{"id":10990,"date":"2021-11-25T19:30:00","date_gmt":"2021-11-25T12:30:00","guid":{"rendered":"https:\/\/arkipel.org\/?p=10990"},"modified":"2021-11-25T19:34:42","modified_gmt":"2021-11-25T12:34:42","slug":"penumbral-zone","status":"publish","type":"post","link":"https:\/\/arkipel.org\/penumbral-zone\/","title":{"rendered":"Penumbral Zone"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1637839082148{margin-bottom: 0px !important;}”]\n

Penumbral Zone<\/b><\/strong><\/span>
\nZona Penumbra<\/em><\/span><\/h1>\n

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

December 5th – 11th, 2021 | festival.arkipel.org
\nSaturday, December 5th, 2021 | 13.00 | 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_1637839268258{margin-bottom: 0px !important;}”]Pada zona-zona yang terletak paling jauh dari pusat sistem kekuasaan, kontrol cenderung lebih sulit dilakukan. Ada sudut-sudut kecil yang biasanya tak mudah dimasuki oleh sistem besar. Di sana, sistem-sistem lain yang lebih kecil biasanya akan bermunculan dan memiliki peluang yang lebih besar untuk hidup membaur bersama keseharian orang-orang sehingga bisa terus ada.<\/span><\/span><\/p>\n

Zona-zona yang menjadi lokasi bertemunya satu sistem dengan sistem lainnya adalah zona yang serba-samar. Ketika sistem besar berhadapan dengan sistem kecil dan bertujuan untuk menimpanya, sistem kecil dapat tidak hilang sepenuhnya saat ia berada pada zona penumbra; zona yang sulit terjangkau sepenuhnya oleh otoritas sistem besar. Pada zona ini, ragam perspektif bisa dengan lebih mudah bermunculan sebab kontrol berada dalam situasi terlemahnya. Perspektif dari sistem-sistem kecil cenderung lebih mudah mendapatkan momentum untuk mengomunikasikan dirinya. Saat perspektif itu tidak selaras dengan perspektif sistem kekuasaan besar, ia bisa dimaknai sebagai gangguan. Perspektif utama yang hendak dikomunikasikan dapat terjegal, terdistorsi dan bahkan hilang sama sekali. Dengan demikian, pesan pun tidak sampai.
\n<\/span><\/span><\/p>\n

Di sisi lain, permasalahan yang berkenaan dengan tidak sampainya pesan dalam sebuah proses komunikasi pun berkaitan dengan kelancaran dan keamanan jalur komunikasi itu sendiri. Lancarnya transportasi barang dan pesan yang melewati jalur ini seringkali menentukan efektivitas kontrol sistem. Dalam militer, istilah \u2018jalur komunikasi\u2019 pun digunakan untuk merujuk pada jalur yang berfungsi sebagai rute penyampaian komando serta rute transportasi bagi persediaan dan bantuan militer pada suatu operasi. Di jalur inilah para pengantar pesan atau despatch rider <\/i>bekerja mengantarkan logistik serta pesan-pesan penting. Pada masa-masa perang, kecepatan memecahkan sandi maupun menyampaikan informasi dan logistik memainkan peran yang krusial untuk menentukan kemenangan. Tak heran bahwa kemudian perang-perang di era modern pun telah mendorong revolusi teknologi jaringan informasi dan komunikasi dunia.
\n<\/span><\/span><\/p>\n

Dalam teknologi komunikasi tersebut, komunikasi visual semakin menemukan momentum kejayaannya pula. Darinya, produksi visual seakan terakselerasikan dan mencapai zenitnya, terutama saat semua orang jadi bisa memproduksi dan menikmati visual di saat yang bersamaan. Hal ini dimungkinkan oleh revolusi teknologi kamera sebagai teknologi produksi gambar yang semakin mudah diakses publik luas. Kerja kamera yang berlangsung dengan menangkap cahaya hingga membentuk gambar pun tak terlepas dari kerja yang memproduksi perspektif. Baik sebagai fenomena optik maupun sebagai fenomena sosial, perspektif selalu memiliki potensi ganda; sebagai distorsi atau sebagai kejernihan. Persoalan-persoalan yang terkesan remeh pun dapat hadir dengan atau\/dalam suatu perspektif tertentu saat kamera berevolusi hingga menjadi bentuk tersederhana yang bisa masuk ke ruang-ruang terkecil dalam kehidupan. Intensitas suatu persoalan dapat kian ditegaskan atau justru disamarkan saat ia dibingkai oleh kamera dan dimontasekan menjadi satu kesatuan karya. Perspektif yang dibangun oleh bingkaian dan kedalaman hasil bidikan kamera juga kerap menimbulkan ilusi. Jean Rouch lewat karyanya yang berjudul Chronicle of A Summer<\/i> (1961) menawarkan bahasa sinema yang memperlihatkan partisipasi dan interupsinya terhadap konstruksi realitas dalam filem. Ia melakukan hal itu dengan menghadirkan dirinya dan kamera dalam filem itu sendiri. Aksi ini memungkinkan filem mengungkapkan posisi bahwa realitas dalam filem bukan semata realitas murni yang tak terpiuh. Alih-alih, bahasa ini justru mengingatkan kembali tentang posisi kuasa di balik kamera yang bisa mengontrol alur gerak suatu persoalan.
\n<\/span><\/span><\/p>\n

Hubungan kamera dan kuasa memang kemudian tidak bisa berjauhan dengan persoalan sistem kontrol. Canggihnya kamera adalah keniscayaan bagi sistem kontrol otoritas yang semakin bisa mengawasi lanskap kekuasaannya. Tetapi, saat subjek kontrol telah hidup dengan kesadaran tentang media, atau setidaknya dapat memosisikan diri di jalur komunikasi sebagai komunikator, maka canggihnya kamera pun bisa menghasilkan tandingan bagi sistem kontrol utama dalam berwacana. Ia bisa menciptakan lebih banyak perspektif tentang persoalan-persoalan, sebab di saat yang sama zona-zona penumbra baru pun tercipta.<\/span><\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637839545505{margin-bottom: 0px !important;}”]In zones farthest from the center of the power system, control tends to be more challenging to exercise. There are small corners that are usually not easy to enter for big systems. There, other smaller systems will usually emerge and have a greater chance of blending in with people’s daily lives, thus allowing them to continue to exist.<\/span><\/span><\/p>\n

The zones where one system meets another systems are vague zones. When a big system encounters small systems and aims to override them, the small systems may not disappear completely while they are in the penumbral zone; zones that are difficult to reach fully by major system authorities. In this zone, various perspectives can more easily emerge because control is at its weakest. The perspective of small systems tends to gain momentum more easily to communicate itself. When that perspective is not aligned with the perspective of the big power system, it can be interpreted as a distraction. The main perspective to be communicated can be hindered, distorted, and even completely lost. Thus, the message did not arrive.<\/span><\/span><\/p>\n

On the other hand, problems related to the non-delivery of messages in a communication process are also related to the smoothness and security of the communication line. The smooth transportation of goods and messages through this route often determines the effectiveness of system controls. In the military, the term ‘communication line’ is also used to refer to a route that serves as a command delivery route and a transportation route for military supplies and assistance in operation. It is on this route that messengers or despatch riders work to deliver logistics and essential messages. In times of war, the speed of breaking the cipher and conveying information and logistics plays a crucial role in determining victory. It’s no wonder that the wars in the modern era have pushed the world’s information and communication network technology revolution.<\/span><\/span><\/p>\n

In this communication technology, visual communication is increasingly finding its momentum of glory. From it, visual production seems to be accelerated and reaches its zenith, especially when everyone can produce and enjoy visuals at the same time. This is made possible by the revolution in camera technology as an image production technology that is increasingly accessible for the wider public. The mechanism of camera work that takes place by capturing light to form images is inseparable from work that produces perspective. As an optical phenomenon and as a social phenomenon, perspective always has double potential: distortion or clarity. Even seemingly trivial issues can come with or\/in a certain perspective as the camera evolves to its simplest form, allowing it to fit into the smallest nooks in life. The intensity of a problem can be further emphasized or even disguised when the camera frames it and montaged into a single work. The perspective built by the frame and depth of camera shots also often creates illusions. Jean Rouch through his work titled Chronicle of A Summer <\/i>(1961), offers cinematic language that shows his participation and interruption to the construction of reality in films. He does this by presenting himself and the camera in the film itself. This action allows the film to express the position that the reality in the film is not just pure reality. Instead, this language reminds us of the position of power behind the camera that can control the flow of an issue.<\/span><\/span><\/p>\n

The relationship between camera and power is inseparable from the control system matters. The camera’s sophistication is a necessity for the authority control system that is increasingly able to monitor the landscape of its power. However, when the control subject has lived with an awareness of the media or at least can position themselves in the line of communication as a communicator, then the camera’s sophistication can produce a counter-discourse for the main control system. It can create more perspectives on issues because, at the same time, there emerge new penumbral zones.<\/span><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637503076230-854d8107-3735″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11001″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637840207514{margin-bottom: 0px !important;}”]\n

HUT (Gubuk)<\/strong><\/h2>\n

Filmmaker <\/em>So Ye-hen<\/strong> (Taiwan)<\/span>
\n<\/strong>Country of Production<\/em>\u00a0 Indonesia, Taiwan
\n<\/strong>Language<\/em> Indonesian<\/strong>
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

\u00a054 min, stereo, 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_1637840970613{margin-bottom: 0px !important;}”]Dibuka dengan dering suara telepon, perjalanan durasi filem ini mengantarkan pada intensitas komunikasi para buruh migran dalam sebuah ruang. Komunikasi menjadi semakin sulit seiring dengan kedatangan orang-orang yang melebihi kapasitas ruang. Intaian kamera yang menyeruak hadir di keramaian seakan tidak berimplikasi banyak. Saat ruang semakin penuh dan ricuh, alur komunikasi pun mencapai titik rusuh yang mengaburkan pesan tentang buruh migran.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637841424886{margin-bottom: 0px !important;}”]The ringing sound of a telephone opened the scene. Film’s duration leads us to the intensity of communication among migrant workers in a small room. Communication becomes more difficult as an exceeding number of people arrive and fill the room. Camera observation that interrupts the crowd does not seem to impact much. When space becomes more crowded and chaotic, communication flow must reach a chaotic point that obscures migrant workers’ message.<\/span><\/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=”11014″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637842384923{margin-bottom: 0px !important;}”]So Yo-Hen<\/em> (1982, Tainan, Taiwan) menempuh studi di <\/span>Graduate Institute of Plastic Arts<\/span><\/i>, TNNUA. Karya-karyanya kerap membahas tentang kelompok yang kurang terwakili dalam masyarakat, budaya, dan sejarah, serta kemungkinan pemberdayaan melalui imajinasi. Karyanya pernah dipresentasikan di <\/span>Heard and the Unheard-Soundscape Taiwan<\/span><\/i> di Taiwan Pavilion, 54th Venice Biennale 2011.<\/span><\/b><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637842374707{margin-bottom: 0px !important;}”]So Yo-Hen<\/b><\/strong><\/em> (1982, Tainan, Taiwan) studied at the Graduate Institute of Plastic Arts, TNNUA. His work often addresses the underrepresented in society, culture, and history, and the possibilities of empowerment through whimsy. His works were presented at the Heard and the Unheard-Soundscape Taiwan at the Taiwan Pavilion at the 54th Venice Biennale 2011<\/span><\/b><\/strong>.<\/span><\/strong><\/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=”11016″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637842535181{margin-bottom: 0px !important;}”]\n

Highways of Life<\/b><\/h2>\n

Filmmaker <\/em>Maibam Amarjeet Singh <\/strong>(India)<\/span>
\n<\/strong>Country of Production<\/em> \u00a0India
\n<\/strong>Language<\/em> Manipuri
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

52 min, stereo, 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_1637842955978{margin-bottom: 0px !important;}”]Melalui perjalanan Arunjit, seorang sopir truk di Manipur, India, alur sirkulasi persoalan di zona terluar dari sebuah negara tersingkap. Perjalanan Arunjit terhenti selama berbulan-bulan bersama puluhan truk lainnya di jalur Guwahati-Imphal saat blokade ekonomi dan konflik teritorial terjadi. Dengan kamera yang amatir, persoalan-persoalan pun mampu hadir sebagaimana adanya, alih-alih diimbuhi pretensi keberpihakan. Pertanyaan tentang prioritas sistem terpantik seiring dengan dinamika intensitas konflik di jalur transportasi yang vital bagi kawasan. Saat sistem dominan tak mampu menjangkau sudut terjauh untuk mempertahankan tatanannya, sistem-sistem kecil pun bermunculan sebagai cara warga beradaptasi pada situasi. Ia bertumbuh menjadi sebentuk budaya yang popular di kalangan warga.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637842992621{margin-bottom: 0px !important;}”]Through Arunjit\u2019s journey, a trucker in Manipur, the flow of problems in a country\u2019s outer zone is exposed. His journey was stalled for months, with dozens of trucks on the Guwahati-Imphal route, when economic blockade and territorial conflicts broke out. By using amateur camera, the problems emerge on the screen as they are, instead of affixed with affiliation pretensions. Question of system priority arises along with dynamics of conflict intensity in the transportation routes vital to the region. When dominant system cannot reach its farthest nook to maintain order, small systems emerge as people\u2019s way to adapt. It grows to become a popular form of culture among people.
\n<\/span><\/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=”11017″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637842838610{margin-bottom: 0px !important;}”]Amar Maibam<\/em> (1978, Imphal) adalah sutradara dan sinematografer India dari Manipur. Ia lahir dari keluarga Meitei yang terkenal di bidang seni dan budaya. Ia memulai karirnya sebagai asisten sutradara untuk mendiang ayahnya yang juga adalah pembuat filem.<\/span><\/b><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637842873253{margin-bottom: 0px !important;}”]Amar Maibam<\/b><\/strong><\/em> (1978, Imphal) is an Indian filmmaker and cinematographer from Manipur. He was born into a Meitei family which was prominent in the field of arts and culture. He starts his career as an assistant to his late filmmaker father<\/span><\/strong>.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10839″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637843155210{margin-bottom: 0px !important;}”]Anggraeni Widhiasih<\/b><\/strong><\/em> (Sleman, 1993)<\/span><\/b><\/strong>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><\/b><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637843182492{margin-bottom: 0px !important;}”]Anggraeni Widhiasih<\/i><\/b><\/strong><\/em> (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><\/strong>
\n<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. But these observation and participation bear their own problems.In representing peripheral subjects, especially those who are far or less exposed to media technology, there is a temptation to treat them as a “discovery\u201d. <\/p>\n","protected":false},"author":1,"featured_media":11021,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[551,344],"tags":[552,192,548],"jetpack_publicize_connections":[],"yoast_head":"\nPenumbral Zone — ARKIPEL<\/title>\n<meta name=\"description\" content=\"The zones where one system meets another systems are vague zones. 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