{"id":10777,"date":"2021-11-21T20:53:54","date_gmt":"2021-11-21T13:53:54","guid":{"rendered":"https:\/\/arkipel.org\/?p=10777"},"modified":"2021-11-21T23:50:30","modified_gmt":"2021-11-21T16:50:30","slug":"history-user-culture-network-of-conquest","status":"publish","type":"post","link":"https:\/\/arkipel.org\/history-user-culture-network-of-conquest\/","title":{"rendered":"The History of User Culture in a Network of Conquest"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1637513419930{margin-bottom: 0px !important;}”]\n

The History of User Culture in a Network of Conquest<\/b><\/strong>
\nRiwayat Kultur Pengguna dalam Jejaring Penaklukan<\/em><\/h1>\n

Host: Anggraeni Dwi Widhiasih<\/strong><\/p>\n

November 28th – December 4th, 2021 | festival.arkipel.org
\nThursday, December 2nd, 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_1637502611304{margin-bottom: 0px !important;}”]Kultur pengguna (<\/span>user)<\/span><\/i> dalam cara manusia berkomunikasi dan mengakses pengetahuan menjadi gejala yang mengglobal bersamaan dengan dominasi internet sebagai teknologi yang mendorong akselerasi pertukaran informasi. Mulanya, internet lahir sebagai teknologi jaringan komunikasi dalam perjalanan perang politik ideologi di masa lalu. Kini, ia merupakan sistem yang menavigasikan kehidupan orang-orang saat ketergantungan penggunaannya dalam keseharian semakin meningkat. Kedangkalan pengetahuan seakan muncul sebagai buah dari kultur \u201cpengguna\u201d tersebut dan menjelma menjadi persoalan generasi.<\/span><\/span><\/p>\n

Saat konsumsi pada suatu objek berlangsung terus-menerus memunculkan hasrat yang seakan tidak tertahankan, hubungan patologis dalam aktivitas konsumsi terjadi. Kerap kali perilaku kecanduan dalam konsumsi dihubungkan pula dengan kegagalan kontrol maupun otonomi diri. Di sisi lain, perilaku konsumsi tidak terlepas dari kultur komoditas yang peningkatannya berlangsung bersamaan dengan sejarah ekspansi dominasi suatu kekuasaan.<\/span><\/span><\/p>\n

Telah menjadi khitahnya bahwa dalam ekspansi kekuasaan selalu terjadi penaklukan. Hasrat kekuasaan pertama-tama mendorong lanskap alam diterjemahkan menjadi teritori yang dapat mengukur jangkauan dominasi kekuasaan suatu entitas. Saat sistem kekuasaan tidak mampu mencukupi kebutuhan (sosial) ekonominya, maka ekspansi dan penjelajahan untuk menemukan tanah baru pun dilakukan. Tak ayal, misi ekspansi kekuasaan berkelindan dengan misi ekspansi perdagangan. Ia memperluas penaklukan teritori hingga mencakup penaklukan terhadap bangsa-bangsa sebagai cara untuk mengamankan otoritasnya, terutama saat muncul obsesi dan ketergantungan terhadap barang-barang eksotis yang didapat di lokasi tanah baru. Bentuk sistem kontrol terhadap suatu wilayah dan bangsa-bangsa di dalamnya pun lahir sebagai sistem kolonialisme. Kekuasaan ini terus-menerus meluaskan dirinya dengan menaklukan teritori-teritori baru hingga membangun imperium di berbagai kawasan dunia.<\/span><\/span><\/p>\n

Monopoli perdagangan dan politik kolonial yang terjadi dalam waktu lama di berbagai kawasan pun membentuk pola perkembangan dunia. Ia terjadi seiring dengan kehidupan masyarakat yang dipaksa mengikuti bentukan sistem kolonial. Pola interaksi masyarakat dengan alam yang tadinya cenderung hidup berdampingan sebagai sebuah ekosistem pun berubah. Pertanian tidak lagi dilakukan sebagai cara hidup, tetapi sebagai cara memproduksi komoditas untuk kepentingan kolonial. Hubungan manusia dan alamnya direduksi menjadi hubungan kerja untuk menghasilkan sebuah produk. Pada masa-masa tersebut, sistem kepercayaan dan kultur di lokasi seringkali harus tergeser, berubah atau bahkan hilang. Akar-akar pengetahuan yang telah lama tumbuh di tanah itu pun perlahan-lahan dicabut dan digantikan dengan yang baru. Meskipun demikian, pengetahuan-pengetahuan yang dianggap berguna bagi kepentingan kolonial terus diambil intisarinya, diubah menjadi produk baru dan dikembalikan kepada masyarakat koloni sebagai komoditas untuk dikonsumsi.<\/span><\/span><\/p>\n

Akar baru yang berasal dari kultur penaklukan ini terus bercokol dalam kehidupan masyarakat meski dekolonisasi telah dilangsungkan. Bahkan, ia bercokol semakin kuat saat perang ideologi antara poros Barat dan Timur menuntut tunduknya ideologi bangsa-bangsa dunia kepada satu di antara dua. Asia yang sejak lampau telah menjadi medan pertarungan politik perdagangan kolonial, terutama di kawasan Asia Tenggara, kemudian menjadi salah satu medan perang proksi antara Barat dan Timur. Jejak-jejak dominasi dan penaklukan kolonial dijadikan basis kekuatan untuk mengukuhkan hegemoni ideologi di kawasan tersebut. Tahun-tahun peperangan ideologi bersemi bersama bunga-bunga candu yang mengutuk kawasan ini dalam lingkaran setan berupa sengkarut ketergantungan pada hal-hal yang memabukkan. Sejarah kekalahan terhadap sistem terus mengulang dirinya hingga generasi-generasi baru mewarisi sisa-sisa kejahatan perang yang nyaris sama. Mereka menjadi buah dari penaklukan kawasan saat sistem memerangkapnya dalam kondisi ketiadaan pilihan. Perjalanan kehidupan seolah hanya menjadi sebatas siklus memberi makan sistem dominan tertentu. Orang-orang seakan tengah terbenam menjadi sebatas pengguna komoditas yang dihasilkan oleh sistem itu sendiri.<\/span><\/span><\/p>\n

Padahal di sisi lain, sistem itu pun bergantung pada sesuatu yang telah lama hidup bersama orang-orang di tanah taklukan. Ia yang selalu berusaha ditaklukan agar menjadi teritori kekuasaan adalah sebentang lanskap alam dengan keprimordialan siklus yang sewaktu-waktu dapat menjungkirbalikkan sistem lain di sekitarnya. Siklus itu memaksa sistem lain untuk mau tak mau menyesuaikan diri dengan sistem bumi. Sebagai sistem organik yang selalu menyediakan penghidupan bagi peradaban manusia di sekitarnya, telah menjadi khitahnya pula bahwa manusia dan sistem buatan manusia akan harus menyesuaikan diri dengan lanskap alam pada suatu waktu. Saat sistem dominan bergantung pada lanskap tersebut namun tak mampu hadir pada celah-celah terkecilnya, masyarakat pun dapat dengan mudahnya mengabaikan sistem itu. Pengabaian ini menjadi peluang bagi manusia dan alam untuk membuat pola interaksinya sendiri yang menjauh dari pola konsumsi yang dominatif dan identik dengan hasrat penaklukan. Pada titik ini, kultur pengguna seakan tengah coba direduksi dan menciptakan momentum perlawanan terhadap lapisan-lapisan dominasi sistem penaklukan yang telah merasuk pada keseharian dan mendikte pola konsumsi manusia, bahkan pada konsumsi terhadap pengetahuan.
\n<\/span><\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637502775803{margin-bottom: 0px !important;}”]User culture that pervades our mode of communication and knowledge access has become a global symptom, coinciding with the Internet\u2019s domination as a technology that accelerates the exchange of information. The Internet was first born in the history of political ideology war as a network communication technology. Today, it has become a system that navigates our daily lives as we become increasingly dependent towards it. The superficiality of knowledge was born out of this \u201cuser\u201d culture, transforming into a generational problem.<\/span><\/p>\n

When a continuous consumption of an object ignites an unquenchable desire, a pathological relation in the consumption activity then occurs. Addiction to consumption is often related to failure of control and self-autonomy. On the other hand, consumption behaviour is inseparable from commodity culture that has been increasing along with expansion of power in history.<\/span><\/p>\n

Naturally, with expansion of power comes conquest. At first, desire for power directs the interpretation of the natural landscape as a territory that defines the range of domination by a powerful entity. When a system of power cannot accommodate its (socio)economical needs, they would plan an expansion and exploration to find a new land. Expansion of power goes hand in hand with expansion of trade. Territorial conquest includes conquest of nations as a way to guarantee their authority, especially when obsession and dependence on exotic things from the new land rises. A system of control subjected to a territory and nation was born and known as colonialism. A continuous expansion of power is gained through conquering new territories, and eventually results in an establishment of worldwide imperium.<\/span><\/p>\n

Century-old trade monopolies and colonial politics in many regions have established a pattern of global development. This development is in parallel with the pressure for the nations to live according to the colonial system. Their pattern of interaction with nature has changed, they no longer live alongside nature as a part of an ecosystem. Agriculture is no longer a way to live, it has become a means to produce colonial commodities. The relation between human and nature has been reduced into a product-oriented work relation. Belief and cultural systems in certain locations have either been displaced, changed, or lost. Ancient knowledge that had long flourished in native\u2019s soil was uprooted and replaced. However, the local knowledge deemed useful by the colonizers was extracted, transformed into a new product, and reintroduced to the colonized as a commodity to consume.<\/span><\/p>\n

The roots planted by this conquest culture entrenches itself in the society, even after decolonization. It grips even stronger when the ideological war between the Western and Eastern bloc demands the global nations to pick a side. Asia, especially Southeast Asia, which has long been the war zone of colonial trade politics, now turn into one of the proxy wars zones between the West and the East. Traces of colonial domination and conquest become a foundation to establish ideological hegemony in this wars zone. Years of ideological war flourished along with the opium that cursed this land and put it in a vicious circle of dependence towards intoxicating things. The history of defeat to the system repeats itself, the new generations now inherit the remnants of roughly the same war crimes. This generation becomes the fruit resulted from regional conquest when the system puts them in a situation in which they have no choice. The journey of life seems to become a cycle of life that merely feeds a certain dominant system. People seem to be trapped in the role of commodity users produced by the system itself.<\/span><\/p>\n

Yet on the other hand, the system also depends on something that has long lived with the conquered people. That something, the one to be conquered to become a territory of power, is the landscape of nature with its primordial cycle that can overturn other systems at any time. This cycle forces other systems to inevitably adapt to Earth\u2019s system. As an organic system that always provides a livelihood for human civilization, it is only natural that humans and man-made systems will have to adjust to the natural landscape at one point. When a dominant system relies on the landscape but is unable to exist in its smallest nooks, the people can easily ignore the system. This neglect becomes an opportunity for humans and nature to create their own patterns of interaction, away from the dominating consumption patterns that are identical to the desire for conquest. At this point, an attempt to reduce the user culture might be carried out to create a momentum of resistance against the dominant conquest system that has penetrated everyday life and dictated patterns of human consumption, even consumption of knowledge.<\/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=”1637503076230-854d8107-3735″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10780″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637500357620{margin-bottom: 0px !important;}”]\n

Century of Smoke<\/h2>\n

Filmmaker <\/em>Nicolas Graux<\/strong> (Belgium)
\n<\/span>International Title<\/em> Century of Smoke
\n<\/strong>Country of Production<\/em>\u00a0 Belgium
\n<\/strong>Language<\/em> Lao, Akha, Chinese
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

90 min 6 sec, stereo, HD, color, 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_1637500446521{margin-bottom: 0px !important;}”]Melalui perekaman pada zona terkecil dalam sebuah lingkup hidup masyarakat, yakni kamar tidur, kamera dalam filem ini kemudian keluar dan membawa kita membuntuti babak cerita paling pahit dalam epos sejarah kawasan dunia. Kekalahan kolektif sebuah entitas politik akibat dekade-dekade kejahatan perang membenamkan orang-orang Akha di sebuah provinsi di Laos, dalam kultur opium dan candu. Ia menghasilkan kutukan lingkaran setan lintas generasi yang menyisakan para perempuannya dalam keterpencilan, ketiadaan pilihan dan ratapan tanpa akhir.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637500460611{margin-bottom: 0px !important;}”]Through a recording process in the smallest zone in a sphere of community life, that is the bedroom, camera in this film moves out and leads us to follow the most bitter chapter in the epoch of world region history. Collective defeat of a political entity due to decades of war crimes has buried the Akha in a province in Laos, in opium culture. It produces a curse of vicious circles across generations that left the women in remoteness, lack of choice, and endless lamentation.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637503076686-c189603b-0340″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10781″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637500669921{margin-bottom: 0px !important;}”]Nicolas Graux<\/strong><\/em> (Li\u00e8ge, 1988) tinggal di Brussels, menyelesaikan studi di Institute of Media Arts dengan gelar master pembuatan filem fiksi. Narasi dan citraan dalam karyanya hadir bersama kesabaran imersif di tempat nun jauh, dengan orang-orang yang jarang digambarkan di sinema, ter-rangkai menjadi pengalaman sensoris nan puitis. Filem-filemnya telah dihadirkan di berbagai ajang internasional.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637500696499{margin-bottom: 0px !important;}”]Nicolas Graux<\/strong><\/em> (Li\u00e8ge, 1988) lives in Brussels, graduated from the Institute of Media Arts with a master’s degree in fiction filmmaking. His narratives and images rely on patient immersions in distant territories, with people rarely portrayed in cinema, weaving sensory and poetic film experiences. His films have been selected in numerous international occasions.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637498826429-59df6bfd-1de6″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10795″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637501323057{margin-bottom: 0px !important;}”]\n

ICUCICU<\/h2>\n

Filmmaker <\/em>Giuliana Foulkes, Charlotte Hong<\/strong> (US, Singapore)
\n<\/span>International Title<\/em> ICUCICU
\n<\/strong>Country of Production<\/em> \u00a0Singapore
\n<\/strong>Language<\/em> English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

14 min 9 sec, stereo, HD, color, 2019[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637501407170{margin-bottom: 0px !important;}”]Pengetahuan trivial satu bertemu dengan pengetahuan trivial lainnya. Bahasan kolonialisme, dominasi dan internet dirajut oleh tuturan dan visual yang feminin serta aksi yang arbitrer hingga menjadi sebuah esai kritis. Representasi kultur internet yang serba dangkal dan manasuka kemudian dihadirkan tidak lagi sebagai sebuah persoalan saja, tetapi sekaligus sebagai cara ungkap yang mengumpat dan melawan dominasi itu sendiri.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637501422193{margin-bottom: 0px !important;}”]One trivial knowledge encounters other trivial knowledge. The discussion of colonialism, domination, and the internet was knitted by feminine visuals and talks along with arbitrary action until it forms a critical essay. The random and superficial representation of internet culture appears no longer as a problem, but at the same time as a way to condemn and counter the domination itself.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637498826798-2d9015e0-f5e0″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10793″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637501468982{margin-bottom: 0px !important;}”]Giuliana Rossi Foulkes<\/strong><\/em> adalah sutradara dan seniman visual yang tinggal di LA, lulus dari jurusan Film\/Video di California Institute of the Arts. Karya-karyanya bersifat pribadi, konfrontatif, dan agresif secara estetika, dengan dipandu oleh pertanyaan tentang trauma, perasaan, dan ingatan. Baru-baru ini, ketertarikannya pada hubungan kekuasaan telah mendorongnya menjelajahi ranah pengaruh yang berjejaring.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637501494012{margin-bottom: 0px !important;}”]Giuliana Rossi Foulkes<\/strong><\/em> is an LA-based filmmaker and visual artist, graduated from Film\/Video degree in California Institute of the Arts. Their work is deeply personal, confrontational, and aesthetically aggressive, guided by questions of trauma, affect, and memory. Recently, their interest in relations of power has led them to explore networked realms of affect.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10793″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637501518720{margin-bottom: 0px !important;}”]Charlotte Hong<\/strong><\/em> adalah seniman animasi, pembuat film, dan ilustrator yang dibesarkan di Singapura dan kini berbasis di Los Angeles, lulus dari California Institute of the Arts dengan jurusan Animasi Eksperimental.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637501539941{margin-bottom: 0px !important;}”]Charlotte Hong<\/strong><\/em> is an animation artist, filmmaker, and illustrator raised in Singapore and based in Los Angeles, graduated from the California Institute of the Arts majoring in Experimental Animation.<\/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_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=”10796″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637503232174{margin-bottom: 0px !important;}”]\n

Di Pinggir Kali Citarum<\/h2>\n

Filmmaker <\/em>Ali Satri Efendi <\/strong> (Indonesia)
\n<\/span>International Title<\/em> Di Pinggir Kali Citarum
\n<\/strong>Country of Production<\/em>\u00a0 Indonesia
\n<\/strong>Language<\/em>\u00a0–<\/strong>
\n<\/strong>Subtitle<\/em> \u00a0–<\/strong><\/p>\n

16 min, stereo, HD, color, 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_1637503371342{margin-bottom: 0px !important;}”]Perekaman yang intens terhadap profil kerja keseharian seorang tukang rakit di sebuah sudut di pinggir kali Citarum membawa kamera mengeksplorasi sudut-sudut lokasi di sebuah ekosistem. Perekaman itu lambat-laun mengungkapkan gambaran lanskap alam dan sosial di pinggiran kali Citarum. Siklus sosial manusia dan siklus alam berjalan berdampingan dan membangun puisinya tentang siklus kehidupan dalam sebuah ekosistem.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637503384943{margin-bottom: 0px !important;}”]An intense recording of the profile of a rafter’s daily work in a nook on the edge of the Citarum river brings the camera to explore the corners of a location in an ecosystem. This recording has gradually revealed the picture of a natural and social landscape on that nook. The human social cycle and the natural cycle coexist and establish their poetry about a certain cycle of life in an ecosystem.<\/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=”10789″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637503576389{margin-bottom: 0px !important;}”]Ali Satri Efendi<\/strong><\/em> lahir di Karawang dan tinggal di Bekasi. Ia bekerja sebagai dosen dan rutin membuat filem pendek, minimal satu buah setiap tahunnya. Filem pendek eksperimentalnya, Gelombang Longitudinal, terpilih dalam program Candrawala ARKIPEL 2016. Puisi dan cerpennya telah dimuat di berbagai antologi dan media.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637503600861{margin-bottom: 0px !important;}”]Ali Satri Efendi<\/strong><\/em> born in Karawang and lives in Bekasi. He works as lecturer and routinely makes at least one short film each year. His experimental short film Gelombang Longitudinal was selected in Candrawala program at 2016 ARKIPEL. His poems and short stories were published in various anthology and media.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][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=”10783″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637503641492{margin-bottom: 0px !important;}”]Anggraeni Widhiasih<\/strong><\/em> (Sleman, 1993) adalah kurator, penulis, seniman yang berbasis di Jakarta. Ia menamatkan studi Hubungan Internasional di Universitas Paramadina dan menjadi anggota aktif di Forum Lenteng serta terlibat dalam Milisifilem Collective. Ia juga terlibat dalam platform eksperimen ekonomi bernama Koperasi Riset Purusha dan Prakerti Collective Intelligence.<\/span><\/p>\n

Anggra 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_1637502269066{margin-bottom: 0px !important;}”]Anggraeni Widhiasih<\/strong><\/em>\u00a0(Sleman, 1993) is a Jakarta-based curator, writer, artist. After completing her studies in International Relations at Paramadina University, she became an active member of Forum Lenteng and was involved in the Milisifilem Collective. She is also part of experimental economy platforms named Purusha Research Cooperative and Prakerti Collective Intelligence.<\/span><\/p>\n

Anggra 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. 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