Sound:
The figure above simulates how the installation is structured. Inspired by the layering of different sounds and the fractal musical structure, we are using the original instrument grouping system(*) inherent to Gamelan. Those groups are rearranged in a sequence, each corresponding to a sensitive area on the hoardings. Therefore, if activated, an area recalls a specific sound loop.
When several users activate distinct areas, these then play their respective sound loops simultaneously.
Like this, the interactive experience reflects the collective music making, the social value and the importance
of working together at the heart of gamelan.
As weeks go by, the sounds become more complex, enabling an overall sense of evolution and rewarding
the user with new content throughout the cycle.
Visuals:
The long hoarding surface holds a tactile composition; traditional Javanese patterns, Gamelan instruments, shaped through an abstract visual language, emerge from the wall in pointillistic low relief. All these elements blend into a bigger pattern, which is still easily perceived with a more attentive gaze.
In order to emphasise on the textural quality of the surface, we particularly chose construction materials, with familiar yet slightly unexpected tactile properties, to create a distinctive composition over a deep golden background. Apparent rich and poor materials, together in a ready-made approach, compose this “People’s palace”.
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Credits:
Creative Direction and Development
Arlete Castelo and Melissa Mongiat
Interactive technology
Brock Craft
Sound interactive advisors
Axel Vogelsang and Stuart Jones
Spatial design advisors
Ming Jung Wu and Marc Ayala
Construction
Marc Ayala
GAMELAN MUSIC
Tutor
Sophie Clark
Performed by the 4th class of Loughborough Primary School
Kunoz Ahmed, Mohamed Ahmed, Roqeeb Ajibola, Susan Arcan,
Rona Atto, Moshood Babson, Michaela Bowley, Quoc-Quang Che,
Fabian Coleman, Perola Dacruz, Jonathan Daley, Longi Dombasi,
Jorden Duncan, Sinan Duyar, Rashorn Evans, Mariah George,
Sephora Guikahuie, Peter Hagan, Daniel Holdforth, Yusif Karkin,
Keani Kerr, Santos Lele, Christopher Lope, Cherly Nerome,
Morolayo Olatunde, Britney Piggott, Dean Robinson, Rico Williams
A very special thanks to
Tiago Maia, Miguel Estima, Jona Piehl, Charlie Ward, Rakhi Rajani,
Paula Delgado, Sophie Pearce, Karen Spondike, Lidia Oshlyansky,
Emilio Mongiat and Peter Higgins...
last but not least, friends and family and the online BBC Weather!
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(*)
P = Punctuation (hierarchical punctuating layer)
Gong Ageng (usually play in the beginning, middle and end of the composition),
Kempul, Kempyang, Kenong, Ketuk
R = Rhythm (iterative or drum layer)
Kendang Gending, Kendang Ketipung, Bedug
N = Nuclear Theme (main theme: skeletal melodic layer)
Saron Demung, Saron Barung, Saron Panerus, Slentem M = Melodic Elaboration
Bonang Barung, Bonang Panerus, Gambang, Gender Barung, Gender Panerus, Siter
C = Counter-Melody (a chorus)
Rebab, Suling, Human Voice |