On Medium and Representationalism<\/span><\/h1>\n <\/p>\n
The spirit of experimental works in general is an attempt to get out from aesthetic \u2018pacts,\u2019 especially in regard to \u2018representationalism\u2019 and to offer new possibilities of shaping and reading of representation. Through artistic sensibilities, experimental works seek as profound as possible to bypass and transcend the limits of possibilities of viewing reality, whether through an exploration of a medium or exploration of the act of \u2018representation\u2019 itself. An exploration of a medium is an act to examine the nature and the whole conception about form when explored through different artistic treatments, with its entire possibilities when converged with other medium. Explorations of a medium are achieved through the tracing of form whose result is rarely predictable. In regard to the explorations of representational practices, as we can see in experimental works in the ARKIPEL \u2013Jakarta Documentary & Experimental Film Festival this year it is conducted by the use of archive as raw material for a documentary that deconstructs or offers a new meaning or a new set of concerns which eventually questions the act of representation itself or representationalism.\u00a0<\/span><\/p>\nSedangkan Today\u2019s Walk \u2013Concrete Aluminum<\/i> adalah gambaran reflektif dari personalitas sang pembuat di mana perlakuan teknik-artistik atas medium karya ini telah menghasilkan efek penekanan monokromatik sangat impresif yang menawarkan kekuatan visi personal yang menitiktekankan eksplorasinya terhadap representasi.\u00a0<\/span><\/p>\nThe Moon<\/i> and Banquet of Love <\/i>are two works that explore the medium possibility using an artistic sensibility to open traces of new forms. The personal vision of the maker gives a new and unconventional way of seeing the new possibility and nature of medium particularly analog medium (celluloid), which is explored with a high and exquisite artistic craftsmanship. While Today\u2019s Walk\u2013Concrete Aluminum<\/i> is a reflexive image of the maker\u2019s personality.\u00a0 Technical-artistic treatments of the medium have resulted in a very impressive monochromatic emphasis, which offers a power of personal vision in the act and exploration of representation.\u00a0<\/span><\/p>\nWorks that explore various possibilities of representation with the spirit of experimentation demonstrate a range of strategies in using documentary materials for deconstructing certain representation. These works also create a new and different visual interpretation in using documentary materials for representational deconstruction has chances to produce a sort of visual interpretation which essentially different and containing the innovation value. In Code of\u2026 senses<\/i>, violence footage has been deconstructed, following \u2018representational schemes\u2019 in the style of Ernst Gombrich, or in the words of Lev Manovich, as a\u2018numeric representation\u2019, that is footage that has been transformed into pixelate with its own intrinsic values. The impact of that Manovich model pixelation on the representation of violence, from the perspective of representationalism, has created a different image and surely has collapsed its essential meaning that is formed by \u2018representational schemes\u2019 of its digital images\u2019s origin.\u00a0<\/span><\/p>\nOne of the most interesting things about these experimental works is an attempt to explore representation from sociological materials. One example is addressing diaspora\u2019s culture by using sound as a source of cinematic construction. Broken Tongue <\/i>shows the filmmaker\u2019s sensibility in using sonic performances in talking about minority-immigrants\u2019 cultures. The exploration of \u2018sound\u2019 in cinema reminds us to the aesthetic dictum of Robert Bresson whose principle emphasizes not the addition of image through pictures but the reduction of image through the use of sound. In this case, Broken Tongue<\/i> is about how the sound drives representational acts differently, particularly in regard to sounds that characterize and indicate certain cultural identity. Meaning, the shaping of representation is based on strategic codes in which sound becomes an important part.\u00a0<\/span><\/p>\nBroken Tongue<\/i> is a work that has a chance to be read through its relation with other text. Furthermore, the creation of this work purely employs cinematographic resources. This work can be filmed without a camera recording. This work has its own \u2018uniqueness\u2019 in the cinema tradition thanks to its power in referring to historical resistance of the subaltern group. Its capacity lies in exploring sound and archival images to give a contemporary context from a reading of subaltern\u2019s political cultural claims.<\/span><\/p>\n[\/column]\n[\/accordion_item]\n[accordion_item title=”Films”]\n\n
Sedangkan Today\u2019s Walk \u2013Concrete Aluminum<\/i> adalah gambaran reflektif dari personalitas sang pembuat di mana perlakuan teknik-artistik atas medium karya ini telah menghasilkan efek penekanan monokromatik sangat impresif yang menawarkan kekuatan visi personal yang menitiktekankan eksplorasinya terhadap representasi.\u00a0<\/span><\/p>\n The Moon<\/i> and Banquet of Love <\/i>are two works that explore the medium possibility using an artistic sensibility to open traces of new forms. The personal vision of the maker gives a new and unconventional way of seeing the new possibility and nature of medium particularly analog medium (celluloid), which is explored with a high and exquisite artistic craftsmanship. While Today\u2019s Walk\u2013Concrete Aluminum<\/i> is a reflexive image of the maker\u2019s personality.\u00a0 Technical-artistic treatments of the medium have resulted in a very impressive monochromatic emphasis, which offers a power of personal vision in the act and exploration of representation.\u00a0<\/span><\/p>\n Works that explore various possibilities of representation with the spirit of experimentation demonstrate a range of strategies in using documentary materials for deconstructing certain representation. These works also create a new and different visual interpretation in using documentary materials for representational deconstruction has chances to produce a sort of visual interpretation which essentially different and containing the innovation value. In Code of\u2026 senses<\/i>, violence footage has been deconstructed, following \u2018representational schemes\u2019 in the style of Ernst Gombrich, or in the words of Lev Manovich, as a\u2018numeric representation\u2019, that is footage that has been transformed into pixelate with its own intrinsic values. The impact of that Manovich model pixelation on the representation of violence, from the perspective of representationalism, has created a different image and surely has collapsed its essential meaning that is formed by \u2018representational schemes\u2019 of its digital images\u2019s origin.\u00a0<\/span><\/p>\n One of the most interesting things about these experimental works is an attempt to explore representation from sociological materials. One example is addressing diaspora\u2019s culture by using sound as a source of cinematic construction. Broken Tongue <\/i>shows the filmmaker\u2019s sensibility in using sonic performances in talking about minority-immigrants\u2019 cultures. The exploration of \u2018sound\u2019 in cinema reminds us to the aesthetic dictum of Robert Bresson whose principle emphasizes not the addition of image through pictures but the reduction of image through the use of sound. In this case, Broken Tongue<\/i> is about how the sound drives representational acts differently, particularly in regard to sounds that characterize and indicate certain cultural identity. Meaning, the shaping of representation is based on strategic codes in which sound becomes an important part.\u00a0<\/span><\/p>\n Broken Tongue<\/i> is a work that has a chance to be read through its relation with other text. Furthermore, the creation of this work purely employs cinematographic resources. This work can be filmed without a camera recording. This work has its own \u2018uniqueness\u2019 in the cinema tradition thanks to its power in referring to historical resistance of the subaltern group. Its capacity lies in exploring sound and archival images to give a contemporary context from a reading of subaltern\u2019s political cultural claims.<\/span><\/p>\n[\/column]\n[\/accordion_item]\n[accordion_item title=”Films”]\n
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