{"id":10551,"date":"2020-10-10T11:00:45","date_gmt":"2020-10-10T04:00:45","guid":{"rendered":"https:\/\/arkipel.org\/?p=10551"},"modified":"2020-10-31T19:14:02","modified_gmt":"2020-10-31T12:14:02","slug":"future-traditions-perceiving-the-present-as-the-past","status":"publish","type":"post","link":"https:\/\/arkipel.org\/future-traditions-perceiving-the-present-as-the-past\/","title":{"rendered":"Future Traditions: Perceiving The Present as The Past"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1604146419062{margin-bottom: 0px !important;}”]\n

Future Traditions: Perceiving The Present as The Past
\n<\/em><\/strong>Tradisi Masa Depan:
\nMelihat Masa Kini sebagai Masa Lalu<\/em><\/h2>\n

Moderator: Prashasti Wilujeng Putri
\n<\/strong>Keynote Speaker: Dr. Hilmar Farid
\n<\/strong><\/p>\n

Friday, 6 November 2020 | 16.00 GMT+7<\/strong>
\nin Bahasa Indonesia with English translation
\nregistration: bit.ly\/ForumFestival2020<\/a>\u00a0<\/span><\/em><\/p>\n[\/vc_column_text][vc_empty_space][vc_text_separator title=”Abstrak \/ Abstract” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1603189586662{margin-bottom: 0px !important;}”]Tempat itu sungguhlah temaram, membiaskan pandangan. Warna alam kemerahan. Pada saat itu para arwah gentayangan amat bertenaga karena ikut bergetar bersama warna alam. Dalam tradisi di Tenggara, para orang tua menganjurkan lebih baik mereka semua menghentikan kegiatan, karena para orang tua menginsafi akan adanya kekuatan yang melampaui pemahaman mereka sebagai manusia. Mungkin mereka berpikir, belum saatnya para anak menyaksikan sesuatu yang melampaui logika, melampaui semua metode yang didapat anak-anak mereka di sekolah. Atau memang para orang tua memang takut, dan tak ingin anak-anak mereka melihatnya. Tapi kenapa?\u00a0\u00a0<\/span><\/p>\n

Berabad sejak zaman pencerahan, manusia di bumi melihat sesuatu yang \u201ctiada\u201d sebagai takhayul, yang sama sekali tidak logis. Manusia melogikakan sesuatu yang \u201ctiada\u201d itu hanya terjadi di sebuah zona sempit yang kita lihat di waktu matahari nyaris tenggelam di batas horizon. Berabad mereka menyebutnya sebagai fatamorgana, sebentuk pendaran cahaya yang terjadi di zona itu dan akan memuslihatkan pandangan, hingga mata kita akan melihat sesuatu yang sebenarnya tidak ada, menjadi \u201cseolah-olah\u201d ada. Kemudian manusia melogikakan lihatan tersebut dengan keberadaan perhitungan cahaya, bias optikal, dan bahkan memori. Berabad lamanya keunggulan manusia dengan rasionya dikukuhkan secara sistematis melalui berbagai revolusi, kolonialisme, hingga klasifikasi kumpulan identitas dalam sistem negara-bangsa.<\/span><\/p>\n

Maka orang tua melarang anaknya yang belum cukup umur untuk melihat \u201csesuatu\u201d yang di luar logika karena dikhawatirkan akan berbenturan dengan apa yang telah mereka pelajari di sekolah atau institusi apapun dalam sistem dominan. Menjadi sub-ordinat yang berbeda adalah subversif di hadapan sistem dominan. Pilihan untuk tetap bertahan hidup dengan keyakinan lokal harus diperjuangkan dengan menjalani tradisi sub-sub kultur sambil terus menahan diri.\u00a0<\/span><\/p>\n

Di Tenggara, di mana keberadaan fata morgana hidup dan dihidupkan, justru subjektivitas dan sifat distosifnya lah yang membuat \u201cketiadaan\u201d tetap relevan. Tak ada kebenaran tunggal, yang ada adalah kebenaran di lokasi tertentu dan di waktu tertentu. Sebagaimana sebuah sistem agama bekerja, yang tak kau lihat bukan berarti tak ada, kau hanya perlu percaya dan mengimaninya. Sebagaimana pula kultur sinema bekerja, yang merasukkan pengaruhnya dengan kuat ke dalam tubuh masyarakat, menyebarkan pengaruhnya ke semua aliran dalam kanal-kanal ruang budaya. Merubah peradaban dan tetap tidak bisa diklaim siapa penyebar tunggalnya, karena yang terpenting dari kesemua itu adalah penggunaan mediumnya: mata, lensa, dan layar.\u00a0<\/span><\/p>\n

Zona temaram adalah zona pembesaran, seperti kerja kamera, yang memungkinkan indera kita membingkai dengan kepekaan. Citra-citra di dalamnya, mengaburkan sekaligus memperjelas lihatan yang telah ditentukan sebelumnya. Membuat kita perlu membongkar lagi, dengan berbekal pertanyaan, yang manakah yang sesungguhnya; yang ada di layar di hadapan mata atau yang ada di hadapan lensa. Maka, dalam zona temaram, hubungan antara mata, lensa, dan layar senantiasa adalah hubungan yang memuslihatkan.<\/span><\/p>\n

Zona temaram adalah pengetahuan yang menahan diri karena ia terpaksa hidup dalam sebuah sistem dominan. Padahal semua ini hanya persoalan bagaimana memahami cahaya, memerangkapnya dalam sebuah bingkaian dan mengubahnya menjadi kenyataan baru, yaitu kenyataan sinema. Kenyataan yang dapat dilihat sebagai pesona yang menyihir, lalu kemudian mengungkap yang \u201ctiada\u201d menjadi \u201cada\u201d. <\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1603189609173{margin-bottom: 0px !important;}”]The twilight is in that place, refracting gazes. Red-colored world. It was the time when the wandering spirits rule, coalescing with the power of nature. In the Southeastern traditions, parents suggest their children to stop any activities during this time, as they sense the presence of power that exceeds their understanding as human beings. They might think, it is too soon for their children to witness something that goes beyond their logic, beyond what they all have learned at school. Or were they afraid, not wanting their children to see it? But why?<\/span><\/i><\/span><\/p>\n

Centuries since the Renaissance era, humans on earth see \u201cthe otherworldly\u201d as something superstitious, illogical. In their logic, \u201cthe otherworldly\u201d occurs during a narrow zone where the sun almost sets upon the horizon. For centuries they call it \u201cfata morgana\u201d, dim illumination tricks their sight to see things that are not really there, appearing as if it exists. Later on, humans attempt to interpret it logically through calculation of light, optical bias, even memory. For centuries, human\u2019s excellence with their ratio has been systematically confirmed through various revolutions, colonialism, to the classification of collective identity in the nation-state system.<\/span><\/i><\/span><\/p>\n

Thus, parents forbid their children who are not old enough to see “something” that is beyond their logic, worrying it will clash with what they have learned in any school or institution in the dominant system. To be a subordinate in contrast with the dominant is considered subversive. The choice of surviving through local beliefs must be fought for, by practicing the subcultural traditions while restraining oneself.\u00a0<\/span><\/i><\/span><\/p>\n

In the Southeast, where the fata morgana is alive and made alive, it is its subjectivity and distortive trait that makes the “otherworldliness” still relevant. There is no single truth, there is truth at a certain location and at a certain time. Similar to how the religious system works, what you cannot see doesn’t mean it doesn’t exist, you just need to believe it and devote yourself to it. Similar to how the culture of cinema works, injecting and regulating its influence to society through all channels of cultural space. Civilization changes, and no one can claim who the sole disseminator is, because the most important of all those things is the use of the medium: eyes, lens, and screens.<\/span><\/i><\/span><\/p>\n

The twilight zone is the enlargement zone, like the camera work, which allows our senses to frame with sensitivity. The images in it, simultaneously blurring and clarifying the sight that has been determined previously. Makes us need to tear it down again, armed with questions, which one is real; the one on the screen before the eyes or the one in front of the lens. So, in the twilight zone, the relationship between the eye, lens, and screen is always a deceptive relationship.<\/span><\/i><\/span><\/p>\n

The twilight zone is knowledge that restrains itself because it is forced to live in a dominant system. Even though all this is just a matter of understanding the light, trapping it in a frame and turning it into a new reality, the reality of cinema. The reality that can be seen as bewitching charm, then later reveals the “otherworldly” to “exist”.<\/span><\/i><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Panelist” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10554″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1603195337583{margin-bottom: 0px !important;}”]Hilmar Farid<\/strong><\/em>. Sejarawan, aktivis, pengamat budaya. Menyelesaikan studi doktoral di National University of Singapore dengan disertasinya yang berjudul <\/span>“Rewriting The Nation: Pramoedya and The Politics of Decolonization”. Disertasi ini akan diterbitkan sebagai buku.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1603195207572{margin-bottom: 0px !important;}”]Hilmar Farid<\/strong><\/em>. Historians, activists, cultural observers. He holds a doctorate in cultural studies at the National University of Singapore with a dissertation titled “Rewriting The Nation: Pramoedya and The Politics of Decolonization” which will soon be published in book form.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_text_separator title=”About the Moderator” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10566″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565898022877{margin-bottom: 0px !important;}”]Prashasti Wilujeng Putri<\/strong><\/em> (Jakarta, 5 Desember 1991), seorang seniman performans dan manajer seni. Menamatkan pendidikan di bidang Kriminologi di Universitas Indonesia tahun 2014. Ia juga merupakan penari dari Anjungan Jawa Tengah Taman Mini Indonesia Indah dan Komunitas Tari Radha Sarisha. Aktif di 69 Performance Club dan Milisifilem Collective.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565898036755{margin-bottom: 0px !important;}”]Prashasti Wilujeng Putri<\/strong><\/em> ( Jakarta, 5 December 1991) is a performance artist and art manager. She graduated in Criminology at the University of Indonesia in 2014. Dancer of Radha Sarisha dance community and Central Java Pavilion Taman Mini Indonesia Indah.\u00a0 She is active in 69 Performance Club and Milisifilem Collective.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

The twilight zone is knowledge that restrains itself because it is forced to live in a dominant system. Even though all this is just a matter of understanding the light, trapping it in a frame and turning it into a new reality, the reality of cinema. 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