The history of the Abadyl Partitur
Building a world
Even if the intention was not the establishment of a so called great narrative, inspiration has been retrieved from the art of novel writing and its practice in constructing worlds. In “Postscript to the Name of the Rose”, Umberto Eco writes on the generative logic he has adopted, a logic both limiting and expanding creativity. The fundamental parameters guide what can and what cannot be included in a fictional but historically plausible universe. A detective story in mediaeval settings requires shrewd index-construing and an advanced enough semiotics, this being developed by Roger Bacon and the Ockhamists – thus it must be no earlier than the 12th century. To work out the reference to the blood at the second trumpet blow of the Apocalypse, a pig must be slain – pigs were only slaughtered during winter, but since Michele of Cesena already in December is in Avignon, the story must occur in November etc. In The City of Abadyl we have chosen to focus more on the generative itself in this logic; that is to say, it is not about parameters resulting in a watertight consistent universe, but the main interest is in what can be generated from a large number of predetermined parameters.
Comprehensive parameters: 16, 7, 100 plus “keywords”
Scale 1-7 theory
In each quarter focus is set on a certain individual, a destiny. Each of these characters is equipped with a keyword list, features which she/he will be exposed to and relate to.
The first partitur drew in 1997 to define 16 exits/entrences for characters I a fictitious city
Second Partitur to define the seven scales, working with the idea that each parts size also defined how many of that scales object proportional could be present in the world/city.
Third Partitur try to define how and were the 100 objects could be distributed, also in which direction they belong North, east, south, and west and when in the year they appear, Fall, winter, summer and spring
Forth partitur consists of two opposing forces in which structure objects can appear
Image of the final structure Mobela – A made for the fieldasy exhibition at Galleri Skanes Konst 2003
The Fifth partitur all 100 objects laid out inside of the Mobela – A structure
The sixth partitur were “storypaths” appear for the first time
The seventh partitur all above combined
The eight partitur all above combined the seven scales are accentuated
The ninth partitur show the 100 objects 2007
The tenth partitur develops the story path idea to be the base of the drawing that will decide the colors of each object
The 11th partitur works with 16 pencils that enter the partitur. Each round each color moves one step in any direction and try to avoid crossing the path of another color. This is played until all of the cells are colored and that each color must not cross colors more than 3 times 2008
The 12th partitur colors scanned and made into rgb and pantone colors 2008
The 13th version of the partitur 2009