Designing the Artwork

The design process of the artwork is a crucial step aimed at rationalizing ideas based on findings from field observations. This process involves utilizing SketchUp software to conceptualize and refine the artwork’s design. By rationalizing these ideas, the design phase carefully considers the dimensions and supporting tools required for its execution.

The purpose of this design phase is to ensure that the form and structure of the artwork are well-articulated, allowing the artist to visualize the final piece and simplify the decision-making process regarding its presentation. This detailed planning helps the artist align the artwork’s design with the intended exhibition space, ensuring both its aesthetic coherence and functional suitability.

The planning process extends beyond the visual aspects of the artwork. It also includes the design of the electronic components, providing a foundation for the electronic schematics that will be utilized in the piece. This stage involves determining the appropriate electronic circuits and components necessary for the functionality of the artwork, ensuring that the electronic systems align with the conceptual and technical requirements of the final piece.

Data Collection Strategies

This study employs the Practice-Led Research method, which focuses on creating and reflecting upon new works through the practice of art-making. The creation process involves documenting each stage of artistic practice in detail, from conceptualization and design to the realization of ideas into tangible artworks (Hendriyana, 2022). Each step, including the conceptual development, study of electronic devices, assembly, and finalization of the artwork, is meticulously recorded.

Additionally, data collection in this research is predominantly conducted through field observations, focusing on everyday objects used by the community in Dakar, such as tambourines. These observations are essential for generating the conceptual framework that informs the creation of the artwork.

Framework

In designing this work, the following framework is used as outlined below :

Result

The artist utilizes the tambourine as a representation of societal identity and social phenomena. Through an artwork that incorporates computational technology, the artist seeks to create interactivity and elicit responses from the audience. The park was identified as an engaging location for residents, serving as a social and recreational space, particularly for children. The artist observed that children were highly enthusiastic about interacting with the piece, playing with the tambourine and watching the lights respond to the tambourine’s sounds. In contrast, adults tended to perceive the piece as a complex art object, perhaps harder to interpret. The recycling of plastic is explored as both a material and a medium in this interactive installation artwork.

In creating this piece, the artist considered several important factors. For instance, the processing of HDPE plastic was carefully adjusted to ensure the optimal diffusion of light from the WS2812B LEDs. If the plastic was too thick, the light would not be visible as intended.

The creation process was time-intensive, requiring technical considerations and site-specific observations. However, the interactivity achieved exceeded the artist’s expectations. Children responded naturally to the objects, engaging with the tambourine as if it were a familiar and playful object rather than viewing it as a work of art. This reaction starkly contrasted with adults, whose prior experiences with curated art objects influenced their perception of the piece.

#include <Adafruit_NeoPixel.h>

#ifdef __AVR__

#include <avr/power.h> // Required for 16

MHz Adafruit Trinket

#endif

const int buttonPin = 2; // the number

of the pushbutton pin

int ledPin = 13; // select the pin for

the LED

int sensorValue = 0; // variable to store

the value coming from the sensor

// Which pin on the Arduino is connected to

the NeoPixels?

#define PIN 7

// How many NeoPixels are attached to the

Arduino?

#define NUMPIXELS 49 // Popular NeoPixel

ring size

Adafruit_NeoPixel pixels(NUMPIXELS, PIN,

NEO_GRB + NEO_KHZ800);

#define DELAYVAL 7

int buttonState = 0; reading the pushbutton status

// variable for

void setup() {

// These lines are specifically to support

the Adafruit Trinket 5V 16 MHz.

// Any other board, you can remove this

part (but no harm leaving it):

#if defined(__AVR_ATtiny85__) && (F_CPU ==

16000000)

clock_prescale_set(clock_div_1);

#endif

// END of Trinket-specific code.

pinMode(ledPin, OUTPUT);

pinMode(buttonPin, INPUT);

Serial.begin(9600);

pixels.begin(); // INITIALIZE NeoPixel

strip object (REQUIRED)

}

void loop() {

pixels.clear(); // Set all pixel colors

to 'off'

buttonState = digitalRead(buttonPin);

Serial.println(buttonState);

for (int i = 0; i < NUMPIXELS; i++) { //

For each pixel...

if (buttonState == HIGH )

{

digitalWrite(ledPin, HIGH);

pixels.setPixelColor(i, pixels.Col-

or(255, 255, 255));

delay(DELAYVAL); // Pause before next

pass through loop

}

digitalWrite(ledPin, LOW);

pixels.show(); // Send the updated

pixel colors to the hardware.

}

}

Plastic upcycling has become an innovative approach to addressing plastic waste issues while simultaneously creating significant added value across various sectors. Research by  (Šírová & Zbránková, 2024) highlights the potential of upcycling to support Europe’s sustainability agenda through creative projects that transform plastic waste into high-value products. Utilizing plastic waste as a material for sustainable construction expands the scope of upcycling applications while providing practical solutions to the global plastic pollution crisis (Victor O Hammed dkk., 2024). Moreover, upcycling not only creates new products from waste but also promotes more responsible consumption (O’Sullivan & O’Rourke, 2023). These findings underscore the urgency of upcycling as a multidisciplinary approach capable of addressing environmental and social challenges in an innovative and holistic manner.

The use of technology has undeniably brought positive changes to society, simplifying human activities. However, these changes can result in either positive or negative impacts. McLuhan, in his writings, states that “…technologies radically alter the organs of human perception, and consequently, entirely change one’s image of both oneself and others”(Mangunwijaya, 1985). The material objects of technology hold specific functions and roles within society. Observing everyday objects has become one of the author’s inspirations in creating this work, aimed at delving deeper into their existence within society. “…any reality seems to come into being only when it is observed, and its existence becomes increasingly fascinating when observed deeply and comprehensively”(Marianto, 2017).

The use of technology has indeed brought significant changes to society, making life easier for humanity. These changes can have either positive or negative impacts. In his writings, McLuhan states that “…technologies radically alter human sensory organs, and consequently, completely change an identity’s perception of itself and others” (Mangunwijaya, 1985).

Technological objects have specific functions and roles in society. Observing everyday objects has become one of the author’s interests in creating this work, aiming to delve deeper into their existence in society. “Reality seems to exist only when observed, and its existence becomes increasingly intriguing when observed deeply and comprehensively” (Marianto, 2017).

Study of Electronic Devices

The media art approach in this artwork is implemented and elaborated through the use of electronic devices. The electronic components utilized include an Arduino microprocessor, a sound sensor, WS2812B LED strips, and supporting cables. These components are assembled and programmed to align with the concept of the artwork, which involves responding to sound signals detected by the sensor. These signals are transmitted to the microprocessor, processed according to the programmed instructions, and then relayed to the WS2812B LED strips. This setup enables the LEDs to react dynamically, reflecting the interactive nature of the installation.

The study of electronics also includes programming the electronic systems that will drive the artwork. This programming process serves as the foundation for assembling the electronic components. During this phase, the conceptual ideas of the artwork are articulated, with computational functions playing a critical role in shaping the final outcome. This integration of programming ensures that the electronic systems operate seamlessly and align with the artistic vision of the piece. 

Acknowledgment

To all the friends at Ker Thiossane (Marion, Dauda, Oumar, Gadiaba Kodio), the Embassy of the Republic of Indonesia in Senegal, and the residents of Sicap Liberté who assisted and participated in this work.

Concept of the Artwork

The author identifies the tambourine as a strong element within the traditions of Dakar society, serving as an effective medium for community activities. The tambourine is borrowed from the community and reimagined as a metaphorical representation of societal realities. The author links the tambourine as a representation of the majority identity and social phenomena, making it the central object in this series of works. By reconfiguring the tambourine and integrating it with other objects alongside computational technology or programming, the author aims to create interactivity with the audience, aligning with the envisioned concept of the artwork. The chosen computational technology produces interactivity within the piece.

Parks are identified as appealing spaces for the local population, functioning as meeting points for relaxation, play, and other activities. Ker Thiossane invited several artists to respond to a social sanctuary space in the Sicap Liberté 2 area of Dakar. Sicap, a residential area established by citizens after Senegal’s independence in 1960, includes a vertical housing development and a park constructed by an artist in the last decade. This park became a focal point for artistic responses from participating artists.

In this project, the author responded by transforming the park into a play space accessible to all, utilizing an existing water source and creating an interactive installation incorporating jimbe gourds. The sound generated from the jimbe sends signals to a microprocessor, which are then transmitted to WS2812B LED strips placed inside a hexagonal box. This hexagonal box is covered with recycled plastic bags processed using an iron.

During the event organized by Ker Thiossane on December 2, 2022, local children enthusiastically played the jimbe, reshaping it and interacting with the installation. Observing their response led the author to reflect on how children perceived and engaged with the work as a form of play in the park context. The author questions whether the same response would occur if the work were presented in a white cube gallery space and whether children would interpret it similarly in that setting.

Readymade

The term “readymade” in the context of art refers to a collection of objects or items that can be directly used to create artwork (Susanto, 2018). This term was coined by French artist Marcel Duchamp in 1913. Duchamp applied the term to mass-produced objects, elevating them to the status of art (Hopkins, 2000). These are called readymades or found objects because they are ready for use straight from the factory assembly line; Duchamp neither created these items nor altered them significantly but rather discovered them as art (Carroll, 1999).

The author utilizes readymades as elements in artistic presentations. Objects such as horn speakers, toy tanks, and tripods are incorporated into the installation artwork.

Technique Selection

The author employs installation art as the chosen medium for artistic presentation in this series. Through the arrangement and configuration of readymade objects within a specific space, the artistic concepts of this series are effectively communicated. This medium was selected as it aligns with the conceptual narrative of the work.

Several objectives informed the use of installation art and readymade elements in this series. First, tambourines, which are widely available and commonly used in society, were easily sourced, allowing the author to retain their direct association. The configuration of tambourines within the artwork amplifies their cultural and symbolic significance. Additionally, the use of preexisting objects, such as toy tanks, simplified the production process. The author also explored the idea of “playing with chaos” as a conceptual discourse for this series, making it easier for viewers to engage with the layers of meaning in the work. Installation art was chosen to create an artistic configuration that forms a cohesive narrative.

Assembly

This process explores the transformation of plastic waste into elements of the artwork. The plastic materials used include HDPE and LDPE, each serving distinct functions within the piece. HDPE is utilized to construct boxes that house the WS2812B LED strips, providing a sturdy structure, while LDPE is used to cover the boxes, allowing the light from the LEDs to diffuse aesthetically. Each type of plastic undergoes a specific processing method to suit its intended purpose, ensuring both functionality and visual appeal within the installation. 

For LDPE plastic, the processing is relatively simple. Initially used as plastic bags, LDPE is layered and covered with Teflon fabric or baking paper. The layers are then ironed at temperature between 80°C and 100°C. As a result, the stacked plastic layers fuse together, creating a thicker and more durable material suitable for artistic applications.

For HDPE plastic, typically sourced from bottle caps, the material is shredded into small pieces and placed into hexagonal molds. These molds, filled with the shredded HDPE, are then placed in an oven and heated to a temperature exceeding 160°C. At this temperature, over approximately 45 minutes, the shredded plastic melts and conforms to the shape of the mold, forming a solid and stable structure for use in the artwork.

The next step involves assembling all the elements produced in the previous processes. This assembly is carried out in several stages, including attaching the WS2812B LED strips to the HDPE box, followed by covering the box with LDPE plastic. A critical part of this process is testing the light diffusion within the box to ensure the LEDs emit the desired aesthetic effect. This stage ensures that all components are integrated seamlessly and functionally within the artwork.

The assembly process also involves arranging the pre-assembled components into an interactive installation artwork. This stage takes into account the specific site of the installation, ensuring that the artwork aligns both aesthetically and technically with the environment of the park. To achieve this, preliminary observations of the site are conducted to guide the integration and placement of the artwork within the space.

The assembly process also requires being conducted at night to evaluate how the light composition within the boxes performs aesthetically. During this stage, the response of the tambourine’s sound, integrated into the system, is tested. Additionally, program adjustments are made to account for the differences in conditions between the studio where the work was created and the site where it is presented. These adjustments ensure the microprocessor accurately measures the intensity of the sound sensor’s response, optimizing the interactive functionality of the artwork within the specific environmental context.

Media Art

In general usage, “media” is the plural form of “medium,” referring to forms of mass communication, such as print or electronic newspapers and the internet. In the context of art, however, media refers to materials, methodologies, mechanisms, technologies, or other tools that realize an artwork (Connolly, 2015).

In a broader etymological sense, media art is a term that refers to art utilizing new creative or expressive instruments available to artists, ranging from photography to biotechnology (Rush, 2005). Agung Hujatnika, in his book on appreciating new media art, explains that the general meaning of the term “media” is as a “message intermediary,” a process of transmitting information and communication between the sender and the receiver. Ade Darmawan, a media art artist, stated that the development of media art will always align with technological advancements, which significantly influence contemporary society (Rancajale & Gunawan, 2013). From this, it can be concluded that media art is an art form that emerges due to the rapid progress of information and communication technologies.

Media art can only be delivered through multimedia, as each multimedia audiovisual technology raises new aesthetic questions (Daniels & Frieling, 2004). Two aspects are emphasized: first, those inherent in the medium itself (such as various montage forms in photography, film, and digital visual media); second, within the broader cultural context, how media interact with existing media and art forms (Daniels & Frieling, 2004). This new approach to media aesthetics was initially proposed as a reaction to the increasing influence of technology and the acceleration of media in daily perception. This second motive continues today in the analysis and deconstruction of mass media by media artists.

The theories outlined above provide a theoretical foundation used by the author in creating this series of works. The author utilizes these theories as one of the conceptual bases for their creative process, applying media art as a fundamental discourse and presentation form in the creation of this series. Elements of media art are evident in the visual representation of technological objects prominently featured as the main medium in this series. Furthermore, the author critically responds to and examines the media technologies used by society, particularly in Indonesia.

Recycling Plastic

The approach of fine art in plastic recycling serves a broader purpose beyond merely reducing waste. In addition to contributing to environmental management, fine art creates new aesthetic and cultural values from plastic waste. Research demonstrates that plastic waste, such as HDPE and LDPE, can be creatively utilized as an artistic medium that is both economically valuable and innovative, thus providing solutions to various environmental issues (Wahida & Fuad, 2022).

As a material frequently used in daily life, plastic holds significant potential to be transformed into a new resource through a creative process known as upcycling (Wahida & Fuad, 2022). This approach enables plastic waste, previously considered worthless, to be transformed into innovative and economically viable artistic mediums while addressing global environmental challenges (Adeyemi, 2023). Furthermore, recycling-based installation art not only contributes to environmental sustainability but also raises public awareness of the importance of waste management through an inspiring artistic approach (Archibong & Roseline William, 2020).

These studies highlight that art possesses a unique transformative power to shift public perceptions of plastic waste. By integrating the concepts of reduction, reuse, and recycling, artworks can function as powerful visual campaigns to tackle global ecological challenges. Waste-based art effectively communicates the hidden potential of plastic waste and encourages active public participation in sustainability efforts.

Installation Art

Fundamentally, fine art engages human senses and, over time, also stimulates human experiences. Installation art differs from conventional art forms by directly involving viewers as literal presences within a space. Awareness built by participants heightens their presence and bodily experience within the space. The literal presence of the viewer is a key characteristic of installation art, aiming to enhance their awareness of how objects in the space respond to their physicality (Bishop, 2005). Installation art offers an expansive sensory experience. It not only allows viewers to see and feel but also positions them physically within the artwork, engaging all their senses (Whitham & Pooke, 2010).

Material Selection

This research utilizes HDPE and LDPE plastics as the primary materials for creating interactive installation art. The work demonstrates that recycled plastics can serve as elements that are not only aesthetically pleasing but also functionally address environmental issues.

Consistent with the findings of Wahida and Fuad (2022), the use of recycled plastic as an artistic medium significantly contributes to cultural preservation and the development of local crafts. This approach not only reduces waste but also creates artistic products that positively impact society. Recycled plastic symbolizes the transformation of waste into new value, reflecting collective efforts to raise environmental awareness through art. The process produces innovative art pieces while fostering community participation in sustainability efforts.

The use of plastics in this work showcases the potential of recycling as an alternative, creative, and functional artistic material. For example, LDPE is processed by layering and ironing plastic bags to create strong and transparent materials, allowing LED lights to emit aesthetically pleasing illumination, as noted by Wahida and Fuad (2022). Additionally, Adeyemi’s (2023) findings support this approach, emphasizing that artistic strategies not only reduce waste but also serve as strategic tools to reshape public perceptions of waste. Art thus becomes an interactive and educational medium for promoting environmental awareness.