in art/music-making and supporting.

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On music producing and Deleuze’s Assemblage

Deleuze and Guattari conceptualised “Assemblage”, where myriad heterogeneous elements formulate possible realities. During its process, the former historical and cultural structure deterritorlialised as mere fragments, then re-arranged (re-territorialised), followed by the nature of network; hybridising and sharing.

The act of Re-territorialisation could be an end in itself — where the process is its own objective. In other words, the process of developing through the continuation of weaving relationships via repetitions and variations between the elements could become self-explanatory end-result itself. Xeno-Feminism manifesto advocates the necessary assembly and hybridisation of various techno-political interfaces responsive to current imbalanced cultural systems. Here the act of re-assembling and hybridising, functioning as forms of re-territorialisation, also serves to provide a certain “geometry of freedom” and a measure of flexibility and mobility that can loosen existing modes of working, thinking and interacting.

This strangely drew the parallel line with the interview videos of Matmos that I watched last year, on how they sample the music out of plastic objects around them. Some are completely random, and some are immensely loaded. This adorable couple shredded the objects as fragmented sound bytes and re-arranged them into their musical compilations. Their music production focused on re-territorialising, shaping the pieces as a whole based on their feelings towards the plastic objects.

This sparked a deeper curiosity about Composing the Fragments — a further step of my research from fragmentalising the human cognition and perception towards a composition method. On sampling and composing an ensemble as a whole. Landscape architecture, literature, music, programming and many others have already been functionalising ‘fragments composing’ as a core of their production process. Among others, music producing contains bizarre functionality, spiralling down within an individual while being communicative towards the mass, as poetic activism on Deleuze’s ‘Assemblage’
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Reading list

Avis’ Reading List

Since end March when Avis first started hotdesking with us, she has been taking the time to attend to her interests and research. Here are some books that she’s been looking at so far:

  1. Porosity Valley, Portable Holes by Ayoung Kim
  2. In the Flow by Boris Groys
  3. Jinan Kang, Yeonwha Kong, Minjung Kim, Sugwan Kim…. 57 studio by Min Oh
  4. Post-Ecologism and the Politics of Simulation by Ingolfur Blühdorn
  5. Superhumanity: Post-labor, Psychopathology, Plasticity by e-flux architecture
  6. The Future of the New: Artistic Innovation in times of Social Acceleration by Thijs Lijster
  7. Xenofeminism Manifesto by Laboria Cuboniks
  8. On the Existence of Digital Objects by Yuk Hui
Yeyoon Avis Ann