Majunya teknologi media ini mendapat perhatian khusus di ARKIPEL Penal Colony – 5th International Documentary and Experimental Film Festival dengan menggelar sebuah diskusi di Forum Festival, untuk Panel I yang bertajuk \u201cAnonimitas, Amatirisme, dan Habitus Gambar Bergerak\u201d. Forum Festival Panel I itu diadakan pada Jumat pagi, 18 Agustus 2017, adalah menjadi panel pertama yang mengawali rangkaian program Forum Festival di ARKIPEL tahun ini. Diisi oleh tiga panelis, yaitu Riar Rizaldi (seniman dan kurator), Anggraeni Widhiasih (penulis dan peneliti), dan Ignatius Haryanto (peneliti dan pengamat media), forum diskusi terbuka ini dihadiri oleh 70 lebih orang yang hampir mengisi penuh kursi bagian tengah GoetheHaus, Jakarta.<\/p>\n
![\"\"](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/5eb9cbac-3b24-4878-b1e7-415492be7999.jpeg?resize=1140%2C760\")
Kiri ke kanan: Manshur Zikri, Anggraeni Widhiasih, Riar Rizaldi, dan Ignatius Haryanto.<\/p><\/div>\n
\u201cTerima kasih dan selamat pagi semuanya, sekarang kita memasuki panel pertama untuk festival forum,\u201d sapa Manshur Zikri, kritikus dan kurator filem sekaligus anggota Forum Lenteng, yang pagi itu menjadi moderator panel tersebut, kepada seluruh peserta yang hadir. \u201cPanel pertama ini diadakan dalam rangka merespon situasi perkembangan teknologi media terkini, di mana produksi gambar bergerak itu sudah menjadi sangat mudah karena perkembangan teknologi itu sendiri.\u201d<\/p>\n
Ignatius Haryanto mengawali pembicaraan mengenai anonimitas pada masa ini, terutama dalam dunia digital. Dunia digital, menurut peneliti senior LSPR dan juga pengajar jurnalistik di Universitas Multimedia Nusantara itu, mengubah banyak sekali hal. Produksi gambar bergerak pun tidak luput berubah karena dunia digital.<\/p>\n
Setiap hari kita menerima gambar bergerak dalam bentuk apa pun. Misalnya, akhir-akhir ini beredar sebuah video amatir tentang seorang aparat di tengah jalan raya menampar helm seorang polisi lalu lintas. Namun, kita tidak mengetahui siapa yang merekam hal tersebut dan membuatnya viral. \u201cDengan perangkat teknologi media saat ini, ada banyak video yang beredar namun kita tidak pernah jelas siapa yang pertama kali membuatnya, dalam konteks apa itu dibuat, dan apa tujuannya. Dalam dunia media kita sering kali menyebutnya sebagai citizen journalist \u2013 <\/em>seseorang yang kebetulan lewat di satu tempat dan kemudian memegang sebuah perangkat yang tepat sehingga bisa mendokumentasikannya,<\/em>\u201c jelasnya.<\/p>\nMenurutnya juga, saat ini masyarakat dunia memainkan tiga peran sekaligus; masyarakat menjadi produsen, distributor sekaligus juga menjadi konsumen dari gambar bergerak pada saaat yang sama. Hal ini mengubah bagaimana kita melihat media. Kata \u2018viral\u2018 kemudian menjadi salah satu kata kunci yang penting karena proses penyebaran \u201cfilem pendek\u201d yang tidak kita ketahui sampai ke mana dan bagaimana dampaknya. Di sinilah anonimitas muncul, terutama karena adanya budaya sharing<\/em> dalam dunia digital.<\/p>\n![\"\"](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/67493d58-82fc-49dd-a7f5-9172af732a26.jpeg?resize=1140%2C760\")
<\/p>\n
Umpan bahasan yang sudah dipaparkan oleh Ignatius diteruskan dengan baik oleh panelis kedua, Anggraeni Widhiasih, anggota Forum Lenteng yang bertanggung jawab untuk Divisi Riset dan Pengembangan, dan adalah seorang lulusan S1 Hubungan Internasional di Universitas Paramadina. Anggra, sapaannya, memfokuskan makalahnya pada pengalaman immersive<\/em> diri sendiri saat menonton gambar bergerak yang dapat terjadi dalam ruang intim, misalnya smartphone <\/em>yang juga saat ini dapat dikatakan sebagai \u201csinema dalam genggaman\u201d. Teknologi digital yang semakin berkembang pesat berbanding lurus dengan sirkulasi gambar pada dunia digital dengan topik dan isu yang kian beragam.<\/p>\n\u201cSebagaimana gambar yang dengan mudah bergerak pada dunia simulasi digital, wacana pun menjadi dengan mudah tersirkulasikan dan menggerakan tubuh-tubuh realita,\u201d papar Anggra dengan mengambil contoh nyata demonstrasi yang terjadi pada mantan gubernur Basuki Tjahaja terkait klaim penistaan agama yang dipicu oleh salah satu sirkulasi video amatir. \u201cMengindikasikan gambar bergerak yang tersirkulasi di dunia digital berimplikasi pula pada mobilisasi isu di dunia non-digital.\u201c<\/p>\n
Ketika teknologi multifungsi smartphone<\/em> muncul, seperti merekam dan menonton di mana saja, orang pun dengan leluasa dapat memproduksi citraan dirinya, lokasinya, dan wacana yang ingin dikemukakannya. Kita pun menonton gambar bergerak yang diproduksi oleh entah siapa, turut merayakannya, dan juga menyebarkannya kembali. Namun, keleluasan ini juga mempunyai risiko tentang subjektivitas dan pengetahuan macam apa yang terbentuk dan untuk siapa keduanya terproduksi.<\/p>\n\u201cKelak barang kali semua akan berusaha menjadi pengkarya pula. Teknologi yang membangun panggung bagi gambar bergerak, teknologi pula yang memutar panggungnya, lalu menyorongkan gambar bergerak kembali kepada publik. Hari ini menjadi pekerjaan rumah kita pula sebagai publik untuk tetap melihat dengan kritis tanpa menutup peluang-peluang yang menyiasati intelegensia teknologi di tengah selebrasi kita atas keleluasaan\u2014yang seolah hadir dalam dan karena perangkat teknologi,\u201c tutup Anggra di akhir bagian makalahnya yang disambut tepukan tangan dari peserta Forum Festival.<\/p>\n
![\"\"](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2017\/08\/b01be9bd-f8d7-4562-bef0-8040b2461445-466x700.jpeg?resize=466%2C700\")
Enggar Paramita, salah satu hadiri yang bertanya kepada panelis.<\/p><\/div>\n
Setelah itu, Riar Rizaldi memaparkan makalahnya di Forum Festival dengan bantuan slide<\/em> yang berjudul \u201cPolitik Citra Resolusi Rendah (Gugatan terhadap Computational Photography<\/em>)\u201d. Menurut seniman dari Bandung ini, dengan pengembangan sistem image<\/em> digital saat ini, resolusi dan piksel menjadi hegemoni bahwa High Definition<\/em> adalah penanda informasi dan itu dapat tersampaikan dengan baik dan menjadi surplus bagi realitas karena semakin jernihnya gambar. Namun sayangnya, lensa kamera dalam sebuah smartphone<\/em> maupun perangkat lainnya berbeda dengan kamera optikal konvensional. Akibatnya, data yang ditangkap oleh lensa smartphone<\/em> merupakan noise<\/em>, yang demi mengatasi hal itu, computational photography<\/em> tercipta.<\/p>\nComputational photography<\/em> mengubah data yang ditangkap oleh lensa melalui beberapa proses yang dikerjakan oleh kecerdasan buatan. Karenanya, produsen smartphone<\/em> berusaha menyingkirkan kamera konvensional dengan fitur-fitur baru mereka setiap tahunnya. Namun sayangnya, computational photography <\/em>ini ternyata awalnya merupakan bagian dari hasil penelitian masif dalam rangka militer, yang memungkinkan hidup kita secara sosial terproyeksi lewat rekayasa citra.<\/p>\nSetelah para pembicara selesai menyampaikan bahasan masing-masing, Manshur Zikri mempersilakan peserta yang ingin bertanya di sesi diskusi. Salah satu pertanyaan menarik muncul dari Enggar Paramita yang menyinggung tentang arah regulasi dan policy<\/em> di Indonesia terkait IT, apakah akan menuju sebuah keseimbangan atau tidak.<\/p>\nMenanggapi penanya, Ignatius berpendapat bahwa umumnya yang dianggap sebagai tindakan \u201cmenjelek-jelekkan\u201d selalu dimasukkan ke dalam ranah UU ITE, padahal mana yang merupakan kritik untuk perbaikan atau kebencian mesti disadari terlebih dahulu. Ignatius juga menekankan pentingan kesadaran tentang \u201csaring sebelum sharing<\/em>\u201d<\/em>. <\/em>Selain itu, keseimbangan pasti akan terjadi ketika kita bisa membuat esensi teknologi sebagai sesuatu yang digunakan untuk kepentingan pemajuan kemanusiaan dan bukan sebaliknya. Tanggapan pun juga datang dari Riar, yang berpendapat bahwa saat ini UU ITE di negara kita masih banyak yang lebih bersifat menghukum semata. Kita perlu menyadari bahwa privasi adalah hak dasar dari kebebasan.<\/p>\nDiskusi pagi itu berlangsung dengan intens, tidak hanya antara para peserta dan panelis, namun juga antara panelis ketika Anggra membenarkan pernyataan Riar sekaligus menjadi penutup Forum Festival, Panel I. ***[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Notes on Festival Forum Panel I”]The progress of media technology today affects all aspects of life, including the habitus of moving images. The easiness in accessing information becomes the early sign of change in the old ‘rules of the game’ in the production, reproduction, and distribution of moving images. While opening the opportunity as wide as possible for content sharing, the boundaries between anonymity and personal identity as well as between amateurs and professionals begin to disguised<\/p>\n
This progress of media technology receives special attention in ARKIPEL Penal Colony – 5th International Documentary and Experimental Film Festival by holding a discussion in Forum festival, for Panel 1 themed \u201cAnonimty, Amateurism, and Habitus of Moving Images\u201d. That Festival Forum Panel 1 held in Friday morning, August 18 2017, was the first panel starting in theseries of Festival Forum program ini ARKIPEL this year. Consisted of three panelists, namely Riar Rizaldi (artist and curator), Anggraeni Widhiasih (author and researcher), and Ignatius Haryanto (researcher and media observer), this open discussion forum was attended by more than 70 people who almost filled the entire middle rows seat of GoetheHaus, Jakarta.<\/p>\n
From left to right: Manshur Zikri, Anggraeni Widhiasih, Riar Rizaldi, and Ignatius Haryanto.<\/p><\/div>\n
“Thank you and good morning everyone, now we are entering the first panel for the forum festival,” said Manshur Zikri, a film critic and curator as well as a member of Forum Lenteng, who that morning moderated the first panel, to all the participants. “The first panel was held in order to respond to the current state of media technology developments, where the production of moving images has become very easy because of the development of the technology itself. ”<\/p>\n
Ignatius Haryanto started the discussion about the anonymity today, especially in the digital world. Digital world, according to this LSPR senior researcher and also a journalistic lecturer at Multimedia Nusantara University, changes a lot of things. The production of moving images also could not escape the change because of digital world.<\/p>\n
Every day we receive moving images of any kind. For example, recently there circulated an amateur video about someone slapping a traffic policeman’s helmet in the middle of a highway. However, we do not know who recorded that and made it viral. “With current media technology devices, there are a lot of videos circulating but it is never clear who first made them, in what context it was created, and what the purpose was. In media, we often call it as citizen journalist – someone who happens to pass in one place and holds the right device to document it, “he explained.<\/p>\n
According to him also, today the world community plays three roles at once; as a producer, distributor as well as consumer of moving images at the same time. This changes how we see the media. The word ‘viral’ then is one of the important keywords due to the process of spreading the “short film” whose destinations and impacts are unknown. This is where anonymity arises, especially because the culture of sharing exists in the digital world.<\/p>\n
<\/p>\n
Ignatius’s presentation was continued well by by the second panelist, Anggraeni Widhiasih, a member of Forum Lenteng responsible for the Division of Research and Development, and is a graduate of International Relations at Paramadina University. Anggra, her nickname, focuses her paper on an immersive self-experience while watching moving images that can occur in intimate spaces, such as smartphone <\/em>that also today can be stated as “cinema in hand.” Digital technology which grows rapidly is commensurable to the circulation of images in the digital world with a variety of topics and issues.<\/p>\n“As the image easily moves in the digital simulation world, discourse becomes easily circulated and moves the bodies of reality,” stated Anggra by taking a real example of a demonstration that happened to the former governor, Basuki Tjahaja, related to claims of blasphemy triggered by the circulation of an amateur video. “Indicating that the moving images circulated in the digital world has implied to the mobilization of issues in the non-digital world.”<\/p>\n
When the multifunction smartphone<\/em> technology emerges, recording and watching might occur anywhere, and anyone can freely produce the image of theirselves, their location, and the discourse they wish to address. We also watch moving images produced by whoever, partake its celebration, and also spread it again. However, this latitude also has the risks on what subjectivity and knowledge formed and for whom both are produced.<\/p>\n“One day, maybe everyone will try to be author too. Technology built the stage for moving images, but technology also turns the stage, then puuls the image back to the public. Today it becomes our homework too, as the public, to keep critically seeing without enclosing the opportunities to outwit the intelligence pf technology in the midst of our celebration on the latitude – which as if presents in and because of technological devices,” Anggra closed her presentation and Festival Forum participants applauded her.<\/p>\n
Enggar Paramita, one of the audiences, asked a question to the panelists.<\/p><\/div>\n
After that, Riar Rizaldi presented his paper on the Festival Forum with the help of a slide entitled “Low Resolution Image Politics (A Claim to Computational Photography<\/em>)”. According to this artist from Bandung, with the development of today’s digital image system, the resolution and pixels become the hegemony that High Definition<\/em> is a sign of information and it can be well conveyed and become a surplus for reality as the image gets clearer. But unfortunately, the camera lens in a smartphone or other devices is different from the conventional optical camera. Thus, the data captured by the smartphone lens is noise<\/em>, which in order to overcome it, computational photography was created.<\/p>\nComputational photography alters the data captured by the lens through several processes performed by artificial intelligence. Therefore, smartphone manufacturers are trying to get rid of conventional cameras by releasing their new features every year. But unfortunately, this computational photography was originally part of the results of massive millitary research, which allows our lives to be socially projected through image engineering.<\/p>\n
After the speakers finished their respective discussions, Manshur Zikri invited the participants to ask questions in the discussion session. One interesting question arises from Enggar Paramita which touches on the direction of regulation and policy in Indonesia related to IT, whether to go to a balance or not.<\/p>\n
Responding to the questions, Ignatius argued that what is generally regarded as an act of “vilifying” is always in the regulation on IT, but a critique to correct or merely is a hate should be understood first. Ignatius also emphasized the awareness of “filter before sharing”. In addition, the balance will surely occur when we can make the essence of technology as something that is used for the benefit of humanity and not vice versa. Response also came from Riar, who argued that the current regulation on IT in our country is still more about punishing only. We need to realize that privacy is a fundamental right of freedom.<\/p>\n
That morning discussion took place intensely, not only between the participants and the panelists, but also between the panelists when Anggra confirmed Riar’s statement and simultaneously make it as closure for the Festival Forum, Panel I. ***[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"
The progress of media technology today affects all aspects of life, including the habitus of moving images. The easiness in accessing information becomes the early sign of change in the old ‘rules of the game’ in the production, reproduction, and distribution of moving images.<\/p>\n","protected":false},"author":129,"featured_media":6983,"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":[370,1],"tags":[338,298,452,340],"class_list":["post-6980","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-festival-theme-arkipel-2017-penal-colony","category-festival-updates","tag-338","tag-festival-forum","tag-panel-1","tag-penal-colony"],"jetpack_publicize_connections":[],"yoast_head":"\n
Notes on Forum Festival, Panel I — 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\/notes-festival-forum-panel\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Notes on Forum Festival, Panel I — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"The progress of media technology today affects all aspects of life, including the habitus of moving images. 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Senang menulis dan bermain musik. Saat ini selain aktif bermusik di unit kegiatan mahasiswa OSUI Mahawaditra, ia juga menjadi relawan reporter untuk ARKIPEL social\/kapital tahun 2016 dan ARKIPEL Penal Colony tahun 2017. - Yosephine Gunawan (Jakarta, October 19, 1996) is a student of German Literature at the Faculty of Humanities, University of Indonesia. She likes writing and playing music. 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