PENGANTAR / PREFACE

homoludens

Era digital memungkinkan performativitas baru bagi tubuh, karena akses data yang dimediasi software dapat diduplikasi dari materi aslinya. Mengakses data saat ini merupakan pengalaman konstruktif akan piranti, ketimbang pengalaman dunia riil. Ia bukan dokumen statis (yang telah ditentukan sebelumnya), melainkan suatu keluaran dari komputasi real time yang dinamis. Praktik semacam “klik”, “sentuh”, dan “geser”, serta upaya “mengkolase”, “copy-paste”, “delete”, hingga “fotografi selfie”, ialah pengalaman “tindakan” ketimbang produksi, bersifat ephemeral ‘serba sebentar’ dan multipliable ‘siap tergandakan’. Orientasi “tindakan” ini mengembalikan watak ludic ‘bermain-main’ manusia karena didukung oleh kondisi objek tindakan yang spasial dan tak berlokasi secara fisik. Bukan lagi tentang di sini atau di sana, melainkan serentak di sini dan di sana yang sesungguhnya telah lepas dari konteks dan universalitas teknologisnya.

Namun demikian, periode digital tidak hanya soal kebangkitan baru dari keterampilan terhadap alat, misalnya kepiawaian atas software, tetapi juga menarik fungsi tubuh kembali pada sesuatu yang purba, yakni menjadi “performatif” dan “spontan”, bukan hanya dalam hal mengakses data intangible ‘tak dapat disentuh’, tapi juga tanding sosial dan kultural yang tak akan lepas dari pengandaian-pengandaian fisik dan psikologis. “Digital” sebagai sebuah pengalaman spasial dan permainan atas medium dan piranti, layaknya kerangka ludic mengkritisi kultur homo faber yang selalu berujung pada produksi dan rasionalitas. Homoludens menemukan momentumnya pada masa ini, sehingga sinema bukan lagi perihal kebenaran atau ketidakbenaran. Totalitas spasial dalam penggunaan piranti-piranti digital mampu menciptakan dunia yang dapat dibayangkannya sendiri. Kembalinya hasrat “bertindak” merupakan tanggapan atas permainan representasi, bukan representasi itu sendiri. Tapi bagi sinema, “permainan” tentunya layak diimajinasikan lewat kemungkinan-kemungkinan yang cakupannya bahkan dapat melampaui aparatus digital itu.

homoludens

The digital age brings through sophisticated performativity for the body, because software-mediated data can be duplicated from the original material. Nowadays, accessing data is a constructive experience of devices, rather than real-world experiences. It is not a static document (which is determined), but an output of the dynamic real-time computation. Practices such as “click,” “touch,” and “swipe/slide”, as well as attempts “to create collage”, “to copy-paste”, “to delete”, even “to take selfie photography”, are “action” experiences rather than production—tend to be ephemeral and multipliable. This “action”-orientation brings back the ludic character of humans because it is supported by the spatial condition and not physically located. It is no longer about here or there, but here and there; that it has actually been detached from its technological context and universality.

However, the digital age is not just a matter of a new revival of craftsmanship in using the devices, such as expertise of using the software, but also recalls the function of body toward something primordial, becoming “performative” and “spontaneous”, not only in terms of intangible data access, but as well as social and cultural competition that will not escape physical and psychological tension. “Digital” as a spatial experience and a game on mediums and devices, is like a ludic framework criticizing the homo faber culture that always culminates in production and rationality. Homoludens finds its momentum within this age, thus cinema is no longer a matter of truth or untruth. Spatial totality in the use of digital devices can create a world of its own imagination. The return of desire to act is a response to the game of representation, not just a mere representation. But for the Cinema, “game” is certainly worth imagined through any possibilities whose scope can even go beyond the digital apparatus.

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