K R S G T H. K9

East Flood Canal : Behind A Beautiful Things…

K9 — Sat, 21 Jan 2012 03:36:07 +0000

That day turned out…

This time I invited two of my friends to do the exploration of the East Flood Canal.

A very bright day for Jakarta, along the East Flood Canal project, while observing the surrounding environment.

Many of the several issues and elements, that became an interesting thing. This would be a good visual in my opinion.

The sounds behind : http://soundcloud.com/kanal-banjir-timur

East Flood Canal Today

K9 — Wed, 11 Jan 2012 14:30:51 +0000

Indonesia, including Jakarta, experiencing high rainfall lately in January 2012.

Given the projects ’Riverscape influx of’ I finally decided to come to the East Flood Canal. In addition to find out more about developments in the area, while studying the environmental conditions surrounding said synthetic government projects, in order to prevent floods in Jakarta and surrounding areas. Please note that this project is now done at the relay in order to pursue a long time, which determined by the government, although this project is the projection or the resolution of the past.

The impact of forced “liberation” of the region; the wilderness of the residents around and the picture of the structure of cultural fringe is a paradigm, which I think could be an interesting thing. Small children around who I have met during their playtime around the East Flood Canal sidelines become the object of my curiosity. Apart from their innocence, they usually more open if we ask something (about their surrounding).

“What project?”

“BKT. Government owned. My house is that one with the messy roofs, the blue plastic one. (Pointed a structure covered with blue-colored thick plastic material with rocks on each corner to prevent it from wind blow)”

It would be a fragment of the voices of my observations on the East Flood Canal project. For me, sound elements into a very interesting thing, one thing to build imagination, and will become a visual correlation to the people hearing, or listening.

Will never ends…

I hope this project’s functionality does not become as short as the actual size/ length of the canal, considering since this is an artificial irrigation. Indeed, the Jakarta area is too strong when used as an exotic argument, but I just imagine if there are gardens alongside the East Flood Canal, it will be truly beautiful. And how about another function that can be developed, it may become available area for exercise / day trips. Maybe not just a beautiful garden design, but also serves as a defense for and of water absorption. There must be a function that can really be enjoyed by all citizens of Jakarta, at least for the citizens of the surrounding area.

Perhaps, as continuity, should consider an irrigation system to clean the water so people can travel in the East Flood Canal irrigation using a boat or on foot, among the all-powerful artificial walls as a defense splitting pass water in several areas of Jakarta. My expectations for the area is to perform like ‘Riverwalk Singapore’, for Venice-Italy may be too far away for a dream. But there is no harm in trying, and we can do it.

To be continued …

Jakarta, January 11, 2012

Riverscape IN FLUX : Flood Canal, Jakarta Indonesia

K9 — Tue, 27 Dec 2011 08:30:01 +0000

‘Flood Canal’ is a research-concept : art projects by Krisgatha (Indonesia) for Goethe Institute’s project ‘Riverscape IN FLUX’ about riverscape in Southeast Asia.

***

“Sounds are appealing, for its gap-less existence to people as individuals and unique personals. Felt, brought and be discovered. Even the sounds of silence provide such comfy or hostile environment to us or others”

***

The fact that some parts of Jakarta is located on flood plain is already acknowledged during the reign of the Dutch colonial. With soil surface height at 0.5 meters above sea level (sea shore area) and 25 meters high in the south Jakarta, many ways were done to cope with the floods that come regularly. Facing another fact that the soil surface reduction each year, making 40% area of DKI Jakarta (about 26.000 ha) lower than the sea elevation levels, and become “familiarized” with the regular flood.

The West Flood Canal, suggested by Herman Van Breen in 1920 and built in 1922, successfully controlled flood away from the Central Jakarta area for approximately 40 years. While at the same time, city development caused the Green Area and the lowland that originally indicated as the catchment area and temporary flood basin converted to high-density residential and business centers. With inadequate drainage system and environmentally unfriendly constructions, the change-of-function of the area became a boomerang to the development itself. In 1973, the government planned the construction of the East Flood Canal, with lending hands from the Dutch, to prepare the Flood Control and Drainage System Masterplan in DKI Jakarta.

Experienced several delays and updates, the process of East Flood Canal’s construction goes long way in history. After the formal passing in 1973, the construction began only in 1996, to be proclaimed by the former President Megawati in 2003. In December 2011, 38 years after the project approved, the East Flood Canal is now open for public. With the green area along the side of the synthetic riverbank, Jakarta residents received a new public space to move out of their routines. But among the sigh of relief, questions and concerns arise, whether from the mass media or the citizens of Jakarta in general. These questions and concerns emerged from their experience with the rapid growth and development process in Jakarta.

This “Riverscape In Flux” project will respond to the long story of the East Flood Canal’s development, it’s interactions with the surroundings, the controversy around it and other social aspects that rise as the “side-effect” of development. By not trying to answer the questions and concerns, the project will seek to capture elements that presents on its own, and combine them in an audio-visual integrated installation.

ANJING, PISANG & TUHAN : Mengembalikan Yang Tidak Pernah Pergi

K9 — Wed, 12 May 2010 02:19:27 +0000

“Ada yang baru dari seri karya terbaru dari KRSGTH/K9. Walau keseriusan dalam menggarap ide tetap terasa, ada korelasi yang tidak bisa disembunyikan dari kesederhanaan visual”.

Konsep matang, isu berat dan segala aplikasi penambah estetika yang terkurung dalam kegagalan eksekusi adalah hal yang biasa. Seri karya terbaru dari KRSGTH/K9 ini adalah sebuah anomali dari sejarahnya berkesenian.

Kesederhanaan eksekusi memainkan peranan pentingnya di sini. Isu sosial yang terbungkus dalam busana canda tetap memberikan kesan nakal yang menjadi ciri khasnya sebagai perusak pesta. Empat lukisan yang diselesaikan dalam dua minggu ini seolah menjadi titik balik bagi kehidupan berkesenian seorang desainer yang mulai terjebak dalam rutinitas praktek prostitusi pola pikir di ibukota.

Tanpa perlu membuatnya menjadi massal dan menyumbangkan degenerasi bagi nilai seni itu sendiri, KRSGTH/K9 memasok ikon-ikon yang familiar dengan twist di sentuhan akhirnya. Lukisannya kali ini seolah berkata bahwa simbol-simbol yang kita puja -juga- adalah sebuah produk pabrikan yang digemari oleh generasi pecinta keinstanan. Resep lama dengan ikon lama, yang ditujukan untuk menampar target baru.

Target di sini adalah stagnasi dan impotensi kreativitas yang semakin diperas untuk menyokong hidup para produsen merek-merek kesenian ternama yang tidak kunjung menyadari bahwa satu produk tanpa permintaan adalah overproduksi. Kondisi bentukan minoritas yang berkedok eksklusivitas ini pun pada akhirnya menunjukkan bahwa “dominan” tidak selalu dilihat dari jumlah kepala manusia saja, tapi juga kepala di lembaran-lembaran alat tukar dan agenda promosi. Menghadiahkan hasil akhir yang mengerikan: penyembah sosialisasi yang akan selalu bergelut dengan tagihan.

Bahwa nilai-nilai kepasrahan dan referensi sekenanya tetap akan menjadi masukan bagi mereka yang memilih untuk menghiasi isi kepala mereka dengan buah-buahan, KRSGTH/K9 memilih untuk menyatakannya terbalik.

Target yang sama juga mengagungkan pembelaan terhadap kesetaraan semu yang pada akhirnya membuat kerdil dan memiskinkan wawasan. Bahwa yang berada di pinggiran akan tetap berada di pinggiran, dan yang paling ampuh bagi mereka adalah bekerja dan berdoa*. Sementara yang berada di pusat lingkaran bisa bersenang-senang, hidup tenang sambil bermain tuhan**, pinggiran akan terus terpinggirkan hingga dikenal sebagai sesuatu yang tidak pernah kita kenal.

Norma komersial yang lekat lama dalam dirinya pun akhirnya dibebaskan. Grafik monokrom yang dapat menembus segala kalangan, imaji populer dan penempatan yang layak pun makin bersahabat dengan KRSGTH/K9. Kembali menghancurkan pencitraan yang dibuatnya sendiri sebagai nilai jual, KRSGTH/K9 kini mulai berjalan di dalam garis aman. Aman secara kreatif dan aman secara pemasaran.

Setelah menggali kembali akarnya (yang disinyalir tidak pernah ada), KRSGTH/K9 pun merangkul kembali hal-hal yang membuatnya nyaman walau sempat ditinggalkan. Kembali membuat tangannya kotor demi kepuasan dari mengeluarkan ide secara berceceran, dan sekali lagi akan meninggalkan zona amannya untuk mendapatkan respon yang beragam.

Usia tidak akan berdusta mengenai lelucon yang dibiasakan hingga menjadi kebutuhan. Seri lukisan ini tidak lagi menjajakan dirinya sebagai karya seni, melainkan sebuah pernyataan sikap yang sangat tegas dari seseorang yang tidak harus diwaspadai dari waktu kemunculan, melainkan lokasinya. KRSGTH/K9 sudah mulai dewasa, sebaiknya kalian melakukan hal yang sama.(ap)

* dari lirik lagu milik KOIL – “Nyanyikan Lagu Perang”

** judul lagu Seringai “Mengadili Persepsi”

LiSa X © v1.25

K9 — Tue, 23 Mar 2010 05:49:38 +0000

LiSa X ^©is sound manipulation software ultimately designed for live sonic performance. LiSa’s functionality is centered around creating a sound field in the computer, where the performer can record and manipulate multiple sound streams on the fly.

Using live recorded sound and/or pre-stored revived sound montages; LiSa X combines the precision of studio practice with the liveliness of the stage. As a performance tool, LiSa X offers the oppertunity to use gestural input devices and control surfaces in an effective way to create augmented laptop music performances. As a specific studio tool, LiSa X allows the musician to compose and construct, play and resample multi layer sound structures with simple and fast moves.

LiSa X is built to simultaneously support: Live recording, gestural controlled playback, keyboard/control suface playback, automated pattern playback, sequencer controlled playback and immediate use and reshaping of other musicians live sound.

LiSa X has been designed by musicians for musicians and is increasingly being used by performers for its rapidity and sonic feel.

http://www.steim.org/steim/lisa.html

Melted Saucer (Artwork Collaboration By : KRSGTH.K9 x HAHAN 2010)

K9 — Tue, 23 Mar 2010 05:21:36 +0000

*Published at Happen Magazine

Suara Merdeka 6 Februari 2010

K9 — Mon, 08 Feb 2010 02:20:09 +0000

The Masjid-i Jahān-Numā

K9 — Fri, 05 Feb 2010 03:55:49 +0000

The Masjid-i Jahān-Numā (Persian: مسجد جھان نما, the ‘World-reflecting Mosque’), commonly known as the Jama Masjid of Delhi, is the principal mosque ofOld Delhi in India. Commissioned by the Mughal Emperor Shah Jahan, builder of the Taj Mahal, and completed in the year 1656 AD, it is the largest and best-known mosque in India. The name Jahān-Numā comes from Persian meaning “World-reflecting”. It lies at the origin of a very busy central street of Old Delhi,Chandni Chowk.

The later name, Jami Masjid, is a reference to the weekly Friday noon congregation prayers of Muslims, Jummah, which are usually done at a mosque, the “congregational mosque” or “jāmi’ masjid”. The courtyard of the mosque can hold up to twenty-five thousand worshippers. The mosque also houses several relicsin a closet in the north gate, including an antique copy of the Qur’an written on deer skin.

The mosque stands on a platform of about five feet (1.5 m) from the pavement of the terrace, and three flight of steps lead to the interior of the mosque from the east, north, and the south. The floor of the mosque is covered with white and black marble ornamented to imitate the Muslim prayer mat; a thin black marble border is marked for the worshippers, which is three feet long and 1 ½ feet wide. In total there are 899 such spaces marked in the floor of the mosque. The back of the mosque is cased over to the height of the rock on which the mosque stands with large hewn stones.

Qutb Minar

K9 — Fri, 05 Feb 2010 03:09:07 +0000

The Qutb Minar (also spelled Qutab or Qutub, Urdu: قطب منار), a tower in Delhi, India, is at 72.5 meters the world’s tallest brick minaret. It is situated in the Qutb complex, amidst the ruins of ancient Hindu & Jain temples which were destroyed and their stones used to build the Qutb complex and minar. Construction commenced in 1193 under the orders of India’s first Muslim ruler Qutb-ud-din Aibak, and the topmost storey of the minaret was completed in 1386 by Firuz Shah Tughluq. The Qutb Minar is notable for being one of the earliest and most prominent examples of Indo-Islamic architecture.

Inspired by the Minaret of Jam in Afghanistan and wishing to surpass it, Qutbuddin Aibak, the first Muslim ruler of Delhi, commenced construction of the Qutb Minar in 1193, but could only complete its base. His successor, Iltutmish, added three more stories and, in 1386, Firuz Shah Tughluq constructed the fifth and the last story. The development of architectural styles from Aibak to Tughluq are quite evident in the minaret. Like earlier towers erected by the Ghaznavids and Ghurids in Afghanistan, the Qutb Minar comprises several superposed flanged and cylindrical shafts, separated by balconies carried on Muqarnas corbels. The minaret is made of fluted red sandstone covered with intricate carvings and verses from the Qur’an. The Qutb Minar is itself built on the ruins of the Lal Kot, the Red Citadel in the city of Dhillika, the capital of the Tomars and the Chauhans, the last Hindu rulers of Delhi. The complex initially housed 27 ancient Hindu & Jain temples which were destroyed and their debris used to build the Qutb minar.^[1] One engraving on the Qutb Minar reads, “Shri Vishwakarma prasade rachita” (Conceived with the grace of Vishwakarma), this is thought to have been engraved by the enslaved Hindu craftsmen who built the minar. The minar did receive some damage because of earthquakes on more than a couple of occasions but was reinstated and renovated by the respective rulers. During the rule of Firoz Shah, the minar’s two top floors got damaged due to earthquake but were repaired by Firoz Shah. In the year 1505, earthquake again struck and it was repaired by Sikandar Lodi. Later on in the year 1794, the minar faced another earthquake and it was Major Smith, an engineer who repaired the affected parts of the minar. He replaced Firoz Shah’s pavilion with his own pavilion at the top. The pavilion was removed in the year 1848 by Lord Hardinge and now it can be seen between the Dak Bungalow and the Minar in the garden. The floors built by Firoz Shah can be distinguished easily as the pavilions was built of white marbles and are quite smooth as compared to other ones.

Sam Poo Kong

K9 — Thu, 07 Jan 2010 05:26:07 +0000

The Sam Poo Kong temple is not only a shrine, but also opened as a tourism spot in Semarang, Central Java, Indonesia. It’s easy to locate the temple on Jalan Gedung Batu, Simongan, since it’s situated in the city.
Entering the main temple, you will notice a dragon coiling on top of the gateway. Two sculptures of knights wearing leather headdress with a javelin in hand greet the visitors. Their faces express toughness and determined air of soldiers of the 15th century.
As excerpted from the history wall, Sam Poo was a messenger from China in the sovereignty of the Ming Emperor (1368-1643). He visited Java two times in 1406 and 1416. In the later year he landed at Simongan which was then lying by the sea. The inhabitants of Semarang regarded his mission as a great national event and in honor thereof built the temple.