{"id":12727,"date":"2024-08-24T15:40:05","date_gmt":"2024-08-24T08:40:05","guid":{"rendered":"https:\/\/arkipel.org\/?p=12727"},"modified":"2024-08-27T00:55:36","modified_gmt":"2024-08-26T17:55:36","slug":"vernacular-approach","status":"publish","type":"post","link":"https:\/\/arkipel.org\/vernacular-approach\/","title":{"rendered":"Forum Festival Panel 4: Hacking Media Technology with a Vernacular Approach"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Forum Festival Panel 4: Meretas Teknologi Media dengan Pendekatan Vernakular” css=”.vc_custom_1724694841704{margin-bottom: 0px !important;}”]Itu adalah sore hari Jumat yang mendung (23\/08) di Pusat Studi Jepang, Universitas Indonesia ketika para panelis, komite Arkipel dan penonton berkumpul untuk mendengarkan panel ke -4 Forum Festival di <\/span>ARKIPEL <\/span>Garden of Earthly<\/span><\/i> Delights \u2013 11<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival.<\/span><\/i><\/p>\n

Sekitar pukul 13:30, moderator panel, <\/span>Luthfan Nur Rochman<\/b> memulai panel ini dengan memperkenalkan tema, yakni \u201cMeretas Teknologi Media dengan Pendekatan Vernakular\u201d yang menurutnya adalah judul provokatif, bertujuan untuk mengeksplorasi hubungan yang berkembang di antaranya bagaimana orang berkomunikasi dan lanskap teknologi kita yang terus berubah. Dia memperkenalkan tiga panelis hari ini, yaitu <\/span>Otty Widasari<\/b>, <\/span>Nguyen Trinh Thi<\/b>, yang hadir secara virtual melalui <\/span>Zoom<\/span><\/i>, dan <\/span>Lintang Radittya<\/b>.<\/span><\/p>\n

Setelah perkenalan selesai, Otty Widasari, seorang seniman, penulis dan salah satu pendiri Forum Lenteng memulai panel dengan presentasinya yang berjudul \u201cChairul dan Chairil\u201d. Dalam presentasi yang pendek tapi mendalam, ia membandingkan dua tokoh Indonesia yang namanya mirip: seorang mekanik sederhana bernama <\/span>Chairul<\/b> yang ingin membangun pesawatnya sendiri, dan <\/span>Chairil Anwar<\/b>, seorang penyair dan penulis perintis Indonesia. Dia bercerita tentang seorang mekanik yang, terlepas dari pendidikannya yang terbatas dan banyak upayanya yang gagal, akhirnya berhasil lepas landas dengan pesawat buatan rumahnya, dengan sesama penduduk desa yang merekam dan berbagi videonya sesama <\/span>smartphone<\/span><\/i> mereka.<\/span><\/p>\n

Kemudian dia melanjutkan dengan kisah Chairil Anwar yang memprovokasikan dunia sastra Indonesia pra-kemerdekaan dan mendesak mereka untuk menemukan suara mereka sendiri. Menurut Otty, kedua tokoh ini, walaupun dipisahkan oleh waktu, keduanya merupakan lompatan iman yang provokatif yang mewakili media pada zaman mereka, Chairul dengan video ponsel cerdas dan media sosial tahun 2020 -an, dan Chairil dengan media cetak pada masanya.<\/span><\/p>\n

Panel itu kemudian dilanjutkan dengan Nguyen Trinh Thi, seorang seniman dan pembuat filem Vietnam yang presentasinya membahas karya seninya berjudul <\/span>Ri S\u0304e\u012byng<\/i><\/b> yang ketika diterjemahkan dari bahasa Thailand, berarti Tanpa Suara. Dia bercerita tentang proses penciptaan karya seninya sebagai bagian dari Thailand Biennale 2023. Dia ingin membuat karya seni yang mengikat bersama konsep-konsep indigeneitas, sejarah, dan ekologi melalui teknologi, suara, dan bercerita.<\/span><\/p>\n

Seniman itu menggambarkan bagaimana dia menjelajahi wilayah di sekitar Sungai Mekong dan masalah-masalah di sekitarnya. Dia bertemu dengan aktivis lokal dari sekolah Mekong dan menjelajahi musik dan budaya dari kelompok-kelompok etnis yang bergantung pada sungai untuk mata pencaharian mereka. Dia terinspirasi oleh aktivis lokal yang berhasil menghentikan ekspansi sungai yang berpotensi berbahaya.<\/span><\/p>\n

Dari masalah-masalah ini, dia menyusun teater langsung di mana air Sungai Mekong menghasilkan sebuah ansambel musik. Untuk karya ini, ia menemukan konsep karya seni audio lebih menarik daripada media visual. Dia menggunakan dataset level air historis dan dari ini dia membuat sebuah notasi yang dimainkan oleh alat musik tradisional secara otomatis. Karya tersebut ditampilkan di rumah tradisional budaya Lanna di mana instrumennya akan ditempatkan di dekat artefak historis yang ada di dalam rumah itu. Dia menjelaskan bahwa dia bermaksud untuk membiarkan yang tidak terlihat dan yang tidak diketahui menjadi pusat perhatian dan menciptakan hubungan antara manusia dan non manusia.<\/span><\/p>\n

Panel berlanjut dengan Lintang Radittya, seorang seniman multidisiplin dan pembuat instrumen yang menyampaikan presentasinya <\/span>Meretas Secara Andhar Anshor<\/i><\/b>. Dia mulai dengan menjelaskan konsepnya tentang Futurisme Jawa yang walaupun mirip dengan dan terinspirasi oleh Afrofuturisme, memiliki fokus yang lebih besar pada mitigasi dibandingkan dengan perlawanannya Afrofuturisme. Dia lebih lanjut menjelaskan bahwa dia ingin menggabungkan teknologi modern dan teknologi leluhurnya sebagai bagian dari eksplorasi ke dalam tema Futurisme Jawa.<\/span><\/p>\n

Sebagai contoh dari apa yang dia bicarakan, dia mempresentasikan karya seninya <\/span>Theodrama Pedophony<\/i><\/b> yang, terinspirasi oleh resonansi <\/span>Schuman<\/b>, dia ingin melihat apakah mungkin untuk mengambil suara bumi. Dia memilih tiga sampel tanah yang berbeda, yang dipilih dengan metode yang diilhami dari budaya tradisional Jawa. Dia lebih lanjut mengeksplorasi tema suara dalam karya seninya <\/span>Terra Firma<\/i><\/b>.<\/span><\/p>\n

Karya seni lainnya yang mengeksplorasi tema futurisme Jawa termasuk <\/span>Java Axiom Prelude<\/i><\/b> dimana ia terinspirasi oleh mitologi Jaya Baya, ia menciptakan mesin doa otomatis. Dia menjelaskan, sebagai bagian dari praktik pembangunan instrumennya, ciptaannya <\/span>Synthesizer Arja<\/i><\/b>, yang mengeksplorasi konsep alat musik sebagai karya seni konseptual mengkritik pemerintah Jogja.<\/span><\/p>\n

Dengan semua panelis selesai mempresentasikan makalah mereka, sesi tanya jawab dimulai. <\/span>Ali Aladawy<\/i><\/b>, Seorang anggota juri Arkipel tahun ini bertanya tentang bagaimana panel ini akan menempatkan diskusi dari sudut pandang historis, dan dia berbicara tentang bagaimana teknologi telah menjadi alat untuk hegemoni sementara yang tertindas pada akhirnya akan menemukan cara untuk menumbangkannya, dan dia menunjuk ke situasi saat ini di Gaza sebagai contoh. Luthfan, sang moderator, menunjukkan bahwa panel dikembangkan dengan fokus ke Asia Tenggara, memusatkan diskusi tentang mitologi, dan indigeneitas. Otty dan Lintang menanggapi dengan mengatakan bahwa praktik artistik mereka berfokus pada masalah yang mendesak dan lokal. Thi berpendapat bahwa baginya, dia tidak memiliki hierarki untuk teknologi, dan melihatnya hanya\u00a0 sebagai alat.<\/span><\/p>\n

St. Sunardi<\/strong>, salah satu pembicara di panel sebelumnya menawarkan masukan untuk konsep Futurisme Jawanya Lintang, dengan mengatakan bahwa, “masa lalu bukanlah jawaban untuk masa depan”. <\/span>Hafiz Rancajale<\/b>, kepala Forum Lenteng, menutup sesi dengan mengatakan bahwa, “dialog dengan mesin tidak akan menyelesaikan apa pun, sementara percakapan dengan manusia akan mengarah pada sesuatu.”<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”Forum Festival Panel 4: Hacking Media Technology with a Vernacular Approach” css=”.vc_custom_1724694931281{margin-bottom: 0px !important;}”]It was a cloudy Friday (23\/08) afternoon at the University of Indonesia\u2019s Center for Japanese Studies when the panelists, Arkipel committee and the audience gathered to listen to the 4th panel of Festival Forum of the ARKIPEL <\/span>Garden of Earthly<\/span><\/i> Delights \u2013 11<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival<\/span><\/i>.<\/span><\/p>\n

At approximately 13:30, the panel\u2019s moderator, <\/span>Luthfan Nur Rochman <\/b>began this panel by introducing the theme: \u201cHacking Media Technology with a Vernacular Approach\u201d<\/span> which according to him, is a provocative title which aims to explore the evolving relationship between how people communicate and our changing technological landscape. He introduced the three panelists today, which were <\/span>Otty Widasari<\/b>, <\/span>Nguyen Trinh Thi<\/b>, who was virtually present via Zoom, and <\/span>Lintang Raditya<\/b>.\u00a0<\/span><\/p>\n

After the introductions were completed, Otty Widasari, an artist, writer and one of the founders of Forum Lenteng began the panel with her presentation: \u201cChairul dan Chairil\u201d. In her short but profound presentation, she compared two similarly named Indonesian figures: a simple mechanic named <\/span>Chairul<\/b> who wished to build his own aircraft, and <\/span>Chairil Anwar<\/b>, a pioneering Indonesian poet and writer. She told about Chairul the mechanic who, despite his limited education and many failed attempts, finally got to take off his home built aircraft, with many of his fellow villagers recording and sharing his attempts on their smartphones.\u00a0<\/span><\/p>\n

Then she continued with the story of Chairil Anwar, who provoked the pre-independence Indonesian literary establishment and urged them to find their own voice. According to Otty, both figures, while separated by time, were provocative leaps of faith that represented\u00a0 the media of their time, Chairul with the smartphone videos and social media of the 2020s, and Chairil with the print media of his time.\u00a0<\/span><\/p>\n

The panel then continued with Nguyen Trinh Thi, a Vietnamese artist and filmmaker whose presentation which discussed her artwork titled <\/span>Ri s\u0304e\u012byng<\/i><\/b> which when translated from Thai, means Sound-less. She told the audiences about the process of the artwork\u2019s creation was part of the 2023 Thailand Biennale. She wanted to create an artwork that binds together the concepts of indigeneity, history, and ecology through technology, sound, and storytelling.\u00a0<\/span><\/p>\n

The artist described how she explored the region surrounding the Mekong river and the issues surrounding it. She met with local activists from the Mekong School and explored the musical and culture of the many ethnic groups that depended on the river for their livelihood. She was inspired by local activists who managed to stop a potentially harmful river expansion.\u00a0<\/span><\/p>\n

From these issues the artist conceived a live theater where the water\u00a0 of the Mekong river produces a musical ensemble. For this piece, she found the concept of the audio artwork being more interesting than a visual medium. Using the dataset of historical and current water levels she created a notation which would be played by automated traditional musical instruments. The artwork would be presented in a traditional house of the Lanna culture wherein the instruments would be placed near historical artifacts that are inside the house. She explained that she intended to let the invisible and the unknown take center stage and to create a connection between the human and non human.\u00a0<\/span><\/p>\n

The panel continued with Lintang Radittya, an multidisciplinary artist and instrument maker delivering his presentation <\/span>Meretas Secara Andhar Anshor<\/i><\/b>. He began by explaining his concept of Javanese Futurism which while similar to and inspired by Afrofuturism, has a bigger focus on mitigation compared to the resistance of the former. He further explained that he wanted to combine modern technology and the technology of his ancestors as part of his explorations into the theme of Javanese Futurism.\u00a0<\/span><\/p>\n

As a sample of what he was talking about, he presented his artwork <\/span>Theodrama Pedophony <\/i><\/b>which, inspired by the <\/span>Schuman<\/b> resonances, he wanted to see if it was possible to pick up the voice of the earth. He chose three different soil samples, chosen in a method inspired by traditional Javanese culture. He further explored the theme of sound in his artwork <\/span>Terra Firma.\u00a0<\/i><\/b><\/p>\n

His other artworks that explored the theme of Javanese Futurism: <\/span>Java Axiom Prelude <\/i><\/b>inspired by the Jaya Baya mythology, he created automated prayer machines. He explained, as part of his instrument building practice, his creation <\/span>Synthesizer Arja, <\/i><\/b>which explores the concept of musical instruments as conceptual artwork critiquing the government of Jogja.\u00a0<\/span><\/p>\n

With all the panelists finished, the session moved into the Question and Answer session. <\/span>Ali Aladawy<\/b>, a member of this year\u2019s Arkipel jury asked on how this panel would situate the discussion from a historical standpoint, talking about how technology has been a tool for the hegemony while the oppressed will eventually find its ways to subvert it, pointing to the current situation in Gaza as an example. Luthfan, the moderator, pointed out that the panel was developed with a Southeast Asian focus in mind, centering issues about mythology, and indigeneity. Otty and Lintang responded by saying that their artistic practices focused on urgent and local issues. Thi argued that to her, she does not have a hierarchy for technology, and sees it as a tool.\u00a0<\/span><\/p>\n

St. Sun<\/strong>ardi,<\/b> one of the speakers in the previous panel offered quote to Lintang\u2019s Javanese futurism, saying that \u201cthe past is not the answer to the future\u201d. <\/span>Hafiz Rancajale, <\/b>the head of Forum Lenteng, closed the session by saying that \u201cdialogue with machines will not solve anything, while conversations with humans will lead to something.\u201d<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”12746,12744,12743,12742,12740,12739,12738,12737,12735,12734,12733,12732,12731,12729,12749,12750,12751,12752″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Dia lulusan jurusan film tahun 2021 di Binus University. Pada tahun 2019 dia mulai mengikuti kegiatan Forum Lenteng sebagai partisipan program Milisifilem. Selain itu dia aktif di skena film Indonesia dan bekerja di microcinema Kinosaurus. -- Panji Anggira is an artist and writer from Jakarta. He graduated from film major in 2021 at Binus University. In 2019 he started participating in Forum Lenteng activities as a Milisifilem program participant. 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