{"id":8594,"date":"2018-08-03T11:18:11","date_gmt":"2018-08-03T04:18:11","guid":{"rendered":"http:\/\/arkipel.org\/?p=8594"},"modified":"2018-08-10T15:43:19","modified_gmt":"2018-08-10T08:43:19","slug":"arkipel-homoludens-special-screening-02","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/","title":{"rendered":"Special Screening – 02"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1533266927573{margin-bottom: 0px !important;}”]\n

The Cinema of Harun Farocki: Collage of Representation<\/strong>
\nSinema Harun Farocki: Kolase Representasi<\/em><\/h1>\n

Hosts: Anggraeni Widhiasih – Michael Baute<\/strong><\/p>\n

Program 1: Friday, August 10, 2018 | 04:00 pm | GoetheHaus
\nProgram 2: Monday, 13, August 10, 2018 | 04:00 pm | GoetheHaus<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_accordion style=”modern” spacing=”2″ c_align=”center” c_icon=”” active_section=”0″ no_fill=”true” collapsible_all=”true”][vc_tta_section i_icon_fontawesome=”fa fa-plus” add_icon=”true” title=”Read Introduction Essay Here” tab_id=”1532963411840-b5b836d5-3d74″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533266973619{margin-bottom: 0px !important;}”]\n

Perjumpaan awal saya dengan karya-karya Harun Farocki bermula pada sebuah undangan untuk berpartisipasi dalam sebuah akademi temporer yang diselenggarakan oleh Harun Farocki Institut di Berlin pada nyaris setahun lalu. Perjumpaan itu menghasilkan cukup banyak keterkejutan sebab pada karya-karya tersebut dihadirkan gambar-gambar yang secara konsep terasa familiar sebelumnya, namun kemudian menjadi terasa ganjil dan mengganggu setelah mereka tersusun ulang dalam kerangka kekaryaan Farocki.<\/p>\n

Dalam diskusi-diskusi kala itu mengenai karya Harun Farocki, akan sulit rasanya berbincang tanpa lepas dari sejarah akan gambar-gambar itu sendiri, sejarah akan si representasi. Dalam 70 tahun hidupnya yang dihabiskan separuhnya dengan membuat lebih dari 120 filem dan karya instalasi, Farocki kerap bekerja dengan berbagai material baik yang dihasilkan olehnya sendiri ataupun oleh orang lain. Sejak tahun 1966 hingga 2013, tahun-tahun di mana ia secara aktif membuat filem, kerja estetiknya terus mengalami pergeseran seiring dengan perkembangan teknologi penghasil gambar. Produksinya dilakukan mulai dari penggunaan kamera secara klasik, susun-menyusun found footage<\/i>, hingga penggunaan gambar-gambar digital yang hadir pada video game<\/i>. Sering kali, bahkan, karyanya tampak sebagai kolase yang masif akan berbagai gambar \u2013 yang bergerak maupun diam \u2013 yang diproduksi di sana-sini oleh berbagai aparatus, terawasandikan hingga maknanya justru melampaui bentuk representasinya semula.<\/p>\n

Pekerjaannya dengan sekumpulan representasi ditujukan untuk membongkar representasi itu sendiri. Ia membawa pandangan mata kita sebagai penonton untuk turut terus-menerus membedah gambar tersebut dengan tanpa ampun. Seperti sebuah misi pelacakan yang intens terhadap gambar dan seluruh sejarah yang melingkupinya. Gambar, yang mulanya hadir sebagai bentuk rekaman atas sejarah manusia, pada akhirnya hadir dengan sejarahnya sendiri yang berbicara bahkan melampaui sejarah manusia. Ia adalah rekaman atas sejarah mesin, sejarah kerja, sejarah berbagai relasi, sejarah peradaban dunia. Sehingga tak jarang, uraian representasi pada karya Farocki justru tersandikan ulang sebagai sebuah penemuan baru, baik itu temuan yang sifatnya estetis maupun yang sifatnya realis-politis, sebuah simulasi akan kehidupan yang kenampakannya hadir melalui gambar.<\/p>\n

How to Live in FRG <\/i>(1990), Workers Leaving the Factory <\/i>(1995), Serious Games IV: A Sun Without Shadow <\/i>(2010) dan Parallel I<\/i> (2012) merupakan empat karya yang akan dihadirkan dalam program penayangan khusus di ARKIPEL homoludens.<\/i> Keempatnya, adalah bagian kecil dari karya-karya Harun Farocki, memperlihatkan kolase rekaman kehidupan peradaban manusia beserta teknologinya dengan segala realitas sekitarnya, kerap kali justru tampak simulatif ketimbang realistis.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533267030562{margin-bottom: 0px !important;}”]\n

My early encounter with Harun Farocki\u2019s works was started from an invitation to participate in a temporary academy organized by the Harun Farocki Institut in Berlin, nearly a year ago. That encounter produced surprises on me, for his works bring about images which are conceptually familiar at first, but then turn into something uncanny and even disturbing after they are re-arranged into the frame of Farocki.<\/span><\/p>\n

In the later discussions about his works, it would be difficult to talk about it without also talking about the history of the images, history of representation. In the 70 years of his life spent mostly by making more than 120 films and installations, Farocki often works with various material either produced by himself or by others. Since 1966 until 2013, years where he actively made films, his mode of production has continued to shift along with the development of image-producing technology. Usage of the camera in classical modes, of found footages, until the usage of digital images from video games, are the modes of production in his works from time to time. Often, even, his works seem to be a massive collage of [both still and moving] images produced in anywhere by various apparatus, which are decoded until their meaning are beyond their original form of representation.<\/span><\/p>\n

His labour with collections of representations is intended to dismantle the representation itself. Guiding the eyes of the spectators to also continuously dissect the representation mercilessly. Like an intense mission of tracking the image and the entire history surrounding it. The image, which formerly came as a recording of human history, eventually comes with its own history that speaks even beyond human history. He is a recording on the history of the machine, history of work, history of many relations, history of world civilization. It is no wonder that very often, results from the scrutiny of representation in Farocki\u2019s work are encoded into new findings, both as aesthetic or realist-political findings, a simulation of the life which its materialization present through images.<\/span><\/p>\n

How to Live in FRG <\/i>(1990), Workers Leaving the Factory <\/i>(1995), Serious Games IV: A Sun Without Shadow <\/i>(2010) and Parallel I<\/i> (2012) are the four works to be presented in a special screening program on Arkipel homoludens<\/i>. These four works, which are a small part of Harun Farocki\u2019s works, exhibiting collage of the recording on the human civilization\u2019s life and its technology with all their surrounding realities, often seem simulative rather than realistic.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_accordion][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Program 1: GoetheHaus – Jakarta \/ 10 August 2018, 16.00 GMT+7″ color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8595″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533890547762{margin-bottom: 0px !important;}”]\n

How to Live in the FRG<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Harun Farocki<\/strong> (Germany)
\nCountry of Production<\/em>\u00a0\u00a0Germany<\/strong>
\nLanguage<\/em>\u00a0\u00a0German<\/strong>
\nSubtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

83 min, 1990<\/p>\n

\u00a9 Still Photo: “How to Live in the FRG”, Harun Farocki, 1990<\/i><\/h6>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533267757794{margin-bottom: 0px !important;}”]\n

Sang sutradara menyusun sebuah filem genre tentang Jerman Barat kontemporer dimana cuplikan-cuplikan adegannya memperlihatkan kehidupan yang disimulasikan, kemampuan\/daya tahan diuji. Kemana pun mata memandang, orang-orang nampak sebagai aktor yang memainkan peran diri mereka sendiri; masing-masing orang punya peran. Sebuah drama di teater kehidupan yang terdiri dari kursus pelatihan, tes kebugaran terhadap alat-alat dan orang-orang. Baik itu dalam kelas persiapan kelahiran untuk calon orang tua atau dalam latihan cara menjual bagi staf pemasaran, di tempat pelatihan militer atau memainkan peran untuk tujuan pendidikan. Di mana-mana, upaya tak henti-henti dipersiapkan untuk darurat menghadapi \u201crealitas\u201d dapat kita dirasakan.<\/p>\n

\u2014<\/i><\/p>\n

Sinopsis ini diambil dari situs web Harun Farocki (https:\/\/www.harunfarocki.de\/)<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533268024088{margin-bottom: 0px !important;}”]The author assembles a genre picture of the contemporary FRG with shots of scenes where life is rehearsed, ability\/durability is tested. Wherever one looks, people appear as actors playing themselves; they take on roles. A play in the theater of life made up of training courses, fitness tests for things and people. Be it in birth preparation classes for expectant parents or in practice runs for sales talks, on the military training ground or during role-plays for educational purposes. Everywhere the incessant effort to be prepared for the emergency of \u201creality\u201d can be felt.<\/span><\/p>\n

\u2014<\/span><\/p>\n

This synopsis was retrieved from the website of Harun Farocki (https:\/\/www.harunfarocki.de\/)<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_text_separator title=”Program 2: GoetheHaus – Jakarta \/ 13 August 2018, 16.00 GMT+7″ color=”black” border_width=”3″][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1533267871241-7b59e5c2-c3f3″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8598″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533890561441{margin-bottom: 0px !important;}”]\n

Workers Leaving the Factory<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Harun Farocki<\/strong> (Germany)
\nCountry of Production<\/em>\u00a0\u00a0Germany<\/strong>
\nLanguage<\/em>\u00a0\u00a0German<\/strong>
\nSubtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

36 min, B\/W, 1995<\/p>\n

Still Photo: “Workers Leaving the Factory” \u00a9 Harun Farocki, 1995<\/i><\/h6>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533267988910{margin-bottom: 0px !important;}”]\n

Workers Leaving the Factory<\/i> adalah judul filem pertama yang dipertontonkan ke publik. Selama 45 detik, gambar bergerak ini memperlihatkan para pekerja pabrik di Lyon, yang dimiliki oleh Lumi\u00e8re bersaudara, bergegas keluar dari bayang-bayang gerbang pabrik. Namun di filem ini, dalam gerak itu, para pekerja terlihat sebagai kelompok sosial. Tapi ke mana mereka pergi? Pergi rapat? Ke barikade? Atau sekedar pulang ke rumah? Pertanyaan-pertanyaan ini telah menyibukkan para pembuat filem dokumenter lintas generasi. Mengingat area di depan gerbang pabrik selalu menjadi tempat konflik sosial. Dan lebih jauh lagi, adegan ini telah menjadi ikon dari medium bernarasi dalam sejarah sinema.<\/p>\n

\u2014<\/i><\/p>\n

Sinopsis ini diambil dari situs web Harun Farocki<\/i> (https:\/\/www.harunfarocki.de\/)<\/i><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533268039563{margin-bottom: 0px !important;}”]Workers Leaving the Factory was the title of the first film ever shown in public. For 45 seconds, this sequence depicts workers at the factory in Lyon owned by the Lumi\u00e8re brothers hurrying out of the shadows of the factory gates. Only here, in departing, are the workers visible as a social group. But where are they going? To a meeting? To the barricades? Or simply home? These questions have preoccupied generations of documentary filmmakers. For the space before the factory gates has always been the scene of social conflicts. And furthermore, this sequence has become an icon of the narrative medium in the history of the cinema.<\/span><\/p>\n

\u2014<\/span><\/p>\n

This synopsis was retrieved from the website of Harun Farocki (https:\/\/www.harunfarocki.de\/)<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1533268105421-f5122859-8d82″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8597″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533890572043{margin-bottom: 0px !important;}”]\n

Serious Games IV: A Sun without Shadow<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Harun Farocki<\/strong> (Germany)
\nCountry of Production<\/em>\u00a0\u00a0Germany<\/strong>
\nLanguage<\/em>\u00a0\u00a0German<\/strong>
\nSubtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

8 min, color, 2010<\/p>\n

Still Photo: “Serious Games 4, A Sun with no Shadow” \u00a9 Harun Farocki 2010<\/i><\/h6>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533268162098{margin-bottom: 0px !important;}”]\n

Serious Games IV<\/i> meninjau fakta bagaimana gambar-gambar rekaman dari persiapan perang sangat mirip dengan gambar-gambar dari evaluasi sesudah perang. Tetapi ada perbedaan: program untuk memperingati pengalaman traumatis pascaperang harganya agak lebih murah. Tidak ada bayangan dari apapun atau siapapun di sini.<\/p>\n

Film ini adalah bagian dari karya instalasi, Serious Games<\/i>.<\/p>\n

\u2014<\/i><\/p>\n

Sinopsis ini diambil dari situs web Harun Farocki (https:\/\/www.harunfarocki.de\/)<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533268188123{margin-bottom: 0px !important;}”]Serious Games IV considers the fact that the pictures with which preparations were made for war are so very similar to the pictures with which war was evaluated afterward. But there is a difference: The program for commemorating traumatic experiences is somewhat cheaper. Nothing and no-one casts a shadow here.
\nThis film is part an installation work, Serious Games.<\/span><\/p>\n

\u2014<\/span><\/p>\n

This synopsis was retrieved from the website of Harun Farocki (https:\/\/www.harunfarocki.de\/)<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1533268198004-fdca3ed6-f333″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8596″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533890590128{margin-bottom: 0px !important;}”]\n

Parallel I<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Harun Farocki<\/strong> (Germany)
\nCountry of Production<\/em>\u00a0\u00a0Germany<\/strong>
\nLanguage<\/em>\u00a0\u00a0German<\/strong>
\nSubtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

16 min, color, 2012<\/p>\n

Still Photo: “Parallel I” \u00a9 Harun Farocki 2012<\/i><\/h6>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533268259395{margin-bottom: 0px !important;}”]\n

Karya seri empat bagian ini berkaitan dengan genre citra animasi komputer. Animasi komputer saat ini menjadi model umum yang melebihi filem. Dalam filem, ada angin yang bertiup dan angin yang dihasilkan oleh mesin. Citra dari komputer tidak mengenal dua jenis angin seperti itu.<\/p>\n

Parallel I<\/i> membuka sejarah gaya dalam grafik komputer. Game<\/i> pertama tahun 1980-an terdiri dari hanya garis horizontal dan vertikal. Abstraksi ini dilihat sebagai kegagalan, hingga kemudian representasi hari ini berorientasi pada foto-realisme.<\/p>\n

\u2014<\/i><\/p>\n

Sinopsis ini diambil dari situs web Harun Farocki (https:\/\/www.harunfarocki.de\/)<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533268281386{margin-bottom: 0px !important;}”]\n

The four-part cycle Parallel<\/i> deals with the image genre of computer animation. Computer animations are currently becoming a general model, surpassing film. In films, there is the wind that blows and the wind that is produced by a wind machine. Computer images do not have two kinds of wind.<\/span><\/p>\n

Parallel I <\/i>opens up a history of styles in computer graphics. The first games of the 1980\u2019s consisted of only horizontal and vertical lines. This abstraction was seen as a failing, and today representations are oriented towards photo-realism.<\/span><\/p>\n

\u2014<\/i><\/span><\/p>\n

This synopsis was retrieved from the website of Harun Farocki (https:\/\/www.harunfarocki.de\/)<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Hosts” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8164″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533268710848{margin-bottom: 0px !important;}”]\n

Anggraeni Widhiasih<\/b> (1993) meraih gelar S1 Hubungan Internasional di Universitas Paramadina. Saat ini ia adalah anggota Forum Lenteng yang bertanggung jawab untuk Divisi Riset dan Pengembangan. Ia juga berpartisipasi dalam Program Diorama \u2013 AKUMASSA dan dalam program lokakarya filem oleh Forum Lenteng \u2013 Milisifilem. Ia juga anggota peneliti di Koperasi Riset Purusha.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533268734332{margin-bottom: 0px !important;}”]\n

Anggraeni Widhiasih<\/b> (1993) achieved her Bachelor Degree of International Relations study from Paramadina University. She is currently an active member of Research and Development program at Forum Lenteng. She participates in Diorama project by AKUMASSA and in a film workshop by Forum Lenteng \u2013 Milisifilem. She is also a member of Koperasi Riset Purusha.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8600″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533268553691{margin-bottom: 0px !important;}”]Michael Baute <\/em><\/strong>merupakan seorang penulis, pengajar, pekerja media, dan kurator. Ia mempublikasikan teks, artikel, kebanyakan tentang sinema, dalam buku, katalog, dan majalah sejak 1992 (seperti di Jungle World, Sigi-Goetz Entertainment, Cargo, kolik.film, tip Berlin and taz). Pada 2001 ia turut mendirikan weblog newfilmkritik.de. Antara 1996-2004 ia banyak berkecimpung di produksi film sebagai peneliti, pencatat adegan, manajer produksi, asisten sutradara, dan supir produksi selama produksi film-film dari Thomas Arslan, Harun Farocki, Christian Petzold, Angela Schanelec, dan lain-lain. Pada 2006 ia menjadi co-editor (dengan Volker Pantenburg) buku \u201cMinutentexte. The Night of the Hunter\u201d (Berlin: Brinkmann und Bose). Ia juga turut menulis drama radio \u201cMinutentexte\u201d pada 2008. \u201cThe Night of the Hunter\u201d mendapat nominasi untuk ARD-H\u00f6rspielpreis 2008 dan Preis der deutschen Kriegsblinden 2009. Sejak 2010, ia mengadakan seminar dan lokakarya di sekolah film dan seni serta di universitas.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533268615363{margin-bottom: 0px !important;}”]Michael Baute<\/em><\/strong> is an author, lecturer, media-worker and curator. He publishes texts and articles, mostly on cinema, in books, catalogues, magazines since 1992 (e.g. in Jungle World, Sigi-Goetz Entertainment, Cargo, kolik.film, tip Berlin and taz). In 2001 he co-founded the weblog newfilmkritik.de. Between 1996 and 2004 he did several activities in film production such as researcher, script-continuity, production manager, asssistant director and production driver during the production of films by Thomas Arslan, Harun Farocki, Christian Petzold, Angela Schanelec and others. In 2006 he was a co-editor (with Volker Pantenburg) of the book \u201cMinutentexte. The Night of the Hunter\u201d (Berlin: Brinkmann und Bose). He was a co-author of the radioplay \u201cMinutentexte\u201d in 2008. \u201cThe Night of the Hunter\u201d was nominated for the ARD-H\u00f6rspielpreis 2008 and the Preis der deutschen Kriegsblinden 2009. Since 2010 he conducts seminars and workshops in film\/artschools and universities.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_text_separator title=”About Harun Farocki” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8599″ img_size=”full”][vc_column_text css=”.vc_custom_1533270683455{margin-bottom: 0px !important;}”]\n

Photo credit Harun Farocki:<\/h6>\n
By \u0410\u043d\u0434\u0440\u0435\u0439 \u0420\u043e\u043c\u0430\u043d\u0435\u043d\u043a\u043e – Own work, CC BY-SA 3.0,
\nhttps:\/\/commons.wikimedia.org\/w\/index.php?curid=27249900<\/h6>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533268785221{margin-bottom: 0px !important;}”]\n

Harun Farocki (1944-2014)<\/i><\/b> adalah seorang pembuat filem, seniman video, dan penulis asal Jerman kelahiran Ceko. Sejak 1966, ia telah menyutradarai lebih dari 120 filem, mulai dari filem dokumenter pendek dan dokumenter panjang, esai filem dan banyak karya instalasi. Karya-karyanya banyak yang menggunakan gambar-gambar yang telah ada untuk membahas berbagai isu tentang bagaimana kehidupan dibangun dan visual dihasilkan. Dia menulis untuk berbagai publikasi dan merupakan editor serta penulis majalah Filmkritik<\/i> (M\u00fcnchen) pada 1974-1984. Karya-karyanya telah membuatnya dianggap sebagai lebih dari seorang pengkarya; ia adalah pemikir dan filsuf yang pemikirannya telah berkontribusi besar terhadap kajian gambar, politik, dan estetika dunia secara umum.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533268816678{margin-bottom: 0px !important;}”]\n

Harun Farocki (1944-2014) <\/i><\/b>is a Czech-born German filmmaker, video artist, and writer. Since 1966, he has directed more than 120 films ranging from short and feature documentary, film essay and multiple works of installations. Many of his oeuvre deals with the existed images to discuss numerous issues on how life is construct and visuals are produced. He wrote for various publications and was the editor as well as author of the magazine Filmkritik<\/i> (M\u00fcnchen) from 1974 to 1984. His works have made him considered as beyond maker; he is thinker and philosopher whose thoughts have contributed immensely to the school of images, of politics, of the world aesthetic in general.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

My early encounter with Harun Farocki\u2019s works was started from an invitation to participate in a temporary academy organized by the Harun Farocki Institut in Berlin, nearly a year ago. That encounter produced surprises on me, for his works bring about images which are conceptually familiar at first, but then turn into something uncanny and even disturbing after they are re-arranged into the frame of Farocki.<\/p>\n","protected":false},"author":1,"featured_media":8604,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Special Screening - 02: The Cinema of Harun Farocki","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[479,350],"tags":[480,481,472],"class_list":["post-8594","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arkipel-2018-homoludens","category-special-screening","tag-480","tag-homoludens","tag-special-screening"],"jetpack_publicize_connections":[],"yoast_head":"\nSpecial Screening - 02 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"My early encounter with Harun Farocki\u2019s works was started from an invitation to participate in a temporary academy organized by the Harun Farocki Institut in Berlin, nearly a year ago. That encounter produced surprises on me, for his works bring about images which are conceptually familiar at first, but then turn into something uncanny and even disturbing after they are re-arranged into the frame of Farocki.\" \/>\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\/arkipel-homoludens-special-screening-02\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Special Screening - 02 — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"My early encounter with Harun Farocki\u2019s works was started from an invitation to participate in a temporary academy organized by the Harun Farocki Institut in Berlin, nearly a year ago. That encounter produced surprises on me, for his works bring about images which are conceptually familiar at first, but then turn into something uncanny and even disturbing after they are re-arranged into the frame of Farocki.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/\" \/>\n<meta property=\"og:site_name\" content=\"ARKIPEL\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/arkipel.festival\/\" \/>\n<meta property=\"article:author\" content=\"http:\/\/facebook.com\/arkipel.festival\" \/>\n<meta property=\"article:published_time\" content=\"2018-08-03T04:18:11+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-08-10T08:43:19+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/harun-farocki.gif?fit=1100%2C458&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"1100\" \/>\n\t<meta property=\"og:image:height\" content=\"458\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/gif\" \/>\n<meta name=\"author\" content=\"Arkipel\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@http:\/\/twitter.com\/arkipel\" \/>\n<meta name=\"twitter:site\" content=\"@arkipel\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Arkipel\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/\"},\"author\":{\"name\":\"Arkipel\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef\"},\"headline\":\"Special Screening – 02\",\"datePublished\":\"2018-08-03T04:18:11+00:00\",\"dateModified\":\"2018-08-10T08:43:19+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/\"},\"wordCount\":3094,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/harun-farocki.gif?fit=1100%2C458&ssl=1\",\"keywords\":[\"2018\",\"homoludens\",\"Special Screening\"],\"articleSection\":[\"ARKIPEL 2018 - homoludens\",\"Special Screening\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/\",\"url\":\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/\",\"name\":\"Special Screening - 02 — ARKIPEL\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/harun-farocki.gif?fit=1100%2C458&ssl=1\",\"datePublished\":\"2018-08-03T04:18:11+00:00\",\"dateModified\":\"2018-08-10T08:43:19+00:00\",\"description\":\"My early encounter with Harun Farocki\u2019s works was started from an invitation to participate in a temporary academy organized by the Harun Farocki Institut in Berlin, nearly a year ago. That encounter produced surprises on me, for his works bring about images which are conceptually familiar at first, but then turn into something uncanny and even disturbing after they are re-arranged into the frame of Farocki.\",\"breadcrumb\":{\"@id\":\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#primaryimage\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/harun-farocki.gif?fit=1100%2C458&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/harun-farocki.gif?fit=1100%2C458&ssl=1\",\"width\":1100,\"height\":458},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/arkipel.org\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Special Screening – 02\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/arkipel.org\/#website\",\"url\":\"https:\/\/arkipel.org\/\",\"name\":\"ARKIPEL\",\"description\":\"Jakarta International Documentary and Experimental Film Festival\",\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/arkipel.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/arkipel.org\/#organization\",\"name\":\"Arkipel\",\"url\":\"https:\/\/arkipel.org\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"width\":901,\"height\":351,\"caption\":\"Arkipel\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/arkipel.festival\/\",\"https:\/\/x.com\/arkipel\",\"https:\/\/www.instagram.com\/arkipel\/\",\"https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef\",\"name\":\"Arkipel\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g\",\"caption\":\"Arkipel\"},\"description\":\"ARKIPEL - Jakarta International Documentary & Experimental Film Festival, held in Indonesia by Forum Lenteng. This festival is a open space of cinema and media discourse in general, especially documentary and experimental film genre.\",\"sameAs\":[\"http:\/\/arkipel.org\/\",\"http:\/\/facebook.com\/arkipel.festival\",\"https:\/\/x.com\/http:\/\/twitter.com\/arkipel\"],\"url\":\"https:\/\/arkipel.org\/people\/arkipel\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Special Screening - 02 — ARKIPEL","description":"My early encounter with Harun Farocki\u2019s works was started from an invitation to participate in a temporary academy organized by the Harun Farocki Institut in Berlin, nearly a year ago. That encounter produced surprises on me, for his works bring about images which are conceptually familiar at first, but then turn into something uncanny and even disturbing after they are re-arranged into the frame of Farocki.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/","og_locale":"en_US","og_type":"article","og_title":"Special Screening - 02 — ARKIPEL","og_description":"My early encounter with Harun Farocki\u2019s works was started from an invitation to participate in a temporary academy organized by the Harun Farocki Institut in Berlin, nearly a year ago. That encounter produced surprises on me, for his works bring about images which are conceptually familiar at first, but then turn into something uncanny and even disturbing after they are re-arranged into the frame of Farocki.","og_url":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/","og_site_name":"ARKIPEL","article_publisher":"https:\/\/www.facebook.com\/arkipel.festival\/","article_author":"http:\/\/facebook.com\/arkipel.festival","article_published_time":"2018-08-03T04:18:11+00:00","article_modified_time":"2018-08-10T08:43:19+00:00","og_image":[{"width":1100,"height":458,"url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/harun-farocki.gif?fit=1100%2C458&ssl=1","type":"image\/gif"}],"author":"Arkipel","twitter_card":"summary_large_image","twitter_creator":"@http:\/\/twitter.com\/arkipel","twitter_site":"@arkipel","twitter_misc":{"Written by":"Arkipel","Est. reading time":"15 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#article","isPartOf":{"@id":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/"},"author":{"name":"Arkipel","@id":"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef"},"headline":"Special Screening – 02","datePublished":"2018-08-03T04:18:11+00:00","dateModified":"2018-08-10T08:43:19+00:00","mainEntityOfPage":{"@id":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/"},"wordCount":3094,"commentCount":0,"publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"image":{"@id":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/harun-farocki.gif?fit=1100%2C458&ssl=1","keywords":["2018","homoludens","Special Screening"],"articleSection":["ARKIPEL 2018 - homoludens","Special Screening"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/","url":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/","name":"Special Screening - 02 — ARKIPEL","isPartOf":{"@id":"https:\/\/arkipel.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#primaryimage"},"image":{"@id":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/harun-farocki.gif?fit=1100%2C458&ssl=1","datePublished":"2018-08-03T04:18:11+00:00","dateModified":"2018-08-10T08:43:19+00:00","description":"My early encounter with Harun Farocki\u2019s works was started from an invitation to participate in a temporary academy organized by the Harun Farocki Institut in Berlin, nearly a year ago. That encounter produced surprises on me, for his works bring about images which are conceptually familiar at first, but then turn into something uncanny and even disturbing after they are re-arranged into the frame of Farocki.","breadcrumb":{"@id":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/harun-farocki.gif?fit=1100%2C458&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/harun-farocki.gif?fit=1100%2C458&ssl=1","width":1100,"height":458},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/arkipel-homoludens-special-screening-02\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"Special Screening – 02"}]},{"@type":"WebSite","@id":"https:\/\/arkipel.org\/#website","url":"https:\/\/arkipel.org\/","name":"ARKIPEL","description":"Jakarta International Documentary and Experimental Film Festival","publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/arkipel.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/arkipel.org\/#organization","name":"Arkipel","url":"https:\/\/arkipel.org\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","width":901,"height":351,"caption":"Arkipel"},"image":{"@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/arkipel.festival\/","https:\/\/x.com\/arkipel","https:\/\/www.instagram.com\/arkipel\/","https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ"]},{"@type":"Person","@id":"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef","name":"Arkipel","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g","caption":"Arkipel"},"description":"ARKIPEL - Jakarta International Documentary & Experimental Film Festival, held in Indonesia by Forum Lenteng. This festival is a open space of cinema and media discourse in general, especially documentary and experimental film genre.","sameAs":["http:\/\/arkipel.org\/","http:\/\/facebook.com\/arkipel.festival","https:\/\/x.com\/http:\/\/twitter.com\/arkipel"],"url":"https:\/\/arkipel.org\/people\/arkipel\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/harun-farocki.gif?fit=1100%2C458&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2eC","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/8594","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=8594"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/8594\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/8604"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=8594"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=8594"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=8594"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}