{"id":10763,"date":"2021-11-21T16:57:34","date_gmt":"2021-11-21T09:57:34","guid":{"rendered":"https:\/\/arkipel.org\/?p=10763"},"modified":"2021-11-21T23:57:25","modified_gmt":"2021-11-21T16:57:25","slug":"tentacular-transforming-ghost","status":"publish","type":"post","link":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/","title":{"rendered":"The Tentacular Transforming Ghost"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1637513450656{margin-bottom: 0px !important;}”]\n

The Tentacular Transforming Ghost<\/strong>
\nHantu yang Bertransformasi Menggurita<\/em><\/h1>\n

Host: Luthfan Nur Rochman<\/strong><\/p>\n

November 28th – December 4th, 2021 | festival.arkipel.org
\nWednesday, December 1st, 2021 | 16:00 | Forum Lenteng<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637513784503{margin-bottom: 0px !important;}”]Selamat datang di era Anthropocene! Capitalocene! Plantationocene! Cthulhucene!<\/em>[1]<\/a><\/span><\/span><\/p>\n

Dalam menavigasikan zona temaram, kita harus rela kusut di dalam silang sengkarut benang cene-cene itu. Pasalnya, semenjak kapal Vasco da Gama dan Christopher Colombus berhasil sampai di dua India, goncangan terbesar bagi umat manusia sejak Revolusi Agrikultur terjadi. Lalu lintas komoditi, gagasan, dan tubuh secara cepat dan masif, mendefinisikan dunia sepanjang hampir enam abad hingga hari ini. Pencerahan menjadi modus para kolonialis yang mewujud dalam efisiensi, penyeragaman konvensi, dan pemiskinan struktural di wilayah conquistado (tertaklukkan), kalau tidak disebut eksploitasi.<\/span><\/span><\/p>\n

Terbukanya rute laut menuju Dunia Baru dan Jalur Rempah bagi conquistador itu melahirkan eksperimen saintifik terbesar yang melayani kapital dan ego, di samping ilmu pengetahuan itu sendiri. Wilayah tropis menjadi arena pertemuan posisi geografis, topografi, biodiversitas, dan narasi manusia-manusia tropis dengan ketidakgenahan dan ambisi para kolonialis di sana. Sejarah adaptasi dan migrasi warga tropis yang mewujud dalam artefak, tubuh, hantu, dan narasi mereka, tiba-tiba diterjang mikroorganisme, mesiu, dan kesepakatan-kesepakatan asing yang memimpikan dunia yang esa. Pemerintahan lokal dengan segala teluh, santet, guna-guna, dan pusparagam ilmu bela diri pun tidak efektif melawan kongsi dagang yang mengantongi sejumlah tanda tangan pemilik modal. Dalam semangat pencerahan, kegiatan ini pun dengan segera dimasukkan ke dalam kompartemen birokrasi, diformalisasi dengan diberi nama yang berakar dari intensi menanam, colere, colonia, kolonialisasi.<\/span><\/span><\/p>\n

Eksperimen menanam dan mencabut tanaman di wilayah koloni merevolusi sistem ilmu pengetahuan terkait klasifikasi, lahirlah stereotipe. Industrialisasi menambah akselerasi perpindahan tanaman komoditi lintas benua, lahirlah durasi kerja. Ilmu pengetahuan dan seni merekam pencapaian-pencapaian teknologis dan kapital dari masa itu dengan semangat penemuan dan turistik, lahirlah orientalisme. Dari rumah kaca ke rumah kaca yang lain menjadi tema berulang dalam kehidupan konsumsi sejak abad ke-18 hingga saat ini. Hantu modern memakan hantu lokal dan menyebabkannya bertransformasi menjadi hantu gurita yang lengannya memanjang di berbagai belahan dunia. Mengantarkan kapas Afrika ke mesin pemintal di Eropa, lalu ke toko retail di mall Asia dan kembali lagi ke Afrika mengantarkan barang reject.<\/span><\/span><\/p>\n

Dari situ, bolehlah kita berupaya mencari kepalanya ke sebuah kota pelabuhan untuk mengetahui siasat apa yang sedang dan akan membentuk dunia ke depannya. Di mana disrupsi dalam masyarakatnya dapat dibaca sebagai perlawanan terhadap kekuatan yang lebih besar yang merasa dirinya mampu menyetir arah zaman.<\/span><\/span><\/p>\n

Semenjak ditetapkannya Hong Kong sebagai satu-satunya koloni Eropa di perairan Asia Timur, dengan segera ia menjadi entrepot (pelabuhan transit barang tak berpajak) di tengah kekuatan besar dunia baru. Demografinya terbentuk dari Inggris si \u201cpencerah\u201d dan kekaisaran Tiongkok pemanggul \u201cmandat dari surga\u201d yang nantinya diinjak-injak oleh penggantinya, yang membawa serta masing-masing pandangan dunianya. Tapi, Inggris dan Eropa sebagai yang punya hajat, gerah dengan kedatangan para pencari suaka dari Tiongkok sehingga mengekslusifkan bukit bagi kalangannya sendiri. Dengan kekuatan-kekuatan itulah, kontur baru dibentuk. Kontur fisik dan imajiner yang mengondisikan kehidupan sosial ekonomi masyarakat konsumer hari ini dengan mengapropriasi tradisi, identitas kewarganegaraan, dan ilmu pengetahuan.<\/span><\/span><\/p>\n

Lantas, gambar bergerak sebagai anak teknologi reproduksi mekanis lahir dan memegang kunci untuk menggugat fenomena itu, lebih dahsyat dibandingkan moda representasi lain sebelumnya. Realitas, kamera portabel, warna, montase, sound, synchronized sound, dan revolusi digital dan penyulut perkembangan bahasa sinema lainnya, mempersenjatai para navigator yang mencoba menyibak gejala zaman tempat mereka berada. Lewat pertautan ironis antara lanskap hari ini dan sejarah, filem dapat membawa kita mendedah lalu lintas gagasan dan fisik yang memungkinkan Asia dan dunia hari ini. Narasi dan representasi yang dibuat atas Asia dapat dilawan dengan montase dan narasi yang membongkar agenda segregasi dan reduksionis yang terinstitusi. Suara sekitar lanskap dapat berubah menjadi puisi liris tentang penggalian memori kolektif dan dislokasi manusia-manusia Asia.<\/span><\/span><\/p>\n

Kuratorial ini ingin mengundang Anda untuk melihat dan mengimajinasikan makhluk bertentakel yang lahir dari usaha pemindahan tanaman dalam sekotak kaca. Tentakel itu bisa berupa crane pelabuhan yang memindahkan muatan melintasi laut, crane konstruksi yang membangun real estate di kawasan yang katanya kekurangan lahan, eskalator yang mengantar manusia melihat refleksi dirinya dengan barang dalam etalase, atau jejaring kebun raya yang memuseumkan pencapaian-pencapaian eksperimen botani ilmuwan kolonial. Apapun itu, makhluk bertentakel itu mencacah manusia ke dalam gugus-gugus yang disepakati oleh nilai lama yang terus-menerus bertransformasi dan dilanggengkan secara sadar atau tidak sadar.<\/span><\/span><\/p>\n

 <\/p>\n

[1]<\/a> Anthropocene<\/i> adalah istilah geologi untuk menyebut era di mana manusia menjadi daya pengubah geologi yang masif. Istilah ini diperluas menjadi wacana transdisipliner, utamanya ekologi, yang menggugat eksepsionalisme manusia. Teoritikus menggugat penggunaan Anthropocene<\/i> karena dianggap terlalu luas dan tidak menunjuk ke penyebab langsungnya. Maka muncullah istilah Capitalocene<\/i> (jejaring kapital sebagai pengubah), Plantationocene<\/i> (jejaring perkebunan cash crop<\/i> sebagai pengubah), dan Cthulhucene<\/i> (Cthulhu=makhluk bertentakel, tawaran Donna Haraway, untuk melihat era saat manusia dan non-manusia berada di kekacauan yang kompleks sehingga manusia perlu mengakui agensi non-manusia untuk bersama-sama keluar dari era ini).<\/span><\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637513839689{margin-bottom: 0px !important;}”]Welcome to the era of Anthropocene! Capitalocene! Plantationocene! Cthulhucene![1]<\/a><\/span><\/p>\n

To navigate the twilight zone, we must be willing to get ourselves tangled in the chaos of those cenes<\/span><\/i>. It is because after the ships of Vasco da Gama and Christopher Columbus reached the two India, the greatest jolts of humanity since the Agricultural Revolution occured. The traffic of commodity, ideas, and bodies has grown massively and rapidly, defining the world for nearly six centuries hitherto. The colonials brought enlightenment as their reason, which took form as efficiency, convention homogenization, and structural impoverishment in the conquest territory, otherwise referred as exploitation.<\/span><\/span><\/p>\n

The discovery of the sea route to the New World and the Spice Route for the conquistadors gave birth to the most significant scientific experiments that served, besides science itself, the interest of capital and the ego. The tropics became an arena where geographical positions, topography, biodiversity, and narratives of tropical humans met with the discomfort and ambition of the colonials. The history of tropical humans’s adaptation and migration manifested in their artifacts, bodies, ghosts, and narratives, was suddenly struck by microorganisms, munition, and foreign agreements that dreamed of a single world. The local government, with all its witchcraft and diverse martial arts, could not effectively fight against trade partnerships that had first obtained some capital owners’ signatures. In the spirit of enlightenment, this action was incorporated into the bureaucratic compartment immediately, with formalized names rooted in the intentions of planting, <\/span>colere<\/span><\/i>, <\/span>colonia<\/span><\/i>, and colonization.<\/span><\/p>\n

Experiments to plant and uproot plants in the colony to revolutionize the system of science related to classification, hence born stereotypes. Industrialization added acceleration of commodity crops movement across continents, there born duration of work. Science and art record the technological achievements and capital of that period with the spirit of discovery and tourism, there born orientalism. From one greenhouse to another, it has been a recurring theme in consumption life since the 18th century. Modern ghosts eat local ghosts and cause them to transform into tentacular ghosts with arms extending to various parts of the world. It delivers African cotton to spinning machines in Europe, then to retail stores in Asian malls and back to Africa with rejected goods.<\/span><\/p>\n

From there, we may attempt to find the head of this tentacular body in a port city to know the forms of tactics that shape the world today and ahead. At this point, disruptions in society can be read as resistance to a higher force that considers itself capable of driving the direction of the times.<\/span><\/p>\n

Since Hong Kong was established as the only European colony in East Asian waters, it soon became an entrepot (a transit port for non-taxed goods) amidst the great powers of the new world. Its demographics were formed from Britain the ambassador of “the Enlightenment” and the Chinese empire the bearer of “The Mandate of Heaven” which was later trampled on by its successors, who then brought its respective worldview in. But Britain and Europe as the host were frustrated by the arrival of asylum seekers from China. Thus, they secluded the hill exclusively for their circles. These forces formed new contours. Physical and imaginary contours that have conditioned the social and economic life of today’s consumer society by appropriating traditions, citizenship identities, and science.<\/span><\/p>\n

Then, moving image as the child of mechanical reproduction technology was born, and it holds the key to criticize that phenomenon, even greater than the previous modes of representation. Reality, portable cameras, colors, montage, sound, synchronized sound, and the Digital Revolution, as well as other triggers for cinema language developments, arm the navigators in uncovering the phenomena of their times. Through the cinema’s ironic assemblage of today’s landscape with history, we can explore the traffic of ideas and physical matters that brings forth Asia and the world today. Narratives and representations made on Asia can be countered by montages and narratives that dismantle the institutionalized segregation and reductionist agenda. The sound of landscape ambiance can turn into lyrical poetry about the exploration of collective memory and the dislocation of Asian humans.<\/span><\/p>\n

This curatorial invites you to see and imagine the tentacular creatures born from the effort to move plants in a box of glass. The tentacles can take form as port cranes that move cargo from the other side of the ocean, as construction cranes that build new real estate in areas that are said to be lacking of land, as escalators that take humans to see their reflections along with goods in storefronts, or botanical networks that map the achievements of botanical experiments of colonial scientists. Whatever it is, these tentacular creatures chop humans into clusters agreed upon by old values that are continually transformed and perpetuated consciously or unconsciously.<\/span><\/p>\n

 <\/p>\n

[1]<\/a> Anthropocene is a geological term that refers to an era in which humans are the massive geological modifiers. The term developed into a transdisciplinary discourse, primarily in ecology, which rejects human exceptionalism. Theorists criticize the use of the term Anthropocene because it is considered too broad and does not point to the main cause. Afterwards, there are terms Capitalocene (the capital network as the modifier), Plantationocene (the cash crop plantation network as the modifier), and Cthulhucene (Cthulhu = tentacular creature, Donna Haraway’s idea, to represent an era when humans and non-humans are in complex chaos so humans need to recognize non-human agencies to end this era together).<\/span><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10766″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637485496480{margin-bottom: 0px !important;}”]\n

Many Undulating Things<\/h2>\n

Filmmaker <\/em>Bo Wang, Pan Lu<\/strong> (China)
\n<\/span>International Title<\/em> Many Undulating Things
\n<\/strong>Country of Production<\/em>\u00a0\u00a0China
\n<\/strong>Language<\/em> English, Chinese, Cantonese
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

125 min, stereo, digital, 16:9, color B\/W, 2019<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637488410383{margin-bottom: 0px !important;}”]Filem esai yang membedah jejaring sejarah Hong Kong dan agenda kolonialisme yang membentuk realitas fisik dan sosial masyarakat Hong Kong hari ini. Lewat pertautan ironis antara lanskap kontemporer Hong Kong, arsip negara koloni, media, dan fakta sejarah dengan puisi liris nan jenial, sutradara memberikan gambaran kerja gagasan dan materi atas Asia pasca-kolonial.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637488497465{margin-bottom: 0px !important;}”]A film essay that dissects the network of Hong Kong’s history and colonialism agenda shaping the physical and social reality of Hong Kong society today. Through an ironic linkage between Hong Kong’s contemporary landscape, the colony’s archives, the media, and historical facts with genius lyrical poetry, the director gives an overview of the ideas and material for post-colonial Asia.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10769″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637487927399{margin-bottom: 0px !important;}”]Bo Wang<\/strong><\/em> adalah seorang seniman dan pembuat filem yang tinggal di Belanda dan Cina. Ia mendapatkan beasiswa dari <\/span>Robert Flaherty Film Seminar<\/span><\/i> pada tahun 2013. Ia pernah menjadi seniman residensi di ACC-Rijksakademie 2017-2018 dan NTU CCA pada tahun 2016. Karya-karyanya telah dipresentasikan di berbagai peristiwa internasional.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637486445938{margin-bottom: 0px !important;}”]Bo Wang<\/strong><\/em> is an artist and filmmaker based between the Netherlands and China. He has received a fellowship from the Robert Flaherty Film Seminar in 2013. He was an artist-in-residency at ACC-Rijksakademie 2017-2018 and NTU CCA in 2016. His works have been presented in numerous international events.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10768″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637487859191{margin-bottom: 0px !important;}”]Pan Lu<\/strong><\/em> adalah seorang penulis, peneliti, dan pembuat filem yang tinggal di Hong Kong. Dia adalah Asisten Profesor di Departemen Kebudayaan Cina, Universitas Politeknik Hong Kong, dan sarjana tamu di berbagai universitas bergengsi. Tahun 2018, ia menjadi salah satu kurator Kuandu Biennale, Taipei.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637487982129{margin-bottom: 0px !important;}”]Pan Lu<\/strong><\/em> is an author, researcher, and filmmaker based in Hong Kong. She is an Assistant Professor at the Department of Chinese Culture, The Hong Kong Polytechnic University, and was a visiting scholar at numerous prestigious universities. In 2018, she was one of the curators of Kuandu Biennale, Taipei.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9707″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637488188453{margin-bottom: 0px !important;}”]Luthfan Nur Rochman<\/strong><\/em> (Jakarta, 19 Agustus 1993) seorang pembuat film yang berbasis di Jakarta. Lulusan Arkeologi Universitas Indonesia ini, sehari-harinya juga aktif di Milisifilem Collective dan peneliti di Forum Lenteng. Saat ini sedang mengembangkan platform Candikala di Forum Lenteng untuk mengkontekstualisasi peninggalan sejarah masa Hindu-Buddha di Indonesia.<\/span><\/p>\n

Luthfan adalah salah satu anggota tim selektor ARKIPEL Twilight Zone.<\/em><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637488176038{margin-bottom: 0px !important;}”]Luthfan Nur Rochman<\/strong><\/em>\u00a0(August 19, 1993) a filmmaker based in Jakarta. A graduate of Archeology from Universitas Indonesia, he is also active in the Milisifilem Collective and a researcher at Forum Lenteng. Currently developing the Candikala platform at Forum Lenteng to contextualize the historical heritage of the Hindu-Buddhist period in Indonesia.<\/span><\/p>\n

Luthfan is one of the selector members at ARKIPEL Twilight Zone<\/em>.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. But these observation and participation bear their own problems.In representing peripheral subjects, especially those who are far or less exposed to media technology, there is a temptation to treat them as a “discovery\u201d. <\/p>\n","protected":false},"author":1,"featured_media":10791,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"The Tentacular Transforming Ghost","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[551,344],"tags":[552,192,548],"jetpack_publicize_connections":[],"yoast_head":"\nThe Tentacular Transforming Ghost — ARKIPEL<\/title>\n<meta name=\"description\" content=\"In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. But these observation and participation bear their own problems.In representing peripheral subjects, especially those who are far or less exposed to media technology, there is a temptation to treat them as a "discovery\u201d.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Tentacular Transforming Ghost — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. But these observation and participation bear their own problems.In representing peripheral subjects, especially those who are far or less exposed to media technology, there is a temptation to treat them as a "discovery\u201d.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/\" \/>\n<meta property=\"og:site_name\" content=\"ARKIPEL\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/arkipel.festival\/\" \/>\n<meta property=\"article:author\" content=\"http:\/\/facebook.com\/arkipel.festival\" \/>\n<meta property=\"article:published_time\" content=\"2021-11-21T09:57:34+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-11-21T16:57:25+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/ic-1-many-undulating-things-1.jpg?fit=1920%2C1080&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"1080\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Arkipel\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@http:\/\/twitter.com\/arkipel\" \/>\n<meta name=\"twitter:site\" content=\"@arkipel\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Arkipel\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/\"},\"author\":{\"name\":\"Arkipel\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef\"},\"headline\":\"The Tentacular Transforming Ghost\",\"datePublished\":\"2021-11-21T09:57:34+00:00\",\"dateModified\":\"2021-11-21T16:57:25+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/\"},\"wordCount\":2521,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/ic-1-many-undulating-things-1.jpg?fit=1920%2C1080&ssl=1\",\"keywords\":[\"2021\",\"International Competition\",\"Twilight Zone\"],\"articleSection\":[\"ARKIPEL 2021 - Twilight Zone\",\"International Competition\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/\",\"url\":\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/\",\"name\":\"The Tentacular Transforming Ghost — ARKIPEL\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/ic-1-many-undulating-things-1.jpg?fit=1920%2C1080&ssl=1\",\"datePublished\":\"2021-11-21T09:57:34+00:00\",\"dateModified\":\"2021-11-21T16:57:25+00:00\",\"description\":\"In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. But these observation and participation bear their own problems.In representing peripheral subjects, especially those who are far or less exposed to media technology, there is a temptation to treat them as a \\\"discovery\u201d.\",\"breadcrumb\":{\"@id\":\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#primaryimage\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/ic-1-many-undulating-things-1.jpg?fit=1920%2C1080&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/ic-1-many-undulating-things-1.jpg?fit=1920%2C1080&ssl=1\",\"width\":1920,\"height\":1080},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/arkipel.org\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"The Tentacular Transforming Ghost\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/arkipel.org\/#website\",\"url\":\"https:\/\/arkipel.org\/\",\"name\":\"ARKIPEL\",\"description\":\"Jakarta International Documentary and Experimental Film Festival\",\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/arkipel.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/arkipel.org\/#organization\",\"name\":\"Arkipel\",\"url\":\"https:\/\/arkipel.org\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"width\":901,\"height\":351,\"caption\":\"Arkipel\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/arkipel.festival\/\",\"https:\/\/x.com\/arkipel\",\"https:\/\/www.instagram.com\/arkipel\/\",\"https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef\",\"name\":\"Arkipel\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g\",\"caption\":\"Arkipel\"},\"description\":\"ARKIPEL - Jakarta International Documentary & Experimental Film Festival, held in Indonesia by Forum Lenteng. This festival is a open space of cinema and media discourse in general, especially documentary and experimental film genre.\",\"sameAs\":[\"http:\/\/arkipel.org\/\",\"http:\/\/facebook.com\/arkipel.festival\",\"https:\/\/x.com\/http:\/\/twitter.com\/arkipel\"],\"url\":\"https:\/\/arkipel.org\/people\/arkipel\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"The Tentacular Transforming Ghost — ARKIPEL","description":"In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. But these observation and participation bear their own problems.In representing peripheral subjects, especially those who are far or less exposed to media technology, there is a temptation to treat them as a \"discovery\u201d.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/","og_locale":"en_US","og_type":"article","og_title":"The Tentacular Transforming Ghost — ARKIPEL","og_description":"In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. But these observation and participation bear their own problems.In representing peripheral subjects, especially those who are far or less exposed to media technology, there is a temptation to treat them as a \"discovery\u201d.","og_url":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/","og_site_name":"ARKIPEL","article_publisher":"https:\/\/www.facebook.com\/arkipel.festival\/","article_author":"http:\/\/facebook.com\/arkipel.festival","article_published_time":"2021-11-21T09:57:34+00:00","article_modified_time":"2021-11-21T16:57:25+00:00","og_image":[{"width":1920,"height":1080,"url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/ic-1-many-undulating-things-1.jpg?fit=1920%2C1080&ssl=1","type":"image\/jpeg"}],"author":"Arkipel","twitter_card":"summary_large_image","twitter_creator":"@http:\/\/twitter.com\/arkipel","twitter_site":"@arkipel","twitter_misc":{"Written by":"Arkipel","Est. reading time":"13 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#article","isPartOf":{"@id":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/"},"author":{"name":"Arkipel","@id":"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef"},"headline":"The Tentacular Transforming Ghost","datePublished":"2021-11-21T09:57:34+00:00","dateModified":"2021-11-21T16:57:25+00:00","mainEntityOfPage":{"@id":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/"},"wordCount":2521,"commentCount":0,"publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"image":{"@id":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/ic-1-many-undulating-things-1.jpg?fit=1920%2C1080&ssl=1","keywords":["2021","International Competition","Twilight Zone"],"articleSection":["ARKIPEL 2021 - Twilight Zone","International Competition"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/arkipel.org\/tentacular-transforming-ghost\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/","url":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/","name":"The Tentacular Transforming Ghost — ARKIPEL","isPartOf":{"@id":"https:\/\/arkipel.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#primaryimage"},"image":{"@id":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/ic-1-many-undulating-things-1.jpg?fit=1920%2C1080&ssl=1","datePublished":"2021-11-21T09:57:34+00:00","dateModified":"2021-11-21T16:57:25+00:00","description":"In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. But these observation and participation bear their own problems.In representing peripheral subjects, especially those who are far or less exposed to media technology, there is a temptation to treat them as a \"discovery\u201d.","breadcrumb":{"@id":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/tentacular-transforming-ghost\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/ic-1-many-undulating-things-1.jpg?fit=1920%2C1080&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/ic-1-many-undulating-things-1.jpg?fit=1920%2C1080&ssl=1","width":1920,"height":1080},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/tentacular-transforming-ghost\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"The Tentacular Transforming Ghost"}]},{"@type":"WebSite","@id":"https:\/\/arkipel.org\/#website","url":"https:\/\/arkipel.org\/","name":"ARKIPEL","description":"Jakarta International Documentary and Experimental Film Festival","publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/arkipel.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/arkipel.org\/#organization","name":"Arkipel","url":"https:\/\/arkipel.org\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","width":901,"height":351,"caption":"Arkipel"},"image":{"@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/arkipel.festival\/","https:\/\/x.com\/arkipel","https:\/\/www.instagram.com\/arkipel\/","https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ"]},{"@type":"Person","@id":"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef","name":"Arkipel","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g","caption":"Arkipel"},"description":"ARKIPEL - Jakarta International Documentary & Experimental Film Festival, held in Indonesia by Forum Lenteng. This festival is a open space of cinema and media discourse in general, especially documentary and experimental film genre.","sameAs":["http:\/\/arkipel.org\/","http:\/\/facebook.com\/arkipel.festival","https:\/\/x.com\/http:\/\/twitter.com\/arkipel"],"url":"https:\/\/arkipel.org\/people\/arkipel\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/ic-1-many-undulating-things-1.jpg?fit=1920%2C1080&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2NB","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10763"}],"collection":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=10763"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10763\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/10791"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=10763"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=10763"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=10763"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}