{"id":12791,"date":"2024-08-25T00:08:01","date_gmt":"2024-08-24T17:08:01","guid":{"rendered":"https:\/\/arkipel.org\/?p=12791"},"modified":"2024-08-25T12:09:39","modified_gmt":"2024-08-25T05:09:39","slug":"sensing-as-opening","status":"publish","type":"post","link":"https:\/\/arkipel.org\/sensing-as-opening\/","title":{"rendered":"Forum Festival Panel 1: Sensing as Opening"},"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 1: Merasakan Indera Sebagai Pembuka” css=”.vc_custom_1724562448198{margin-bottom: 0px !important;}”]Salah satu dampak dari moderintas adalah hilangnya kemampuan multisensori manusia. Kemampuan multisensori merupakan kemampuan merasakan dunia melalui berbagai indera secara serentak, semakin tergeser oleh\u00a0 cara hidup yang didominasi oleh teknologi dan pola interaksi. Dominasi teknologi ini membuat penglihatan dan pendengaran menjadi dua indera yang mendominasi saat ini. Sementara indera lainnya semakin jarang terpakai.\u00a0<\/span><\/p>\n

\u00a0<\/span>Berbeda dalam kehidupan tradisional, manusia secara alami menggunakan seluruh indera mereka dalam aktivitas sehari-hari. Indera penciuman, perasa, pendengaran, penglihatan, dan peradaban bekerja bersama untuk menciptakan pengalaman yang kaya dan holistik.\u00a0<\/span><\/p>\n

\u00a0<\/span>Kasus ini diamini oleh <\/span>St. Sunardi<\/b>, salah satu pembicara simposium bertajuk \u201cSense our Senses\u201d pada Kamis, 22 Agustus 2024. Dalam presentasinya, Dosen Pascasarjana Kajian Budaya Universitas Sanata Dharma Yogyakarta dan Institut Seni Indonesia Yogyakarta ini membagikan pengalaman multisensorinya. Ia menyatakan bahwa ia mengalami kehilangan multisensori pada awal tahun 2000.\u00a0<\/span><\/p>\n

\u00a0<\/span>Hal tersebut lebih ia sadari ketika ia menyaksikan pertunjukan wayang secara langsung pada waktu itu. Sebagai pertunjukan favoritnya, wayang yang biasanya mampu membuat Sunardi merasakan pengalaman multisensori, tak lagi demikian. Ia berpendapat bahwa hal itu disebabkan oleh pergantian generasi yang belum menemukan bentuk baru sesuai dengan zamannya.\u00a0<\/span><\/p>\n

\u00a0<\/span>Anehnya, Sunardi merasakan lebih menarik mendengarkan pertunjukan wayang lewat radio, sebuah teknologi yang bahkan tidak membuat ia bisa melihat visual pertunjukan wayang, melainkan hanya bisa mendengarkan suaranya saja. Melalui pengalamannya itu, dosen yang telah melahirkan berbagai buku, salah satunya <\/span>Opera Tanpa Kata<\/span><\/i> (2003) ini menyimpulkan bahwa telah terjadi perubahan dalam pancaindera manusia hari ini. Ia berpendapat bahwa saat ini rasa telah menjadi objek komoditi.\u00a0<\/span><\/p>\n

\u00a0<\/span>Menyadari perubahan pancaaindera itu, Sunardi menyampaikan bahwa kita tidak boleh terjebak dalam nostalgia zaman. Sebaliknya, fenomena ini perlu diteliti lebih dalam. Dalam presentasinya, Sunardi memaparkan terdapat tiga model penggunaan daya rasa, yakni partikularisasi rasa, yakni pengalaman rasa untuk membangun kebersamaan. Hegemoni rasa, yakni situasi yang lahir dari industri budaya atau bagian dari kapitalisasi budaya, penyeragaman rasa yang sebetulnya bisa jadi masih menghasilkan multisensori. Terakhir adalah pengambilalihan rasa, yaitu situasi dimana teknologi yang mengambil alih tugas daya rasa kita, mulai dari peta hingga alat memasak. Ia menambahkan hipotesanya: \u201cjangan-jangan pengalaman kita dengan realitas menjadi tidak aktual, melainkan virtual.\u201d\u00a0<\/span><\/p>\n

\u00a0<\/span>Sunardi juga menekankan bahwa pemaparan ini bukan berarti membuatnya berpendapat bahwa industri budaya menumbuhkan rasa kita. Ia hanya berubah bentuk sesuai dengan perubahan zaman.\u00a0<\/span><\/p>\n

\u00a0<\/span>Setelah Sunardi membagikan pengalamannya, <\/span>Aryo Danusiri<\/b>, salah satu pembicara memulai presentasinya. Aryo Danusiri merupakan seorang pembuat filem dan asisten profesor di Departemen Antropologi, Universitas Indonesia. Ia mengambil fokus pada bidang politik, teknologi, dan aktivisme. Ia juga menjadi peniliti utama dari proyek penilitian krisis iklim yang berjudul \u201cPermainan Api: Tata Kelola Api Masyarakat Adat di Indonesia\u201d.\u00a0<\/span><\/p>\n

\u00a0<\/span>Kepada peserta simposium yang berjumlah lebih dari 30 orang itu, Aryo mempresentasikan tulisannya yang berjudul \u201cThe Sensorial is Political\u201d. Aryo membacakan tulisannya lewat<\/span> slide-slide power point<\/span><\/i> yang memuat perjalanan panjang kajian antropologi sensorik. Dalam tulisan tersebut, dijelaskan bahwa seperti halnya antropologi sensorik, dunia sosial tidak terjadi sepenuhnya di luar kendali seseorang, namun berkesinambungan membuat asosiasi-asosiasi baru dalam bentuk <\/span>assemblages<\/span><\/i>.\u00a0<\/span><\/p>\n

\u00a0<\/span>Pembicara terakhir simposium \u201cSense our Senses\u201d yang diselenggarakan di Pusat Studi Jepang, Universitas Indonesia, yakni <\/span>Dhianita Kusuma Pertiwi<\/b>. Ia merupakan penulis, editor, dan penerjemah. Karya-karyanya kebanyakan berbicara mengenai topik pelanggaran hak asasi manusia massal di Indonesia.\u00a0<\/span><\/p>\n

\u00a0<\/span>Dalam presentasinya, Dhianita memaparkan 8 rasa dalam seni yang pertama kali diterangkan oleh <\/span>Bharata<\/b> dalam teks kuno sansekerta. Delapan rasa tersebut adalah romansa, tawa atau kegembiraan, kemarahan, kasih sayang, keengganan, teror, heroisme dan ketakjuban.\u00a0<\/span><\/p>\n

\u00a0<\/span>Presentasi Dhianita seakan menebalkan keresehan mengenai fenomena pergeseran medium atau bentuk pertunjukan yang dialami oleh Sunardi pada awal presentasi. Secara spesifik diterangkan oleh Dhianita adanya transformasi dan negosiasi rasa dalam tradisi wayang kulit purwa.\u00a0<\/span><\/p>\n

\u00a0<\/span>Beberapa transformasi yang disampaikannya adalah dulu <\/span>pakeliran<\/span><\/i> semalam suntuk, saat ini <\/span>pakeliran<\/span><\/i> garap semalam. Selain itu, sebelumnya orang-orang lesehan di lapangan, kini selimutan di depan TV. Terakhir adanya perubahan ansambel gamelan yang kini menjadi instrumen elektrik.<\/span><\/p>\n

\u00a0<\/span>Adapun negosiasi yang dimaksud Dhianita dalam tradisi wayang kulit Purwa yakni tradisi wayang kulit Purwa setidaknya mencegah atau membatasi disrupsi kecerdasan buatan.\u00a0<\/span><\/p>\n

\u00a0<\/span>\u201cPaling tidak sampai hari ini.\u201d<\/span><\/p>\n

\u00a0<\/span>Simposium \u201cSense of Senses\u201d menjadi pembuka Forum Festival, salah satu program utama dalam ARKIPEL <\/span>Garden of Earthly Delights – Jakarta International Documentary and Experimental Film Festival<\/span><\/i>. Forum Festival ini\u00a0 diselenggarakan pada 22 – 23 Agustus 2024 di Pusat Studi Jepang, Universitas Indonesia.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”Forum Festival Panel 1: Sensing as Opening” css=”.vc_custom_1724519797984{margin-bottom: 0px !important;}”]One of the effects of modernity is the loss of human multisensory abilities. Multisensory ability is the ability to experience the world through various senses simultaneously, increasingly displaced by a way of life dominated by technology and interaction patterns. The dominance of technology makes sight and hearing as the two senses that rule today. Meanwhile, other senses are getting underused.\u00a0<\/span><\/p>\n

\u00a0<\/span>Unlike in traditional life, humans naturally use all their senses in their daily activities. The senses of smell, taste, hearing, sight and civilization work together to create a rich and holistic experience.\u00a0<\/span><\/p>\n

\u00a0<\/span>This case was confirmed by <\/span>St. Sunardi<\/b>, one of the symposium speakers titled \u201cSense our Senses\u201d on Thursday, August 22, 2024. In his presentation, the lecturer at the Graduate Program of Cultural Studies at Sanata Dharma University, Yogyakarta and the Indonesian Institute of Arts, Yogyakarta shared his multisensory experience. He stated that he experienced multisensory loss in early 2000.\u00a0<\/span><\/p>\n

\u00a0<\/span>He realized it even more when he witnessed a live wayang (Javanese puppet) show at the time. As his favorite spectacle, wayang, which used to give Sunardi a multisensory experience, no longer did so. He thought that this was due to the changing generations who have not yet found a new form that suits their times.\u00a0<\/span><\/p>\n

\u00a0<\/span>Surprisingly, Sunardi found it more interesting to listen to wayang shows on the radio, a technology that doesn’t even allow him to see the visuals of a wayang performance, but only to listen to the sound. Through his experience, the lecturer, who has published several books, including Opera Tanpa Kata (2003), concluded that there has been a change in the human senses today. He argues that today, taste has become a commodity object.\u00a0<\/span><\/p>\n

\u00a0<\/span>Realizing the changes in the five senses, Sunardi said that we ought not to be trapped in the nostalgic era. Instead, this phenomenon needs to be studied further. In his presentation, he explained that there are three models of using the power of sense, namely the particularization of sense, which is the experience of sense to build togetherness. Hegemony of sense, which is a situation born from the cultural industry or part of cultural capitalization, the uniformity of sense that can actually still produce multisensory. Lastly is the takeover of sense, a situation where technology takes over the task of our sense of senses, ranging from maps to cooking equipment. He added his hypothesis: \u201cperhaps our experience of reality is not actual, but virtual.\u201d\u00a0<\/span><\/p>\n

Sunardi also emphasized that his explanation did not mean to suggest that the cultural industry fosters our senses. They transform according to the changing times.\u00a0<\/span><\/p>\n

\u00a0<\/span>After Sunardi shared his experiences, <\/span>Aryo Danusiri<\/b>, one of the speakers, started his presentation. He is a filmmaker and assistant professor at the Department of Anthropology, University of Indonesia. He focuses on politics, technology, and activism. He is also the lead researcher of a climate crisis research project entitled \u201cFire Games: The Management of Indigenous People’s Fire in Indonesia\u201d.\u00a0<\/span><\/p>\n

\u00a0<\/span>To the more than 30 symposium participants, Aryo presented his paper entitled \u201cThe Sensorial is Political\u201d. He read out his paper through powerpoint slides that covered the long journey of the study of sensory anthropology. In the paper, it was explained that like sensory anthropology, the social world does not occur completely outside of one’s control, but continuously makes new associations in the form of assemblages.\u00a0<\/span><\/p>\n

The last speaker of \u201cSense our Senses\u201d held at the Center for Japanese Studies, University of Indonesia, was <\/span>Dhianita Kusuma Pertiwi<\/b>. She is a writer, editor, and translator. Her works mostly deal with the topic of mass human rights violations in Indonesia.\u00a0<\/span><\/p>\n

\u00a0<\/span>In her presentation, Dhianita explained the eight flavors in art first described by <\/span>Bharata<\/b> in an ancient Sanskrit text. They are romance, laughter or joy, anger, compassion, aversion, terror, heroism and awe.\u00a0<\/span><\/p>\n

\u00a0<\/span>Her presentation seemed to thicken the anxiety about the phenomenon of shifting mediums or forms of performance experienced by Sunardi at the beginning of the presentation. Dhianita specifically explained the transformation and negotiation of feelings in the Wayang Kulit Purwa tradition.\u00a0<\/span><\/p>\n

Some of the transformations he mentioned were Pakeliran all night long, now it’s Pakeliran working all night. In addition, in the past people sat on the ground, now they sit in front of the TV. Lastly, there is a change in the gamelan ensemble which is now an electric instrument.<\/span><\/p>\n

\u00a0<\/span>The negotiation Dhianita refers to in the Wayang Kulit Purwa tradition is that it at least prevents or limits the disruption of artificial intelligence.\u00a0<\/span><\/p>\n

\u00a0<\/span>\u201cAt least until today.\u201d<\/span><\/p>\n

\u00a0<\/span>The \u201cSense of Senses\u201d symposium was the opening panel of the Forum Festival, one of the main programs in ARKIPEL Garden of Earthly Delights – Jakarta International Documentary and Experimental Film Festival<\/em>. The Forum Festival was held on August 22-23, 2024 at the Center for Japanese Studies, University of Indonesia.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”12714,12713,12717,12716,12715,12786″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Dominasi teknologi ini membuat penglihatan dan pendengaran menjadi […]<\/p>\n","protected":false},"author":179,"featured_media":12717,"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":[687,672,384,1,307,536,359,349],"tags":[674,418,715,675,714],"jetpack_publicize_connections":[],"yoast_head":"\nForum Festival Panel 1: Sensing as Opening — ARKIPEL<\/title>\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\/sensing-as-opening\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Forum Festival Panel 1: Sensing as Opening — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"[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 1: Merasakan Indera Sebagai Pembuka” css=”.vc_custom_1724562448198{margin-bottom: 0px !important;}”]Salah satu dampak dari moderintas adalah hilangnya kemampuan multisensori manusia. 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Ia tertarik dengan isu gender, seksualitas, dan kehidupan urban. Telah menulis beberapa film fiksi dan membuat dokumenter pendek serta video komersial. Selain membuat film, saat ini Nurrul bekerja di Forum Film Dokumenter (FFD) sebagai tim program database dan koleksi film. ----- Nurrul Nelwan completed her bachelor's degree in Film and Television at the Indonesian Institute of Arts Yogyakarta. She is interested in gender, sexuality, and urban life. She has written several fiction films and made short documentaries and commercial videos. 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