Global Sound Movement: Morske Musak
- Submitting institution
University of Central Lancashire
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- M - Exhibition
- Zadar, Croatia
- Open access status
- Month of first exhibition
- Year of first exhibition
- Supplementary information
- Request cross-referral to
- Output has been delayed by COVID-19
- COVID-19 affected output statement
- Forensic science
- Number of additional authors
- Research group(s)
- Proposed double-weighted
- Reserve for an output with double weighting
- Additional information
- Morske Musak is a multimedia installation that situates Nikola Bašic’s Sea Organ (Zadar, Croatia) in dialogue with audience interactivity. Visual projections cohere with multichannel audio presentation, connoting Zadar as a place within which audiences are immersed.
The installation invites audiences to engage and interact with sound recordings of the Sea Organ via new instrument technology. Gestural control over musical, sonic, and sound-diffusion parameters of the installation allow audiences to engage imaginatively with Zadar’s Sea Organ. Tidal movement plays Bašic’s instrument in-situ; Morske Musak is designed to give agency to audiences whereby the intermodality between movement and sound parameters combines typically isolated elements. Effectively, through this interaction, audiences “perform” the Sea Organ as an instrument through control of discrete (pitch, rhythm) and/ or analog (dynamics, diffusion) means.
Morske Musak as an output represents the continued endeavour of Global Sound Movement to document, preserve, share, and innovate interactivity with unique instruments and technologies. It was presented freely at the University of Central Lancashire’s School of Journalism, Media, and Performance. Visitors to the installation received media information pertaining to the Global Sound Movement’s activities related to both this installation, and the groups numerous other projects. Adjacent to the installation were audience/ artist discussions regarding the documentation, preservation, and accessibility granted by modern sampling and new instrumental technologies.
The installation characterises original and innovative contributes to audience interactivity and engagement, generating discourse pertaining to issues of place, agency, and the preservation of sound. This instance of presenting our practice and research within an installation format has informed new practice and new presentations whereby audience engagement takes place in a live setting, extending the dissemination of our work beyond the remit of web-based distribution.
- Author contribution statement
- English abstract