{"id":7089,"date":"2017-08-20T10:22:13","date_gmt":"2017-08-20T03:22:13","guid":{"rendered":"http:\/\/arkipel.org\/?p=7089"},"modified":"2017-08-22T14:24:13","modified_gmt":"2017-08-22T07:24:13","slug":"notes-festival-forum-panel-v","status":"publish","type":"post","link":"https:\/\/arkipel.org\/notes-festival-forum-panel-v\/","title":{"rendered":"Notes on Forum Festival, Panel V"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503316302-1-26″][vc_column_text title=”Catatan tentang Forum Festival, Panel V”]Sabtu, 19 Agustus 2017, merupakan hari kedua sekaligus terakhir dari rangkaian Simposium ARKIPEL Penal Colony<\/em> \u2013 5th<\/sup> Jakarta International Documentary & Experimental Film Festival. <\/em>Panel kelima di Forum Festival ini menjadi penutup rangkaian acara program Forum Festival ARKIPEL dan menghadirkan dua pembicara serta satu moderator. Sebenarnya, dalam pengumuman tertera bahwa akan ada tiga pembicara, namun satu pembicara dari Singapura, Zhang Wenjie, berhalangan hadir karena sedang sakit DBD.<\/p>\n
\"\"

Kiri ke kanan: Otty Widasari (moderator), Mahardika Yudha, dan Andres Denegri.<\/p><\/div>\n

Panel kelima ini dilaksanakan di auditorium utama Goethe-Institute Indonesien, <\/em>Menteng, Jakarta Pusat pada pukul 13.30 \u2013 15.00 WIB. Jumlah pengunjung sekitar enam puluh orang, tidak sebanyak hari pertama. Otty Widasari, selaku komite di ARKIPEL, dipercaya untuk menjadi moderator di panel penutup forum festival ini. Dua pembicara yang hadir untuk berdiskusi bersama para hadirin antara lain adalah Andr\u00e9s Denegri dari Argentina dan Mahardika Yudha dari Indonesia.<\/p>\n

Panel penutup ini mengambil tema yang relevan dengan situasi aktivitas menonton sinema di era milenial ini. Filem, yang selama ini identik termediasi lewat layar, ternyata mengalami perkembangan yang signifikan seiring berkembangnya teknologi, terutama dengan hadirnya internet. Panel ini fokus pada esensi dari aktivitas menonton itu sendiri dan dampak mediasi-mediasi lain yang lebih canggih pada aktivitas pemuataran filem. Pengalaman sinematik pun akhirnya menjadi lebih kaya. Namun, apakah hal tersebut dapat mendegradasi makna sinema itu sendiri?<\/p>\n

Andr\u00e9s Denegri, sebagai panelis pertama, merupakan seorang seniman visual. Ia berkarya lewat filem, video, fotografi, dan instalasi. Saat ini, ia tinggal di Buenos Aires, Argentina. Ia merupakan kurator filem dan video di Museum of Modern Art Buenos Aires.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/p>\n

Dalam presentasinya, ia menayangkan sebuah filem hasil kolaborasinya dengan Gustavo Caprin. Filem ini berjudul This is Just to Say<\/em> yang diunggah secara berkala dan bergantian oleh keduanya seminggu sekali di kanal Youtube dan terdiri dari tiga seri. Filem ini dibuat dalam Bahasa Spanyol dan tergambar cuplikan-cuplikan orang-orang sedang melaksanakan penyempahan yang meriah. Dari filem yang diputarkan, Denegri hendak menunjukkan, tentu saja hal yang terpenting saat ini adalah menyadari bahwa saat ini, manusia memiliki alat-alat yang mampu membawa dia menuju realitas di luar kebudayaannya. Alat yang ia maksud itu adalah sebuah telepon pintar.<\/p>\n

\"\"

Andres Denegeri menayangkan sebuah karya untuk mengelaborasi pandangannya mengenai “mediated film”.<\/p><\/div>\n

Membahas tentang telepon pintar, Denegri memperkenalkan sebuah buku yang begitu berkesan baginya selama berkecimpung di dunia sinema. Buku itu berjudul Expanded Cinema, <\/em>karya Gene Youngblood. Buku ini secara ciamik ditulis pada tahun1970-an dan menjadi referensi yang penting bagi studi mengenai media. Di tahun 70-an, Youngblood mampu menulis hal-hal yang menarik dan penting seputar intermedia network, <\/em>yang saat ini lebih akrab disapa internet, ketika saat itu internet bahkan belum popular. Lewat buku itu, Denegeri menyadari bahwa sinema yang diperluas salah satu faktornya saat ini dipengaruhi oleh smartphone. <\/em>Ia mengatakan bahwa teknologi merupakan semacam alat pembebasan, yang membawa aktivitas menonton dan distribusi sinema menuju hal yang berbeda. Akhirnya, lewat buku Youngblood tadi, Denegri hendak membahas tekstur filem yang termediasi lewat internet, dan menyayangkan jika masyarakat saat ini memiliki alat itu, tapi tidak tahu bagaimana cara menggunakannya.<\/p>\n

Pembicara kedua adalah Mahardika Yudha, seorang kurator, peneliti seni dan filem, serta pendiri Forum Lenteng. Saat ini ia merupakan direktur dari OK Video. Di ARKIPEL 2017 ini sendiri, ia adalah kurator Kultursinema dengan judul \u201cTakdir Huyung\u201d.<\/p>\n

Dalam kesempatannya, ia mengawali pembahasannya tentang tindakan konsumsi dalam aktivitas sinema saat ini yang tidak hanya soal menonton filem saja, tapi juga ketika memproduksi sebuah filem. Ia bersyukur dengan teknologi-teknologi baru yang membuat sinema-sinema di masa lampau dapat diakses dan diarsipkan kembali saat ini.<\/p>\n

Fokus diskusinya di panel terakhir ini adalah munculnya kultur baru dalam aktivitas menonton filem, yakni audiens diajak untuk terlibat secara aktif dalam pameran itu sendiri. Adanya kultur ini baginya masih sebatas gejala saja, terutama di negeri ini. Secara tradisional, aktivitas menonton dideskripsikan dengan audiens yang duduk di ruang gelap dan menonton sinema di layar besar yang disorot dari belakang. Namun, sekarang kulturnya sudah mulai berubah, contohnya saja, saat ini kita bisa menonton filem di Netflix lewat laptop atau bahkan lewat telepon genggam. Pembicaraan Mahardika Yudha diakhiri dengan pertanyaan yang dilontarkannya, yakni bagaimana kemudian audiens bisa keluar untuk terlibat lebih jauh dalam sinema, dan bagaimana layar tidak hanya sebagai ruang representasi saja, dan dapat menjadikan layar tidak hanya sebagai pembatas durasi atau pembatas dari peristiwa.<\/p>\n

Setelah pembicara memaparkan materinya, diskusi yang terjadi antara audiens dan panelis berlangsung cukup seru. Zikri, salah satu kurator ARKIPEL, menanggapi bahwa konteks \u201cmediated film<\/em>\u201d adalah bukan sekadar pembahasan mengenai media-media baru yang memediasi sinema, tapi cara pikir dan penyikapan terhadapnya juga harus terbarukan. Denegri pun menaggapi balik tanggapan Zikri ini dengan sebuah penyetujuan. Baginya, expanded cinema <\/em>tidak hanya soal teknologi yang terbarukan, tapi juga merupakan sebuah alat untuk memperluas kesadaran para audiensnya.<\/p>\n

Ugeng, salah satu komite di ARKIPEL pun menanggapi balik diskusi yang sudah berjalan dengan memprovokasi, apakah jangan-jangan konsep \u201cketerlibatan penonton dalam sinema\u201d yang coba dijelaskan Mahardika Yudha justru bisa mengembalikan kita kepada tradisi teater? Sebab, dalam diskusi sebelumnya Mahardika Yudha sempat berpendapat bahwa sinema yang diperluas merupakan upaya untuk tidak menjadikan audiens hanya pasif saja terhadap pertunjukkan, tapi diiringi pula dengan teknologi yang lebih canggih dalam aktivitasnya. Menurut Ugeng, dalam teater, teknologi sekiranya tidak perlu menggunakan alat-alat canggih, namun audiens jelas tidak pasif ketika menonton. Lalu, ia pada akhirnya mencurigai bahwa jangan-jangan, pengertian yang lebih tepat tentang \u201csinema yang diperluas\u201d adalah justru ingatan-ingatan komunal yang dipersatukan kembali melalui suatu tindakan, bisa lewat fisik, bisa juga lewat imajinasi yang menggugah, yang kesemua itu dimungkinkan oleh teknologi internet masa kini, salah satunya adalah Youtube.<\/p>\n

Pada akhirnya, panel ini ditutup dengan suatu kesimpulan bahwa teknologi, terutama audio visual, memang diciptakan untuk mendekatkan realitas kepada realitas. Saat ini, manusia bahkan terus mengembangkan teknologi sampai ke genggamannya atau sakunya. Seni bertugas untuk membingkai itu semua dan upaya pengembangannya dengan bantuan dari teknologi, yang pada akhirnya tidak sampai mereduksi makna sinema itu sendiri. ***[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503316302-2-25″][vc_column_text title=”Notes on Festival Forum, Panel V”]Saturday, August 19, 2017, is the second and final day of Forum Festival on ARKIPEL Penal Colony – 5th Jakarta International Documentary & Experimental Film Festival. The fifth panel in Forum Festival is the closure of series of events of ARKIPEL Forum Festival program and it presented two speakers and one moderator. Actually, the announcement stated that there would be three speakers, but one speaker from Singapore, Zhang Wenjie, was unable to come because of having Dengue Fever.<\/p>\n

\"\"

From left to right: Otty Widasari (moderator), Mahardika Yudha, and Andres Denegri.<\/p><\/div>\n

The fifth panel was held in the main auditorium of Goethe-Institute Indonesien, Menteng, Central Jakarta at 13.30 – 15.00 WIB. The number of visitors was about sixty people, not as much as the first day. Otty Widasari, as a committee of ARKIPEL, was trusted to be the moderator in this closing panel of forum festival. The two speakers who came to discuss with the participants were Andr\u00e9s Denegri from Argentina and Mahardika Yudha from Indonesia.<\/p>\n

This closing panel took on theme relevant to the situation of the activity on watching cinema in this millennial era. Film, which is identically known mediated through the screen, has evolved significantly as technology evolves, especially with the presence of internet. This panel focuses on the essence of the activity of watching itself and the impact of other more sophisticated mediations on film screening activities. The cinematic experience eventually gets richer. However, will it degrade the meaning of cinema itself?<\/p>\n

Andr\u00e9s Denegri, as the first speaker, is a visual artist. He works through film, video, photography, and installation. Currently, he lives in Buenos Aires, Argentina. He is a film and video curator at the Museum of Modern Art Buenos Aires.<\/p>\n

In his presentation, he screened a film from his collaboration with Gustavo Caprin. The film is titled “This is Just to Say” which is uploaded periodically and alternately by both once a week on the Youtube channels and it consists of three series. This film is made in Spanish and is illustrated by footage of people performing a festive ritual. From the film screened, Denegri wanted to show, of course the most important thing now, is to realize that today, humans have the tools able to bring them to a reality outside their cultures. The tool meant here is a smartphone.<\/p>\n

\"\"

Andres Denegeri showed a work to elaborate his view on concept of “mediated film”.<\/p><\/div>\n

Discussing the smartphone, Denegri introduced a book that was very memorable for him during his time in the world of cinema. The book’s title is Expanded Cinema<\/em>, by Gene Youngblood. This book was very well-written in the 1970s and became an important reference for media studies. In the 70s, Youngblood was able to write interesting and important things about the intermedia network, which is now more familiarly called as internet, when the internet was not even popular. Through the book, Denegeri realizes that the expanded cinema was influenced by, one of it, smartphones. He said that technology is a kind of liberation tool, which brings the activity of watching and distributing cinema set off to different things. Finally, through Youngblood’s book, Denegri discussed the texture of film mediated through the internet, and regretted if the current society has that tool, but do not know how to use it.<\/p>\n

The second speaker was Mahardika Yudha, a curator, art and film researcher, and founder of Forum Lenteng. Currently he is the director of OK Video. In ARKIPEL 2017 itself, he is the curator of Kultursinema exhibition under the title “Fate of Huyung”.<\/p>\n

On this occasion, he began his discussion on the act of consuming in the current cinema activity which is not just about watching films, but also when producing a film. He is grateful for the new technologies that make cinema in the past are accessible and re-archived today.<\/p>\n

The focus of his discussion in this final panel is the emergence of a new culture in the activities of watching films, where the audiences are invited to be actively involved in the exhibition itself. The existence of this culture, for him, is still limited to only its symptoms, especially in this country. Traditionally, the activity of watching is described with an audience sitting in a dark room and watching cinema on a large screen highlighted from behind. However, now the culture has begun to change, for example, now we can watch movies on Netflix via laptop or even via mobile phone. Mahardika Yudha’s presentation was concluded with the question he asked; how then the audience can go to engage further in cinema, and how the screen is not only a space of representation, and how to make the screen to be not only a barrier of duration or of events.<\/p>\n

After the speakers explained their materials, the discussion which occurred between the participants and the speakers was quite exciting. Zikri, one of the ARKIPEL curators, responded that the “mediated film” context is not just a discussion of new media mediating cinema, but the way of thinking and attitude toward it must also be renewable. Denegri also responded to Zikri’s response with an approval. For him, expanded cinema is not just about renewable technology, but also a tool to broaden the awareness of its audience.<\/p>\n

Ugeng, one of the committees in ARKIPEL, responded the ongoing discussions by provoking whether the concept of “audience involvement in cinema” that Mahardika Yudha tried to explain, in fact, brings us back to the tradition of theater? Because, in previous discussions, Mahardika Yudha argued that the expanded cinema is an attempt not to make the audience is only passive to the performance, but also attended by more sophisticated technology in their activities. According to Ugeng, in theater, the technology is unnecessary to use sophisticated tools, but the audience is clearly not passive when watching. Then, he ultimately suspected that perhaps, a more precise notion of “expanded cinema” is that communal memories are reunited through an act, either through physicality, or through evocative imagination, which is made possible by today’s internet technology, one of them is Youtube.<\/p>\n

Ultimately, the panel was terminated with a conclusion that technology, especially audio-visual ones, was created to bring reality closer to reality. Currently, people are even continuing to develop the technology up to their grip or pocket. Art is responsible for framing it all and its development efforts with the help of technology, which ultimately does not reduce the meaning of the cinema itself. ***[\/vc_column_text][\/vc_tab][\/vc_tabs][vc_gallery type=”flexslider_slide” interval=”3″ images=”7099,7098,7097,7096,7095,7094,7093,7092″ img_size=”full” title=”Gallery”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

This closing panel took on theme relevant to the situation of the activity on watching cinema in this millennial era. Film, which is identically known mediated through the screen, has evolved significantly as technology evolves, especially with the presence of internet. This panel focuses on the essence of the activity of watching itself and the impact of other more sophisticated mediations on film screening activities. The cinematic experience eventually gets richer. 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Aktif menulis dan telah terjun ke dunia jurnalistik sejak SMA. Kuliah dan menjadi penulis lepas khususnya dalam isu sosial dan HAM adalah kesibukannya saat ini. - Agatha Danastri Dian Pertiwi or Tiwi (30 Desember 1994) is a Philosophy Student in Driyarkara School of Philosophy. She is active in writing and has been involved in journalism since senior high. 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