GEOMETRY PRINCIPLE BEHIND WAYANG KULIT GESTURE : TaniaChumaira // Research Cluster 3 The Bartlett School of Architecture - University College London Thesis Supervisor : Sam McElhinney Design Supervisor : Ruairi Glynn Dr. Christopher Leung William Bondin
Introduction Theoretical Research Research in Design
STRUCTURE
GEOMETRY PRINCIPLE BEHIND WAYANG KULIT GESTURE
FIGURE : https://www.flickr.com/photos/joezakaria/
RESEARCH AND CRITICAL DESIGN PROCESS
WAYANG KULIT (INDONESIAN SHADOW PUPPETRY) PERFORMANCE
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FIGURE : (a) http://interactive.usc.edu/wp-content/uploads/2013/10/ShadowPlay_Sm.jpg (b) http://www.flong.com/projects/ footfalls/ (c) http://api.ning.com/files/kV4MbYiv7oRe*PsuKPYtSfsUyaPw2O-jtKA6OsIh2q24Z8E5Gl0aTzFiUyEtBJlB5AHmLVgJdzc8KYTsHkPt3bnMr1wRYPUY/1082098166.jpeg
UTILISING VALUES FROM SHADOW PUPPETRY CONTEMPORARY EXAMPLES
FIGURE : Author’s illustration
“... geometry is the conceptual ordering which affirms its relevance in spite of the sensory world. For architecture, geometry is measure, eidetic image, and ordered system,” (Davidson and Bates, 1997)
INITIAL BACKROUND
SEEING GEOMETRY PRINCIPLE BEHIND WAYANG KULIT GESTURE
INITIAL BACKGROUND INSPIRING LITERATURE
How the geometry principle in Wayang Kulit gesture can generate meaning within the storytelling? How far is the geometry principle valuable enough in Wayang Kulit performance in order to deliver the storytelling?
RESEARCH QUESTIONS
GEOMETRY PRINCIPLE BEHIND WAYANG KULIT GESTURE
The research examines the hypotheses of how the geometry principle in Wayang Kulit gesture is an unseen ordered system within the performance that is able to narrate the storytelling through the puppet gesture and then converts it into algorithm that can be used for visual interactive design
RESEARCH HYPOTHESES
GEOMETRY PRINCIPLE BEHIND WAYANG KULIT GESTURE
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FIGURE : (a) Matthew Isaac Cohen, 2010 (b) http://archive.metropolis.co.jp/tokyo/797/art.asp (c) MULTISTORY_USMANHAQUE_6TH-NOV-2014 pamphlet
• Learning from a small system of local wisdom • Introducing one of Indonesian exquisite culture • Allowing a global and renewed representation of Wayang Kulit system
RESEARCH AIM
GEOMETRY PRINCIPLE BEHIND WAYANG KULIT GESTURE
FIGURE : Animating form experiment (Author’s documentation)
• Defining the unseen geometry principle behind Wayang Kulit that is related to geometry principle in cinematic storytelling • Analysing the geometry principle in Wayang Kulit performance • Prototyping renewed programme for an interactive design as a structural synthesis of geometry principle of Wayang Kulit • Examining how the programme can impact the engagement between design users and the machine
RESEARCH OBJECTIVE
GEOMETRY PRINCIPLE BEHIND WAYANG KULIT GESTURE
What is the value from Wayang Kulit that is interesting to be discovered?
THEORETICAL RESEARCH
GEOMETRY PRINCIPLE BEHIND WAYANG KULIT GESTURE
FIGURE : Author’s illustration
“Basically, there are 8 basic states in Wayang Kulit such as humble (refined), self confident (vigorous), humble and respectful (refined), respectful but self confident (vigorous and standing), respectful but self confident (vigorous and sitting), taking position (refined), provocative (coarse), provocative (coarse and head up),” (Groenendael, 1985)
THEORETICAL RESEARCH CURRENT FINDING
THEORETICAL RESEARCH VISUAL INTERPRETATION
THEORETICAL RESEARCH VISUAL ABSTRACTION
THEORETICAL RESEARCH
GEOMETRY PRINCIPLE BEHIND WAYANG KULIT GESTURE
What is the value from Wayang Kulit that is going to be developed?
RESEARCH IN DESIGN
GEOMETRY PRINCIPLE BEHIND WAYANG KULIT GESTURE
RESEARCH IN DESIGN
CREATING SPATIAL EXPERIENCE THROUGH LASER LIGHT
FIGURE : Author’s documentation
PROTOTYPE
THE ORBITAL THRESHOLD
changing drawing position
changing shape
drawing multiple lines
drawing with intensity FIGURE : Author’s illustration
EXPLORING GALVANOMETER MOTOR DEVICE WORKING WITH POTENTIAL OUTPUT
overlapping
THE ORBITAL THRESHOLD
union
GEOMETRY PRINCIPLE BEHIND WAYANG KULIT GESTURE AS DESIGN GRAMMAR
1997,Munchen,INTERNATIONAL ENCYCLOPEDIA OF SYSTEMS AND CYBERNETICS.pdf. (n.d.). Amir, H. (1991). Nilai-nilai Etis dalam Wayang. Content, R. (1993). The Anthropology of Theater andSpectacle, 22(1), 1–2. doi:10.1146/annurev. an.22.100193.002101 Design, I. (n.d.). Interactive Design Environments. Dislocated, T. H. E., In, H., & Space, A. (n.d.). MATSUDA DOMESTI / CITY. Fink, B. (n.d.). CINEMATIC STORYTELLING THE 100 MOST POWERFUL FILM CONVENTIONS. Frazer, J. H. (2007). The architectural relevance of cybernetics. Systems Research, 10(3), 43–48. doi:10.1002/sres.3850100307 Ghani, A., Bin, S., & Ishak, A. (2012). Relationship Between The Art of Wayang Kulit and Disney ’ s Twelve Principles of Animation « Relationship Between The Art of Wayang Kulit and Disney ’ s Twelve Principles of Animation ». Hanks, L. H., Hale, J., & Macleod, S. (2012). Introduction: Museum Making: The Place of Narrative. Museum Making: Narratives, Architectures, Exhibitions, xviii– xxiii. Journal, A. T., & Schuster, M. (2001). pp tr nd H dd nP pp t r : nd n b t Visible Puppets and Hidden Puppeteers : Indian Gombeyata Puppetry. doi:10.1353/ atj.2001.0008 Liao, Q., & House, W. (2012). Shadow Performance : An Experimental Study of Interactive Puppet System. Linguistics, G., & Code, H. (1968). Elements of Semiology Roland Barthes ( 1964 ), (1964). Maurice, A. (2007). What the Shadow Knows: Race, Image, and Meaning in (1922). Cinema Journal, 47(3), 66–89. doi:10.1353/cj.0.0006 Murtiyoso, B., Waridi, Suyanto, Kuwato, & Harijadi T. P. (2004). Pertumbuhan dan Perkembangan Seni Pertunjukkan Wayang . Paramita, P. (1981). Ringkasan Sejarah Wayang. Petersen, R., Journal, A. T., & Petersen, R. (2001). n J v r n n : Th f N rt bdh n B n Lakon Karangan : The Legacy of Ki Nartosabdho in Banyumas , Central Java. doi:10.1353/atj.2001.0007 Précis of. (1910). Society, S., Annaler, G., & Geography, H. (2012). Invisible Maps, 73(1), 85–91. Southeast, C., & Performance, A. (n.d.). Contemporary Southeast Asian Performance. Suseno, F. M. (1984). ETIKA JAWA : Sebuah Analisa Falsafi tentang Kebijaksanaan Hidup Jawa. Van Groenendael, V. M. C. (1985). The Dalang Behind The Wayang
BIBLIOGRAPHY LITERATURE REVIEW
Lembaga Pengelola Dana Pendidikan Thesis Supervisor : Sam McElhinney Design Supervisor : Ruairi Glynn Dr. Christopher Leung William Bondin
Project Colleagues : Renxiang Li (Mechanical Work and Visual Motion Perception Research) ) Wei Zhao (Tracking in Orbital Space Research) Professor Stephen Gage Fiona Zisch
ACKNOWLEDGEMENTS
Thank you
TANIA CHUMAIRA
@taniachumaira - http://pleisuredesign.com