{"id":10834,"date":"2021-11-25T01:58:17","date_gmt":"2021-11-24T18:58:17","guid":{"rendered":"https:\/\/arkipel.org\/?p=10834"},"modified":"2021-11-29T15:59:49","modified_gmt":"2021-11-29T08:59:49","slug":"forum-festival-2021","status":"publish","type":"post","link":"https:\/\/arkipel.org\/forum-festival-2021\/","title":{"rendered":"ARKIPEL Twilight Zone – Forum Festival 2021"},"content":{"rendered":"[vc_row][vc_column][vc_text_separator title=”Introduction” color=”custom” accent_color=”#4b2477″][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637755224807{margin-bottom: 0px !important;}”]Keadaan gelap gulita seringkali disisipkan untuk menjadi transisi antaradegan baik pada sinema maupun pada teater. Dalam ranah keduanya, baik berupa blackout<\/em> pada teater maupun berupa layar hitam pada sinema, ini dipakai dengan tujuan untuk mengarahkan emosi penonton, atau mempersiapkan kepala penonton untuk adegan setelahnya. Keadaan gelap tidak serta-merta mengeluarkan penonton dari ruang naratif dunia sinema di layar, tapi justru membawa penonton masuk ke ruang yang tidak nampak isinya. Lantas, apakah kemudian ketidaktampakan berarti bahwa sesuatu itu tidak ada? Padahal, dalam teater misalnya, dalam gelap terjadi pemindahan properti dan pergantian kostum oleh aktor. Ketidaktampakan bukan berarti sesuatu tersebut tidak hadir, melainkan ia adalah kehadiran akan sesuatu yang tidak mencapai retina mata kita. Akan tetapi, kehadiran akan sesuatu itu kemudian hanya diakui pada premis tertentu: pada kenyataan yang ada di panggung, atau pada kenyataan yang \u201cseharusnya\u201d berada di luar panggung. Lantas, tanpa membedakan premis mana yang mengakui kehadiran akan sesuatu itu, pertanyaannya sekarang: Ada apa di sana? Apa yang terjadi di kegelapan?<\/span><\/p>\n

Dalam pengantar tema festival pada ARKIPEL 2020 \u201cTwilight Zone\u201d dikatakan bahwa zona temaram, suatu zona transisi terang dan gelap, adalah \u201czona pembesaran yang memungkinkan indera kita membingkai dengan kepekaan\u201d. Sehingga kemungkinan itu menghasilkan adanya citra-citra yang \u201c…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.\u201d<\/span><\/p>\n

Setelah selama setahun membicarakan zona yang temaram, akan tepat bagi Forum Festival ARKIPEL 2021 untuk membicarakan apa yang terjadi pada zona tersebut. Mungkin, pada zona tersebut terjadi masa inkubasi. \u201cInkubasi\u201d adalah kata-kata yang sering sekali didengar di masa pandemi ini, yang artinya adalah selang waktu yang menjadi penentu apakah sesuatu akan berlipat ganda dan menyerang, ataukah ia akan mati. Pada masa inkubasi, terjadi kemungkinan-kemungkinan pada substrat yang berada dalam ruang gelap, yang tidak akan terjadi pada ruang yang disinari cahaya matahari. Untuk itu, Forum Festival tahun ini akan membicarakan soal apa yang muncul (emerge<\/em>) dari sebuah krisis atau keadaan darurat (emergency<\/em>). Ia bisa berupa estetika bahasa sinema. Estetika itu sendiri juga berkaitan erat dengan cara menonton hari ini, dan oleh karena itu juga berkaitan dengan teknologinya. Walaupun teknologi internet telah marak digunakan sejak awal 2000-an, pandemi membuat teknologi berkembang semakin pesat dan penggunaannya semakin marak dan masif digunakan sehingga turut memberikan kontribusi besar kepada perubahan cara menonton sekarang, dan juga perubahan cara manusia menjalani hidupnya.<\/span><\/p>\n

Perkembangan teknologi dan perubahan moda persepsi tersebut dapat mengemansipasi saat itu dipakai sebagai alat untuk mencurigai realitas sehingga berpotensi memunculkan daya kritis. Kritisisme dalam bentuk bagaimana manusia bersikap terhadap teknologi melahirkan aksi-aksi resistansi, seperti memakai konsep jejaring yang menuntut demistifikasi kuasa dalam penggunaan internet yang eksploitatif.<\/span><\/p>\n

Perubahan moda persepsi ini juga merupakan tantangan tersendiri. Biasanya, gerakan sosial banyak menuntut gerakan fisik. Akan tetapi dengan adanya krisis ini, konsep gerakan sosial juga harus ditinjau kembali. Dengan ruang gerak yang terbatas, gerakan sosial yang ada di digital\u2014sesuatu yang tadinya hanya dianggap sebagai pelengkap\u2014sekarang menjadi peristiwa utama. Banyaknya gerakan di Indonesia dari dapur umum hingga pertukaran informasi di media sosial mengingatkan bahwa manusia dapat hidup dengan sistem yang ia buat sendiri tanpa harus bersitegang dengan sistem dominan, dan juga tanpa harus menganggap bahwa sistem \u201ckecil\u201d tersebut adalah sesuatu yang \u201clain\u201d karena nyatanya sistem kecil yang ternyata lebih kontekstual tersebut lah yang membuat kita resistan untuk tetap hidup.
\n<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637780492607{margin-bottom: 0px !important;}”]Complete darkness is often inserted as a transition between scenes in both cinema and theatre. In both domains, whether it is a blackout in theater or a black screen in cinema, it is used purposefully to direct the emotions of the audience, or prepare the audience’s mind for the next scene. The dark situation does not immediately take the audience out of the narrative space of the cinema world on the screen, but instead brings the audience into a space where the contents are not visible. So, does invisibility mean something doesn’t exist? In the theatre, darkness allows a transfer of property and change in costumes by actors. Invisibility does not mean that something is not present, but rather it is the presence of something that does not reach the retina of our eyes. However, this presence is only recognized in a certain premise: in the reality on the stage, or in the reality that “should” exist outside the stage. Thus, regardless of which premise acknowledges the presence of something, the question is now: What exists in it? What happens in the dark?<\/span><\/em><\/p>\n

The introduction to ARKIPEL 2020 “Twilight Zone” explained that the Twilight Zone, a transition zone of light and dark, is \u201c…the enlargement zone, like the camera work, which allows our senses to frame with sensitivity.\u201d This possibility results in the existence of images that are \u201c…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.\u201d<\/span><\/em><\/p>\n

After a year of talking about the twilight zone, it would be appropriate for the ARKIPEL Forum Festival 2021 to talk about what happens in the zone. Perhaps, there is an incubation period. \u201cIncubation\u201d is a word that is often heard during this pandemic, it refers to the time interval that determines whether something will multiply and attack, or whether it will die. During the incubation period, the substrate in a dark room has many possibilities, which cannot be realized in a room that is exposed to sunlight. For this reason, this year’s Forum Festival will discuss what emerges from an emergency. It can be the aesthetics of cinematic language. Aesthetics itself is also closely related to the culture of spectacle, and therefore also to technology. Although internet technology has been widely used since the early 2000s, the pandemic has made technology develop more rapidly and its use becomes increasingly widespread and massive, significantly contributing to the transformation in the culture of spectacle, and also the transformation in the way people live their lives.<\/span><\/em><\/p>\n

Technological developments and changes in the mode of perception can be emancipating when it is used as a tool to misdoubt the reality so that it has the potential to raise critical thinking. Criticism in human behavior towards technology gives rise to resistance actions, such as using the concept of a network that demands the demystification of power in the exploitative use of the internet.<\/span><\/em><\/p>\n

This changing mode of perception is also a challenge in itself. Usually, social movements require a lot of physical movement. However, with this crisis, the concept of social movement must also be reviewed. With limited space for movement, social movements that exist in digital\u2014something that was previously only considered as a complement\u2014is now a major event. Many movements in Indonesia from soup kitchen to channels of emergency information on social media remind people that humans can live with their own system without having to fight with the dominant system, and also without having to assume the “small” system as an \u201cother\u201d, because in fact this small system is more relevant to our lives. This is what drives us to stay resistant, and to stay alive.<\/span><\/em>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_column_text css=”.vc_custom_1637785374829{margin-bottom: 0px !important;}”]\n

Keynote Speech<\/strong>
\nPidato Kunci<\/em><\/h4>\n

Friday, November 26, 2021 | 04.00 PM GMT+7<\/p>\n

Registration link<\/a><\/strong><\/span><\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”10836″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1638176247672{margin-bottom: 0px !important;}”]May Adadol Ingawanij<\/strong> adalah seorang penulis, kurator dan pengajar. Dia fokus pada sejarah dan genealogi seni sinematik yang terde-westernisasi dan terdesentralisasi; warisan avant-garde di Asia Tenggara; bentuk potensi dan masa depan dalam praktik seni dan kuratorial kontemporer; estetika dan sirkulasi seniman gambar bergerak, seni dan film independen di, sekitar, dan terkait dengan Asia Tenggara. Tema penelitian dan pengajaran utamanya bersinggungan dengan studi film dan media, sejarah seni, praktik kuratorial, penelitian artistik, dan studi kawasan. Dia adalah Profesor Cinematic Arts, dan Co-direktur di Centre for Research and Education in Arts and Media.<\/span><\/p>\n

Melalui berbagai bentuk publikasi dan inisiatif penelitian kuratorial, karya May diakui atas kontribusinya terhadap studi dan praktik gambar bergerak seniman Asia Tenggara, seni kontemporer, dan sinema independen. Penelitiannya secara kreatif mengembangkan metode dekolonial untuk mempelajari sejarah dan silsilah praktik sinematik dan artistik, dan untuk melakukan penelitian artistik dan kuratorial yang terletak di dan terkait dengan Asia Tenggara.<\/span><\/p>\n

\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637775664919{margin-bottom: 0px !important;}”]May Adadol Ingawanij<\/strong> is a writer, curator and teacher. She works on de-westernised and decentred histories and genealogies of cinematic arts; avant-garde legacies in Southeast Asia; forms of potentiality and future-making in contemporary artistic and curatorial practices; aesthetics and circulation of artists\u2019 moving image, art and independent films in, around, and related to Southeast Asia. Her major research and teaching themes intersect film and media studies, art history, curatorial practice, artistic research, and area studies. She is Professor of Cinematic Arts and Co-director of the Centre for Research and Education in Arts and Media.<\/span><\/em><\/p>\n

Through wide-ranging publication forms and curatorial research initiatives, May\u2019s work is recognised for its contribution to studies and practices of Southeast Asian artists\u2019 moving image, contemporary art, and independent cinema. Her research creatively develops decolonial methods for studying histories and genealogies of cinematic and artistic practices, and for conducting artistic and curatorial research situated in and related to Southeast Asia.<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column][vc_text_separator title=”Moderator”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”10837″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637784778983{margin-bottom: 0px !important;}”]Prashasti Wilujeng Putri<\/strong> (Jakarta, 5 Desember 1991) adalah seorang seniman dan manajer seni. Ia meraih gelar S1 dari Departemen Kriminologi, Universitas Indonesia. Ia pernah menjadi penari di Komunitas Tari Radha Sarisha dan Anjungan Jawa Tengah Taman Mini Indonesia Indah. Saat ini, ia sedang melanjutkan pendidikan di program magister Kajian Budaya dan Media, Universitas Gadjah Mada.<\/span><\/p>\n

Praktik artistiknya bermula sejak bergabung di 69 Performance Club tahun 2016. Ia kemudian menjadi peserta program residensi seniman di Silek Art Festival, Solok, Sumatera Barat tahun 2018. Kala itu, ia melakukan riset tentang silek (silat) dalam kehidupan tubuh-tubuh kontemporer. Pada Maret 2020, bersama anggota 69 Performance Club dan MILISIFILEM Collective, ia mempresentasikan proyek seni AMBANGAN di Cemeti – Institut untuk Seni dan Masyarakat, Yogyakarta. Karya-karya seni Prashasti kerap membicarakan persoalan deformasi tubuh manusia dan relasi antarmanusia. Sejumlah karya performans dan karya tulisnya dapat diakses di situs web <\/span>www.performanceart.id<\/span><\/a>.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637758364950{margin-bottom: 0px !important;}”]Prashasti Wilujeng Putri<\/strong> (Jakarta, December 5, 1991) is an artist and art manager. She holds a bachelor’s degree from the Department of Criminology, Universitas Indonesia. She was a dancer at the Radha Sarisha Dance Community and the Central Java Pavilion at Taman Mini Indonesia Indah. Currently, she is continuing her education at the master’s program in Cultural and Media Studies, Universitas Gadjah Mada.<\/span><\/em><\/p>\n

Her artistic practice began when she joined the 69 Performance Club in 2016. She later became a participant in the artist residency program at the Silek Art Festival, Solok, West Sumatra in 2018. At that time, she did research on silek (silat) in the life of contemporary bodies. In March 2020, together with members of the 69 Performance Club and MILISIFILEM Collective, she presented the AMBANGAN art project at Cemeti – Institute for Art and Society, Yogyakarta. Prashasti\u2019s artworks often talk about the deformation of the human body and the relationship between humans. A number of her performance works and writings can be accessed on the website www.performanceart.id.<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Panel I” color=”custom” border_width=”2″ accent_color=”#000000″][vc_column_text css=”.vc_custom_1637755604779{margin-bottom: 0px !important;}”]\n

Possible Languages of Cinema<\/strong>
\nBahasa-bahasa yang Mungkin<\/em><\/h4>\n

Friday, November 26, 2021 | 07.00 PM GMT+7<\/p>\n

Registration link<\/a><\/p>\n[\/vc_column_text][vc_tta_accordion style=”modern” c_align=”center” c_icon=”” active_section=”0″ no_fill=”true” collapsible_all=”true”][vc_tta_section i_icon_fontawesome=”fa fa-plus” add_icon=”true” tab_id=”1532949452630-465e6ac7-5a42″ title=”Panel Description”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637824904503{margin-bottom: 0px !important;}”]Setidaknya dalam waktu nyaris satu dekade terakhir, perkembangan teknologi menonton telah mengarah pada kultur menonton yang lebih individual melalui platform video on demand.<\/em> Situasi demikian berkembang semakin intens saat pandemi Covid19 terjadi dan memaksa munculnya kebijakan distancing yang berimplikasi pada ditutupnya ruang-ruang menonton konvensional yang umumnya mensyaratkan kehadiran fisik secara berkelompok di ruang menonton. Di sisi lain, platform media sosial yang menghadirkan berbagai fitur untuk memproduksi dan menonton video pun telah mendorong munculnya langgam bahasa yang lain dalam wacana gambar bergerak.<\/span><\/p>\n

Jika menilik kaitan antara krisis dan perubahan dalam peradaban manusia, kita dapat mencatatkan bagaimana krisis selalu memiliki peran yang signifikan dalam memantik munculnya hal-hal baru. Bersamaan dengan munculnya sense of urgency<\/em>, lahir pula space for emergenc<\/em>e. Kedaruratan pun tak ayal kerap dihubungkan dengan sebuah kemunculan. Bahkan secara etimologi dalam Bahasa Inggris, keduanya berdekatan; emergency<\/em> dan emergence<\/em>. Krisis dengan demikian berhubungan erat dengan munculnya sebuah celah bagi perubahan.<\/span><\/p>\n

Dalam kaitannya dengan sinema, krisis dan keterbatasan sejak lama menjadi daya ungkit yang mampu mengungkil kemunculan temuan dan kebaharuan dalam produksi gambar bergerak. Sebagai sebuah teknologi, kamera adalah jelmaan atas kelahiran inovasi yang secara signifikan mengubah cara tatap manusia terhadap dunia. Ia pun berkembang sebagai sebuah aparatus yang terus mengalami evolusi sehingga bahasa yang muncul dari dan\/atau akibat teknologi ini pun terus mengalami evolusi.<\/span><\/p>\n

Dapat dikatakan bahwa baik secara teknologis maupun bahasa medium itu sendiri, krisis dan keterbatasan kerap kali memungkinkan sinema beroleh daya dorong untuk mengeksplorasi kemungkinan-kemungkinan berbahasa. Kontinjensi dan ketidakpastian yang muncul pada sebuah krisis dapat kita umpamakan sebagaimana interval dan ruang gelap sinema yang memungkinkan munculnya spekulasi dan imajinasi bagi kemungkinan berbahasa.<\/span><\/p>\n

Pada panel ini, Pujita Guha akan membicarakan tentang sinema sebagai medium yang merekam gejala sosial dan ekologi kawasan yang mampu menawarkan tak hanya cara tatap dari kawasan yang pinggiran, tetapi juga gestur-gestur non-manusia pada ekosistem kita. Kemudian, Afrian Purnama akan memaparkan tentang eksperimentasi sinema dengan mengaitkannya pada praktik sinema di Indonesia, serta kaitannya dengan perkembangan media rekam dalam konteks masyarakat Indonesia kini.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637758384300{margin-bottom: 0px !important;}”]At least in almost the last decade, the development of technology to watch films has led to a more individualized cinema culture through video-on-demand platforms. This situation grew more intense when the COVID-19 pandemic occurred and forced the emergence of distancing policies which caused the shutdown of conventional cinema spaces that generally required physical presence in groups in the cinema room. On the other hand, social media platforms that provide various features for producing and watching videos have also encouraged the emergence of diverse locutions in the moving image discourse.<\/span><\/em><\/p>\n

If we look at the relationship between crises and changes in human civilization, we can note how crises always have a significant role in triggering the emergence of new things. Along with the sense of urgency, there is also a space for emergence. Emergencies are no doubt often associated with emergence, as they are etymologically connected. A crisis is thus closely related to the emergence of an aperture for changes.<\/span><\/em><\/p>\n

In relation to cinema, crises and limitations have long been the levers capable of stimulating the emergence of inventions and novelties in motion picture production. As a technology, camera is the embodiment of the birth of innovations that significantly change the way humans perceive the world. It also grows as an apparatus that continues to evolve and so the languages that emerge from and\/or as a result of this technology also continue to evolve.<\/span><\/em><\/p>\n

It can be said that both technologically and in the language of the medium itself, crises and limitations often allow cinema to gain the impetus to explore language possibilities. One might presuppose that the contingencies and uncertainties arising in a crisis as the intervals and dark spaces of cinema that allow speculation and imagination to emerge for the possibility of language.<\/span><\/em><\/p>\n

In this panel, Pujita Guha will discuss cinema as a medium that records the social and ecological phenomena of the region that is able to offer not only a way of seeing from the periphery but also non-human gestures in our ecosystem. Then, Afrian Purnama will elaborate on the experimentation of cinema by relating it to the practice of cinema in Indonesia, as well as its relation to the development of recording media in the context of today’s Indonesian society.<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_accordion][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Panelists”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”10838″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637784792653{margin-bottom: 0px !important;}”]Afrian Purnama<\/strong> lahir di Jakarta. Ia lulusan Universitas Bina Nusantara jurusan Ilmu Komputer. Sebagai anggota Forum Lenteng ia antara lain menjadi salah satu kurator dan periset program Kultursinema, sebuah program yang diselenggarakan setiap tahun di ARKIPEL – Jakarta International Documentary & Experimental Film Festival. Ia juga adalah salah satu pembuat film panjang Golden Memories – Petite Histoire of Indonesian Cinema yang berkompetisi di Festival Film Dokumenter (FFD) 2018 di Yogyakarta. Selain menjadi penulis lepas, Afrian menjadi redaktur di Jurnal Footage (jurnalfootage.net) sejak 2015. Sejak 2013 ia menjadi salah satu kurator di ARKIPEL – Jakarta International Documentary & Experimental Film Festival.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637758405130{margin-bottom: 0px !important;}”]Afrian Purnama<\/strong> was born in Jakarta. He graduated from Bina Nusantara University majoring in Computer Science. As a member of Forum Lenteng, he is one of the curators and researchers of the Kultursinema program, a program held annually at ARKIPEL – Jakarta International Documentary & Experimental Film Festival. He is also one of the makers of the feature film Golden Memories – Petite Histoire of Indonesian Cinema which competed at the 2018 Documentary Film Festival (FFD) in Yogyakarta. Apart from being a freelance writer, Afrian has been an editor at Jurnal Footage (jurnalfootage.net) since 2015. Since 2013 he has been one of the curators at ARKIPEL – Jakarta International Documentary & Experimental Film Festival.
\n<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”10841″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637784806061{margin-bottom: 0px !important;}”]Pujita Guha<\/strong> adalah seorang kurator, aktivis, dan akademisi. Dia adalah Chancellor\u2019s Fellow dan mahasiswa Ph.D di University of California, Santa Barbar. Dia juga menjalankan platform penelitian artistik dan indisipliner bernama Forest Curriculum bersama dengan Abhijan Toto. Minat kuratorial, penulis, dan akademisnya meliputi pemikiran tentang hutan dan perbatasan, sinema dan media, infrastruktur, Asia Selatan & Tenggara.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637758419036{margin-bottom: 0px !important;}”]Pujita Guha<\/strong> is a curator, activist and scholar. She is a Chancellor\u2019s Fellow and Ph.D student at University of California, Santa Barbar. She also runs the artistic, and indisciplinary research platform, Forest Curriculum along with Abhijan Toto. Her curatorial, writerly, and academic interests include thinking about forests & frontiers, cinema and media, infrastructures, south & southeast Asia.<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Moderator”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”10839″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637784819150{margin-bottom: 0px !important;}”]Anggraeni Dwi Widhiasih<\/strong> adalah kurator, penulis, seniman, dan anggota aktif Forum Lenteng. Dia adalah salah satu penyelenggara ARKIPEL \u2013 Jakarta Documentary & Experimental Film Festival sejak 2016. Di ARKIPEL Homoludens pada 2018 dia adalah kurator untuk program Candrawala bekerja sama dengan Dhuha Ramadhani. Di ARKIPEL Bromocorah pada 2019 dia menjadi salah satu anggota tim yang memilih film-film yang berlaga di seksi Kompetisi Internasional. Saat ini ia memfokuskan aktivitasnya sebagian besar di Milisifilem, sebuah studi kelompok produksi film melalui praktik eksperimen visual.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637759123038{margin-bottom: 0px !important;}”]Anggraeni Dwi Widhiasih<\/strong> is a curator, writer, artist, and an active member of Forum Lenteng. She is one of the organizers of ARKIPEL \u2013 Jakarta Documentary & Experimental Film Festival since 2016. At ARKIPEL Homoludens in 2018 she was the curator for the Candrawala program in collaboration with Dhuha Ramadhani. At ARKIPEL Bromocorah in 2019 she was one of the selector team members in the International Competition section. Currently she focuses her activities mostly on Milisifilem, a group study of film production through the practice of visual experimentation.<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Panel II” color=”custom” border_width=”2″ accent_color=”#000000″][vc_column_text css=”.vc_custom_1637758024547{margin-bottom: 0px !important;}”]\n

Democracy, Resistance and Algorithms<\/b><\/strong>
\nDemokrasi, Resistensi, Algoritma<\/em><\/h4>\n

Saturday, November 27, 2021 | 08.30 AM GMT+7<\/p>\n

Registration link<\/a><\/strong><\/p>\n[\/vc_column_text][vc_tta_accordion style=”modern” c_align=”center” c_icon=”” active_section=”0″ no_fill=”true” collapsible_all=”true”][vc_tta_section i_icon_fontawesome=”fa fa-plus” add_icon=”true” tab_id=”1532950739910-2f14bbda-088e” title=”Panel Description”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637784865026{margin-bottom: 0px !important;}”]Perkembangan internet mengubah gestur manusia dan bagaimana manusia mendapatkan pengetahuan. Ia mendesain koreografi baru bagi bagaimana manusia berinteraksi dan mengaktualisasi dirinya. Perubahan besar yang telah berlangsung sejak abad keduapuluh dikondisikan oleh satu agensi penentu bernama algoritma komputer. Jagat internet yang awalnya diupayakan untuk militerisasi diutilisasi oleh kapital untuk melayani evolusinya yang termutakhir. Kelahiran platform media sosial lebih jauh mengukuhkan kekuatan algoritma yang secara ulang alik mempengaruhi gaya hidup dan daya imajinasi publik.<\/span><\/p>\n

Algoritma yang awalnya merupakan konsep berpikir abstrak dalam matematika mendapatkan aktualisasi penuhnya dalam fungsi operasional mesin komputer. Mesin-mesin yang mempelajari pola dan memprediksi keputusan manusia kerap digunakan oleh otoritas untuk mengawasi maupun menjual barang pada kita. Tidak dapat dipungkiri bahwa perkembangan algoritma membawa perubahan baru terhadap metafisika atau bagaimana hakikat ada itu sendiri. Algoritma kian menguatkan konsep \u2018contingency\u2019 atau \u2018kemungkinan-kemungkinan\u2019 yang pada masa sebelumnya diisi oleh mitos, agama, dan ilmu pengetahuan.\u00a0 Eksistensi bencana algoritma berbeda dengan bencana alam dan bencana militer (perang), ia dapat terjadi karena kompleksitas yang dapat melampaui kesederhanaan dan kejernihan berpikir si algoritma itu sendiri.<\/span><\/p>\n

Upaya merumuskan ulang bagaimana bersikap pada algoritma terpusat itu melahirkan aksi-aksi resistansi, salah satunya yang penting adalah kelahiran konsep jejaring atau P2P. Peer to peer (dapat dimaknai juga sebagai Desentralisasi) yang menuntut distribusi kuasa dalam penggunaan internet yang kian mendikte bagaimana dunia ini berputar. Konsep cryptocurrency yang merupakan implikasi desentralisasi menjadi salah satu upaya untuk melawan institusi ekonomi dunia yang mapan. Walaupun pada akhirnya ia tidak lepas dari problematikanya sendiri, salah satunya tidak ramah lingkungan. Aktivisme yang lahir dari konsep desentralisasi ini secara sporadis mencoba membalikkan senjata ke tuannya sendiri.<\/span><\/p>\n

Bentuk resistansi yang lain juga adalah melihat peluang bahwa algoritma ini dapat melahirkan estetika yang spekulatif. Pandemi yang telah berlangsung selama hampir 2 tahun menyingkap lebih jauh bagaimana algoritma berperan dalam penentuan keputusan individu. Sirkulasi data yang besar dan diatur oleh algoritma pengawasan dan penjualan menjadi area yang dapat dikelabui untuk membuat sebuah pernyataan. Tentu dibutuhkan gerakan kolektif untuk menjadikan upaya pengelabuan ini menjadi masif yang dapat dicapai lewat jejaring dan pendidikan yang membebaskan. Panel ini berniat untuk menginvestigasi bagaimana algoritma mendikte kenyataan teknologi hari ini dan apa yang dapat kita perbuat untuk mengutilisasi atau bahkan mengelabui algoritma dalam semangat demokrasi.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637759157820{margin-bottom: 0px !important;}”]The development of the internet has changed human gestures and how humans acquired knowledge. It designed a new choreography for how humans interact and express themselves. This great change that has taken place since the twentieth century is conditioned by a single determining agency called computer algorithms. The internet landscape which was originally a military project is now being utilized by capital to serve its latest evolution. The birth of social media platforms further confirms the power of algorithms that repeatedly influence the lifestyle and imagination of the public.<\/span><\/em><\/p>\n

Algorithms, which began as an abstract thinking in mathematics, achieved its full actualization in the operational functions of computer machines. Machines that study patterns and predict human decisions are often used by authorities to monitor and sell us things. It is undeniable that its development brings new changes to metaphysics or how nature exists. Algorithms further strengthen the concept of ‘contingency’ or ‘possibility’ which in the past was filled by myth, religion, and science. The existence of algorithmic catastrophe differs from natural disasters and military disasters (war), in which it occurs when the complexity it produces overwhelms the simplicity and clarity of algorithmic thinking.<\/span><\/em><\/p>\n

Efforts to reformulate our response to that centralized algorithm produce acts of resistance, one of them is the birth of the concept of peer-to-peer networking. Peer to peer (can also be interpreted as decentralization) demands the distribution of power in the use of the internet, which increasingly dictates how the world rotates. As an implication of decentralization, the concept of cryptocurrency becomes an attempt to resist global economic institutions, although in the end it did not escape its own problems, one of them being environmental consequences. Activism born of this concept of decentralization has sporadically tried to turn the weapons against its own master.<\/span><\/em><\/p>\n

Another form of resistance is to see the opportunity for algorithms to give birth to a speculative aesthetic. The pandemic that has lasted for almost 2 years is revealing further how algorithms play a role in individual decision making. Big data circulation and regulation by sales and surveillance algorithms became an area that can be tricked into making a statement. Of course, a collective movement is needed to massify this deception effort, which can be achieved through networking and liberating education. This panel intends to investigate how algorithms dictate today’s technological realities and what we can do to exploit or even trick algorithms in the spirit of democracy.<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_accordion][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Panelists”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”10842″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637784887131{margin-bottom: 0px !important;}”]Merlyna Lim<\/b> (Bandung, 1973) adalah Ketua Canada Research Chair di bidang Media Digital dan Masyarakat Jaringan Global dan pengajar Sekolah Jurnalisme dan Komunikasi di Universitas Carleton. Sebagai pendiri\/direktur ALiGN Media Lab, minat penelitian Merlyna Lim berkisar pada pembentukan ulang-alik antara teknologi dan masyarakat, dan budaya politik teknologi, khususnya media digital dan teknologi informasi, dalam kaitannya dengan isu-isu keadilan, demokrasi, dan keterlibatan sipil\/partisipatoris. Di antara publikasi terkenalnya adalah Roots, Routes, Routers: Communication and Media of Contemporary Social Movements (2018) dan Online Collective Action: Dynamics of the Crowds in Social Media (2014). Sebagai seorang akademisi pemenang penghargaan, pada tahun 2016, Lim dikukuhkan di jajaran Royal Society of Canada’s New College of Scholars, Artists, and Scientists. Pada tahun 2020, Universitas Carleton menobatkannya sebagai salah satu dari “10 Pemimpin dan Peneliti Wanita Teratas Hari Perempuan Internasional”<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637759483633{margin-bottom: 0px !important;}”]Merlyna Lim<\/strong> (Bandung, 1973) is a Canada Research Chair in Digital Media and Global Network Society with the School of Journalism and Communication at Carleton University. \u202fAn ALiGN Media Lab founder\/director, Merlyna Lim\u2019s research interests revolve around the mutual shaping of technology and society, and political culture of technology, especially digital media and information technology, in relation to issues of justice, democracy and civic\/participatory engagement. Among her notable publications are\u202fRoots, Routes, Routers: Communication and Media of Contemporary Social Movements\u202f (2018) and\u202fOnline Collective Action: Dynamics of the Crowds in Social Media\u202f (2014). An award-winning scholar, in 2016, Lim was inducted to the Royal Society of Canada\u2018s New College of Scholars, Artists, and Scientists. In 2020, Carleton University named her one of \u201cInternational Women\u2019s Day\u2019s Top 10 Women Leaders and Researchers\u201c.<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”10843″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637784898039{margin-bottom: 0px !important;}”]Creston Davis<\/strong> (PhD University of Virginia, MTS Duke University) adalah pendiri dan direktur The Global Center for Advanced Studies (GCAS) dan Rektor dan CEO GCAS College Dublin. Davis dipromosikan menjadi Associate Professor di Rollins College (2012) dan telah menerbitkan buku dengan The MIT Press, Columbia dan Duke University Press. Dia adalah penggagas dan penyunting seri Insurrections: Critical Studies in Religion, Politics and Culture, sebuah seri buku akademis yang diterbitkan oleh Columbia University Press. Saat ini, Creston meneliti tentang kesadaran masa depan, keberlanjutan, dan teknologi canggih<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637759801438{margin-bottom: 0px !important;}”]Creston Davis<\/strong> (PhD University of Virginia, MTS Duke University) is the founder and director of The Global Center for Advanced Studies (GCAS) and the Chancellor and CEO of GCAS College Dublin. Davis was promoted to Associate Professor at Rollins College (2012) and has published books with The MIT Press, Columbia and Duke University Press. He is the creator of and co-edits the Insurrections: Critical Studies in Religion, Politics and Culture series, an academic book series published by Columbia University Press. He currently researches future consciousness, sustainability, and advanced technologies.
\n<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”10844″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637784910742{margin-bottom: 0px !important;}”]Manshur Zikri<\/strong> (Pekanbaru, Indonesia, 1991) adalah seorang kurator, seniman dan penulis. Zikri sangat tertarik pada proyek berbasis komunitas akar rumput, menggabungkan praktik seni dengan pengetahuan lokal dalam berbagai bentuk kolaborasi eksperimental. Fokusnya adalah menggali potensi aparatus gambar bergerak (khususnya film eksperimental) dan keluwesan bahasa pertunjukan (khususnya seni pertunjukan) dalam konteks seni rupa.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637779713899{margin-bottom: 0px !important;}”]Manshur Zikri<\/strong> (Pekanbaru, Indonesia, 1991) is a curator, artist and writer. Zikri is especially interested in grassroots community-based projects, combining art practices with local knowledge in various experimental forms of collaboration. His focus is to explore the potentiality of moving-image apparatus (especially experimental film) and the flexibility of performative languages (especially performance art) in the context of visual arts.<\/span><\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Moderator”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”10845″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637775093188{margin-bottom: 0px !important;}”]Luthfan Nur Rochman (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><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637775187496{margin-bottom: 0px !important;}”]Luthfan Nur Rochman\u00a0<\/strong>(Jakarta, August 19, 1993), a filmmaker based in Jakarta. A graduate of Archeology from the 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><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Panel III” color=”custom” border_width=”2″ accent_color=”#000000″][vc_column_text css=”.vc_custom_1637785440417{margin-bottom: 0px !important;}”]\n

Constructing the Network of Knowledge<\/strong>
\nMembangun Jejaring Pengetahuan<\/em><\/h4>\n

Saturday, November 27, 2021 | 07.00 PM GMT+7<\/p>\n

Registration link<\/a><\/strong><\/p>\n[\/vc_column_text][vc_tta_accordion style=”modern” c_align=”center” c_icon=”” active_section=”0″ no_fill=”true” collapsible_all=”true”][vc_tta_section i_icon_fontawesome=”fa fa-plus” add_icon=”true” tab_id=”1532950991234-badadedd-bb66″ title=”Panel Description”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637784964955{margin-bottom: 0px !important;}”]Lebih dari setahun pandemi berlangsung, kita menyaksikan peran beragam bentuk inisiatif warga menjadi semakin krusial dalam penanganan darurat maupun keberlangsungan hidup masyarakat secara jangka panjang. Jelas bahwa ini bukan hal baru dalam susunan masyarakat yang cair dan saling memahami kebutuhan orang-orang di sekitar. Namun, respons institusi resmi yang lambat dan terbatas terhadap krisis yang tengah terjadi justru menggarisbawahi pentingnya tangan-tangan warga dalam merebut nasib mereka sendiri.<\/span><\/p>\n

Lantas, dalam kondisi yang tercerabut, rentan, dan terhimpit wacana-wacana besar yang tak pernah menjadi milik kita, bagaimana kita bisa hidup, berdaya, dan mengembangkan pengetahuan kita sendiri? Bagaimana menggunakan pengetahuan tersebut untuk mengorganisir diri dan sekitar, merentangkan jejaring pengaman kehidupan, dan mengimajinasikan masa depan–terutama di tengah krisis pandemi ini?<\/span><\/p>\n

Ketiga kelompok yang kami undang dalam diskusi ini menyediakan ruang-ruang inkubasi yang berfungsi untuk mengidentifikasi masalah, memilah cara-cara tradisi hingga modern, menyesuaikannya dengan konteks kekinian, membangun aliansi, hingga merancang desain sosial dan infrastruktur. Ruang-ruang ini bertujuan untuk mengembangkan pengetahuan komunal yang relevan dan membangun daya tawar dalam rangka menjadi setara dalam usaha-usaha bertahan hidup. Dalam mengembangkan pengetahuan tersebut, kita pun perlu membongkar ulang apa itu \u201cmengetahui\u201d dan apa yang bisa disebut sebagai sumber pengetahuan. Pengetahuan yang ditawarkan dalam panel ini adalah pengetahuan kolaboratif yang bersifat horizontal. Seni pun memiliki peran yang sangat fleksibel dalam perjalanan ketiga kelompok ini: ia bisa menjadi medium, cara membingkai peristiwa, kesempatan untuk bermain dan bernegosiasi, hingga cara untuk membayangkan masa depan.<\/span><\/p>\n

Dalam panel ini, Sekolah Salah Didik akan merefleksikan perihal \u201cmengetahui\u201d dan \u201cpengetahuan\u201d melalui eksperimen belajar yang telah mereka lakukan, dan bagaimana kiranya rumusan tersebut dapat diupayakan untuk membangun solidaritas dan kebertahanan, terutama di masa-masa krisis seperti ini. SAVVY akan mengembangkan kemungkinan-kemungkinan pengetahuan yang \u201clain\u201d menjadi bentuk aliansi kosmopolitan melalui sinema maupun pembangunan infrastruktur bersama antara beragam kultur sinema. JaF akan merefleksikan praktik perumusan, internalisasi, hingga utilisasi pengetahuan bersama yang telah terjadi di Jatiwangi; dan bagaimana pengetahuan tersebut berkembang dalam keseharian warga hingga praktik berkesenian JaF hingga hari ini.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637775259591{margin-bottom: 0px !important;}”]After more than a year of pandemic, we have witnessed the escalating role of community-level initiative both in emergency response and long-term survival of the community. Clearly, this is not a new phenomenon in a flexible society where the people understand and respond to the needs of others in their environment. However, the slow and limited response from official institutions to the current crisis emphasizes the urgency for communities to take matters in their own hands.<\/span><\/em><\/p>\n

In the condition of being uprooted, precarious, and wedged between the grand narratives that were never ours in the first place, how do we live, be empowered, and develop our own knowledge? How to use this knowledge to organize ourselves and our environment, to spread our safety net, and imagine the future\u2014especially amidst this pandemic crisis?<\/span><\/em><\/p>\n

The three collectives we have invited in this discussion provide the spaces of incubation to identify the problems, to sort the available methods\u2014from the traditional to the modern ways\u2014to solve them, to adjust them to the current context, to build alliances, and to design the social body and the infrastructure. These spaces are built to develop the relevant communal knowledge and to build bargaining power in order to become equal in the survival efforts. To develop this knowledge, we also need to dismantle the meaning of \u201cknowing\u201d and reconsider our sources of knowledge. This panel offers collaborative and horizontal knowledge. Art also has a flexible role in the journey of these three groups: it can be a medium, a way of framing events, an opportunity to play and negotiate, and also a way to imagine the future.<\/span><\/em><\/p>\n

In this panel, Sekolah Salah Didik (The School of Improper Education) will reflect on the issues of \u201cknowing\u201d and \u201cknowledge\u201d through their learning experiments, and how these formulations can be applied to build solidarity and resilience, especially in times of crisis. SAVVY will develop the possibilities of \u201cother\u201d knowledge in the form of cosmopolitan alliances through cinema and joint infrastructure developments among diverse cinema cultures. Jatiwangi art Factory will reflect on their practice of formulating, internalizing, and utilizing the shared knowledge in Jatiwangi; and how this knowledge develops in the daily lives of the community and in JaF\u2019s art practice to this day. <\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_accordion][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Panelists”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”10859″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637784995537{margin-bottom: 0px !important;}”]Nuraini Juliastuti<\/strong> adalah peneliti dan penulis yang berdomisili melintasi batas-batas lokal, dan memusatkan diri pada penelitian tentang organisasi seni dan budaya, aktivisme, produksi budaya alternatif, dan pengarsipan vernakular. Nuraini ikut mendirikan Kunci Study Forum & Collective (sebelumnya bernama Kunci Cultural Studies Center) pada 1999 di Yogyakarta. Ia memperoleh gelar PhD dari Institut Antropologi Budaya dan Sosiologi Pembangunan, Universitas Leiden. Pada tahun 2020, ia mengambil beasiswa postdoctoral di University of Amsterdam. Dalam peran ini, ia bekerja sebagai bagian dari Program Worlding Public Cultures: The Arts and Social Innovation di Amsterdam School for Cultural Analysis (ASCA), University of Amsterdam.<\/span><\/p>\n

Nuraini mengembangkan Domestic Notes, sebuah proyek berbasis publikasi yang mengambil ruang domestik dan migran sebagai situs untuk membahas politik sehari-hari, organisasi sistem pendukung darurat, dan produksi budaya alternatif. Bersama keluarganya, Nuraini menjalankan pers kecil, Reading Sideways Press, yang menerbitkan karya dan terjemahan tentang seni, olahraga, dan sastra.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637776266651{margin-bottom: 0px !important;}”]Nuraini Juliastuti<\/strong> is a trans-local practising researcher and writer, focusing on art organisations, activism, illegality, alternative cultural production, and archiving. In 1999, Nuraini co-founded the Kunci Study Forum & Collective (previously Kunci Cultural Studies Center) in Yogyakarta, Indonesia. She obtained a PhD from the Institute of Cultural Anthropology and Development Sociology, Leiden University. In 2020, she took up a postdoctoral fellowship at the University of Amsterdam. In this role, she worked as part of the Worlding Public Cultures: The Arts and Social Innovation project at the Amsterdam School of Cultural Analysis.<\/span><\/em><\/p>\n

Nuraini develops Domestic Notes, a publication-based project that takes domestic and migrant spaces as sites to discuss everyday politics, the organisation of makeshift support systems, and alternative cultural production. With her family, Nuraini runs a small press, Reading Sideways Press, which publishes works and translations on arts, sports, and literature.<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”10860″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637785005516{margin-bottom: 0px !important;}”]Abhishek Nilamber<\/strong> (1987, India) bekerja dengan proyek dan produk yang mengkatalisasi demokratisasi pengetahuan. Dia adalah kurator dan produser kreatif di SAVVY Contemporary, Berlin dan konsultan kreatif di Backyard Civilization, Kochi, India. Nilamber telah tinggal dan bekerja di Berlin sejak Mei 2016.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637776387699{margin-bottom: 0px !important;}”]Abhishek Nilamber<\/strong> (1987, India) works with projects and products which catalyses democratisation of knowledge. He is a curator and creative producer at SAVVY Contemporary, Berlin and creative consultant at Backyard Civilization, Kochi, India. Nilamber has been living and working in Berlin since May 2016.
\n<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”10863″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637785015396{margin-bottom: 0px !important;}”]Bunga Siagian<\/strong> adalah seorang produser budaya dan penulis, sedang menempuh pendidikan <\/span>Cultural Studies<\/span><\/i> di Universitas Indonesia. Tertarik menguji coba praktik kurasi gambar bergerak sebagai bentuk peristiwa seni.\u00a0 Sejak 2017, membentuk Badan Kajian Pertanahan (BKP), sebuah kelompok riset artistik yang dibentuk untuk mengeksperimentasikan peran, metode, dan bentuk seni di dalam persoalan-persoalan yang spesifik terkait dengan pertanahan. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637777332224{margin-bottom: 0px !important;}”]Bunga Siagian<\/strong> is a cultural producer and writer. She is taking her masters degree in Cultural Studies at Universitas Indonesia. Currently interested to explore moving image curatorial practice as artistic event. Since 2017, she founded Land Affair Study Agency (Badan Kajian Pertanahan), an artistic research group experimenting with roles, methods, and forms of arts in specific problems related to land affairs. <\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Moderator”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”10875″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637785026376{margin-bottom: 0px !important;}”]Dini Adanurani<\/strong> (1998) adalah seorang penulis dan penerjemah lepas. Meraih gelar Sarjana dari Departemen Filsafat Universitas Indonesia. Di tahun 2019, ia pernah merancang UI Film Festival sebagai Direktur Festival. Kini ia aktif meriset dan berspekulasi tentang film, seni, arsip, dan pengetahuan melalui berbagai medium. Ia tergabung dalam Kultursinema, kelompok riset sejarah budaya menonton di Indonesia, dan aktif menulis kritik film di Jurnal Footage. Tulisannya yang berjudul “Kasih yang Politis dalam You and I” terpilih ke dalam 15 besar calon nominasi kategori Kritik Film, Festival Film Indonesia 2021. Tulisan-tulisannya yang lain dapat ditemukan di 69 Performance Club, dan Sudji.id.\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637780000434{margin-bottom: 0px !important;}”]Dini Adanurani<\/strong> (Jakarta, September 6, 1998) is a writer and freelance translator. She received her Bachelor Degree in the Department of Philosophy, Universitas Indonesia, in 2020. In 2019, she was involved in UI Film Festival as Festival Director. Currently, she is actively researching and speculating about film, art, archives, and knowledge through various mediums. She is a member of Kultursinema, a research group on the history of cinema culture in Indonesia. She writes film criticism semi-regularly in Jurnal Footage. Her article, titled “Politics of Care in You and I” was shortlisted for the Film Critique category in Festival Film Indonesia 2021. Her other writings can be found at 69 Performance Club, and Sudji.id. Visit her website at www.adanurani.com.<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Here is the line-up of Forum Festival 2018, ARKIPEL homoludens – 6th Jakarta International Documentary and Experimental Film Festival. We welcome everyone to join this international film symposium to share our knowledge of cinema!<\/p>\n","protected":false},"author":1,"featured_media":10902,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"ARKIPEL Twilight Zone - \"Forum Festival 2018\"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[551,1,307],"tags":[552,300,548],"jetpack_publicize_connections":[],"yoast_head":"\nARKIPEL Twilight Zone - Forum Festival 2021 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Here is the line-up of Forum Festival 2021, ARKIPEL Twilight Zone - 8th Jakarta International Documentary and Experimental Film Festival.\" \/>\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\/forum-festival-2021\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ARKIPEL Twilight Zone - Forum Festival 2021 — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"Here is the line-up of Forum Festival 2021, ARKIPEL Twilight Zone - 8th Jakarta International Documentary and Experimental Film Festival.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/forum-festival-2021\/\" \/>\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=\"2021-11-24T18:58:17+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-11-29T08:59:49+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/web-forfes-scaled.jpg?fit=2560%2C1067&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1067\" \/>\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=\"36 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/arkipel.org\/forum-festival-2021\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/forum-festival-2021\/\"},\"author\":{\"name\":\"Arkipel\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef\"},\"headline\":\"ARKIPEL Twilight Zone – Forum Festival 2021\",\"datePublished\":\"2021-11-24T18:58:17+00:00\",\"dateModified\":\"2021-11-29T08:59:49+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/arkipel.org\/forum-festival-2021\/\"},\"wordCount\":7234,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/forum-festival-2021\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/web-forfes-scaled.jpg?fit=2560%2C1067&ssl=1\",\"keywords\":[\"2021\",\"Forum Festival\",\"Twilight Zone\"],\"articleSection\":[\"ARKIPEL 2021 - Twilight Zone\",\"Festival Updates\",\"Forum Festival\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/arkipel.org\/forum-festival-2021\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/arkipel.org\/forum-festival-2021\/\",\"url\":\"https:\/\/arkipel.org\/forum-festival-2021\/\",\"name\":\"ARKIPEL Twilight Zone - Forum Festival 2021 — ARKIPEL\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/arkipel.org\/forum-festival-2021\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/forum-festival-2021\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/web-forfes-scaled.jpg?fit=2560%2C1067&ssl=1\",\"datePublished\":\"2021-11-24T18:58:17+00:00\",\"dateModified\":\"2021-11-29T08:59:49+00:00\",\"description\":\"Here is the line-up of Forum Festival 2021, ARKIPEL Twilight Zone - 8th Jakarta International Documentary and Experimental Film Festival.\",\"breadcrumb\":{\"@id\":\"https:\/\/arkipel.org\/forum-festival-2021\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/arkipel.org\/forum-festival-2021\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/forum-festival-2021\/#primaryimage\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/web-forfes-scaled.jpg?fit=2560%2C1067&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/web-forfes-scaled.jpg?fit=2560%2C1067&ssl=1\",\"width\":2560,\"height\":1067},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/arkipel.org\/forum-festival-2021\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/arkipel.org\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"ARKIPEL Twilight Zone – Forum Festival 2021\"}]},{\"@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":"ARKIPEL Twilight Zone - Forum Festival 2021 — ARKIPEL","description":"Here is the line-up of Forum Festival 2021, ARKIPEL Twilight Zone - 8th Jakarta International Documentary and Experimental Film Festival.","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\/forum-festival-2021\/","og_locale":"en_US","og_type":"article","og_title":"ARKIPEL Twilight Zone - Forum Festival 2021 — ARKIPEL","og_description":"Here is the line-up of Forum Festival 2021, ARKIPEL Twilight Zone - 8th Jakarta International Documentary and Experimental Film Festival.","og_url":"https:\/\/arkipel.org\/forum-festival-2021\/","og_site_name":"ARKIPEL","article_publisher":"https:\/\/www.facebook.com\/arkipel.festival\/","article_author":"http:\/\/facebook.com\/arkipel.festival","article_published_time":"2021-11-24T18:58:17+00:00","article_modified_time":"2021-11-29T08:59:49+00:00","og_image":[{"width":2560,"height":1067,"url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/web-forfes-scaled.jpg?fit=2560%2C1067&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":"36 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/arkipel.org\/forum-festival-2021\/#article","isPartOf":{"@id":"https:\/\/arkipel.org\/forum-festival-2021\/"},"author":{"name":"Arkipel","@id":"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef"},"headline":"ARKIPEL Twilight Zone – Forum Festival 2021","datePublished":"2021-11-24T18:58:17+00:00","dateModified":"2021-11-29T08:59:49+00:00","mainEntityOfPage":{"@id":"https:\/\/arkipel.org\/forum-festival-2021\/"},"wordCount":7234,"commentCount":0,"publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"image":{"@id":"https:\/\/arkipel.org\/forum-festival-2021\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/web-forfes-scaled.jpg?fit=2560%2C1067&ssl=1","keywords":["2021","Forum Festival","Twilight Zone"],"articleSection":["ARKIPEL 2021 - Twilight Zone","Festival Updates","Forum Festival"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/arkipel.org\/forum-festival-2021\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/arkipel.org\/forum-festival-2021\/","url":"https:\/\/arkipel.org\/forum-festival-2021\/","name":"ARKIPEL Twilight Zone - Forum Festival 2021 — ARKIPEL","isPartOf":{"@id":"https:\/\/arkipel.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/arkipel.org\/forum-festival-2021\/#primaryimage"},"image":{"@id":"https:\/\/arkipel.org\/forum-festival-2021\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/web-forfes-scaled.jpg?fit=2560%2C1067&ssl=1","datePublished":"2021-11-24T18:58:17+00:00","dateModified":"2021-11-29T08:59:49+00:00","description":"Here is the line-up of Forum Festival 2021, ARKIPEL Twilight Zone - 8th Jakarta International Documentary and Experimental Film Festival.","breadcrumb":{"@id":"https:\/\/arkipel.org\/forum-festival-2021\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/forum-festival-2021\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/forum-festival-2021\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/web-forfes-scaled.jpg?fit=2560%2C1067&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2021\/11\/web-forfes-scaled.jpg?fit=2560%2C1067&ssl=1","width":2560,"height":1067},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/forum-festival-2021\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"ARKIPEL Twilight Zone – Forum Festival 2021"}]},{"@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\/web-forfes-scaled.jpg?fit=2560%2C1067&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2OK","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10834"}],"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=10834"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10834\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/10902"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=10834"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=10834"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=10834"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}