{"id":8941,"date":"2018-08-15T19:51:12","date_gmt":"2018-08-15T12:51:12","guid":{"rendered":"http:\/\/arkipel.org\/?p=8941"},"modified":"2018-08-19T00:51:56","modified_gmt":"2018-08-18T17:51:56","slug":"homoludens-simulation-a-need-to-fabricate-reality","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-simulation-a-need-to-fabricate-reality\/","title":{"rendered":"Simulation: A Need to Fabricate Reality"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Sinema Harun Farocki” css=”.vc_custom_1534614711911{margin-bottom: 0px !important;}”]\n

Simulasi: Kebutuhan <\/strong>u<\/strong>ntuk Meniru Realitas <\/strong><\/h2>\n

Pada Senin (13\/8) telah ditampilkan program Penayangan Khusus Sinema Harun Farocki di GoetheHaus, Goethe Institut Indonesien, Jakarta. Didatangi oleh 30 pengunjung, pemutaran ini juga dihadiiri lagi oleh Michael Baute; seorang representatif dari Harun Farocki Institut.<\/p>\n

Dalam program ini, ada tiga filem yang ditayangkan setelah pada sesi pertama ditayangkan satu filemnya yang berjudul How to Live in the FRG<\/em>. Filem pertama, Workers Leaving the Factory<\/em> (1995) untuk merayakan 100 tahun filem. Berisi kompilasi video dari berbagai sumber, Harun Farocki mampu menganalisis hubungan antara buruh dan pabrik dalam filem sebagai objek organik yang mempunyai kekuatan tertentu. Filem kedua, Seri<\/em>o<\/em>us Games IV:<\/em> A Sun <\/em>W<\/em>ithout Shadow<\/em> (2010) memperlihatkan bagaimana realitas virtual bisa menciptakan simulasi kehidupan nyata. Simulasi itu bisa digunakkan oleh veteran perang untuk membantu mereka pulih dari trauma perang. Yang ketiga, Parallel <\/em>I<\/em> (2012) menganalisis perkembangan desain dalam game<\/em>. Bagaimana elemen-elemen alam yang ditemukan dalam game<\/em> menjadi lebih realitis.<\/p>\n

Ketiga filem ini menggunakan pendekatan deskriptif di mana terdapat narator yang menjelaskan apa yang sedang terjadi, memudahkan penonton menangkap pesan yang hendak disampaikan. Walaupun demikian, ketiga filem tersebut mempunyai pengertian yang jauh lebih dalam lagi. Michael Baute mengatakan bahwa Harun Farocki sebenarnya ingin mengkritisi kompetisi antara realitas virtual dan kamera. Kedua hal tersebut mempunyai tujuan untuk menciptakan sebuah representasi dunia nyata. Namun bagaimana realitas virtual bisa menciptakan sebuah representasi terhadap dunia nyata jika mereka tidak berinteraksi secara langsung? Hal tersebut juga menjadi perhatian Harun Farocki.<\/p>\n

\"\"

Anggraeni Widhiasih dan Michael Baute dalam sesi diskusi<\/p><\/div>\n

Selama pemutaran, suasana dalam ruang teater berlangsung tenang. Setelah pemutaran, ada juga beberapa komentar dari mereka yang kurang paham dengan apa yang ingin disampaikan oleh sang pembuat filem. Ada juga yang mencoba untuk memahami tetapi dalam proses tersebut akhirnya ketiduran.<\/p>\n

Terdapat juga sesi diskusi dengan penonton. Dalam sesi ini, Anggraeni Widhiasih dan Michael Baute selaku programer dan penyaji program ini memperjelas bahasan mengenai filem-filem yang diputar. Seperti mengapa Harun Farocki mengambil gambar yang sudah ada dan mengkompisisikannya lagi dibanding mengambil gambar yang baru. Karena bukankah esensi pembuatan filem berada dalam pengambilan gambarnya? Ternyata, ketika dijelaskan, Harun Farocki sering sekali menggunakan gambar atau sesuatu yang sudah ada sebagai bagian dari refleksinya. Dengan cara demikian, ia juga menempatkan penonton dalam situasi yang sering atau sudah mereka alami. Di sisi lain, seringkali juga filem-filem Harun Farocki yang ditayangkan pada penayangan khusus ini bersifat instruksional, atau seperti sedang membaca buku ilmu pengetahuan.<\/p>\n

\"\"

Suasana GoetheHaus dalam program Sinema Harun Farocki<\/p><\/div>\n

Setelah sesi diskusinya selesai, Michael Baute melakakun wawancara one on one<\/em> dimana dia menjelaskan lagi makna dalam filem-filem tersebut. Seperti bagaimana buruh diperlihatkan dalam filem selama 100 setelah pembuatan Workers Leaving the Factory <\/em>karya Lumiere dan bagaimana hal-hal seperti strata sosial digambarkan dalam filem. Michael juga menjelaskan ketertarikkan Harun Farocki terhadap deduksi, dan bagaimana cara dia mengambil hal-hal yang kompleks dam membuatnya menjadi hal yang lebih mudah dimengerti.<\/p>\n

Harun Farocki sendiri telah membuat lebih dari 120 filem, dari 1966 sampai 2014. Masih banyak karya Harun Farocki yang bisa dinikmati. Michael lalu merekomendasikan dua karya Harun Farocki yang terkenal, yang tidak termasuk dalam program ini, seperti The Inextinguishable Fire<\/em> (1969) yang bisa ditemukan di YouTube<\/em> dan juga Images of the World and the Inscription of War<\/em> (1991). Kedua filem tersebut pantas ditonton bagi seseorang yang ingin mulai memasuki dunia Harun Farocki.[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Cinema of Harun Farocki ” css=”.vc_custom_1534398728486{margin-bottom: 0px !important;}”]\n

Simulation: A Need to Fabricate Reality<\/strong><\/h2>\n

On Monday (13\/8), the Special Screening program: Cinema of Harun Farocki was held in the GoetheHaus, Goethe Institut Indonesien, Jakarta. Attended by 30 audiences, this screening was also attended by Michael Baute; a representative from Harun Farocki Institut.<\/p>\n

There are three films of Harun Farocki in this program, after previously How to Live in the FRG<\/em> was screened in its first session. In this session, the first film is, Workers Leaving the Factory<\/em> (1995) that was made to celebrate 100 years of cinema. Consisting of footage compilation from various sources, Harun Farocki can analyse the relationship between the workers and the factory in the film as organic objects possessing a particular kind of force. The second film, Serious Games IV: A Sun Without Shadow <\/em>(2010) exhibited how the virtual reality is able to create a simulation of the real life. The war veterans might utilise this simulation to help them recover from the trauma of war. The third film, Parallel I<\/em> (2012) analyses the development of design in games and how the elements of nature found in the game today get even more realistic.<\/p>\n

These three films used a descriptive approach where a narrator explains what\u2019s happening in the film, making it easy for the audience to understand the message it carries. However, those three films have even more profound meaning. Michael Baute said that Harun Farocki criticises the competition between virtual reality and camera. Those two things aim to create a representation of the real world. But how can virtual reality generate the representation of the real world if they don’t interact directly? This was also the concern of Harun Farocki.<\/p>\n

\"\"

Anggraeni Widhiasih and Michael Baute in discussion session<\/p><\/div>\n

During the screening, the atmosphere in the theatre was quiet. After the screening, there are some comments from the audiences who find it difficult to understand the message of the filmmaker. Some of the audiences even fell asleep in their attempt grasping the message of the film.<\/p>\n

There is also a discussion session with the audience. In this session, Anggraeni Widhiasih and Michael Baute as programmers and presenters of this program gave some explanations about the films they screened. Like why Harun Farocki took existing images to compose them again rather than making a new image. Because isn’t the essence of filmmaking in shooting? Apparently, it was explained that Harun Farocki often uses images or something that already exists as part of his reflection. In this way, he also puts the audience in situations that they often or have experienced. On the other hand, often the films of Harun Farocki which are shown in this special screening are instructional or like reading a science book.<\/p>\n

\"\"

GoetheHaus atmosphere in Cinema of Harun Farocki program<\/p><\/div>\n

After the discussion session was over, Michael Baute did one on one interview where he explained the meaning in the films again. Like how workers were shown in a 100-year film after the creation of Lumiere’s Workers Leaving the Factory<\/em> and how things like social strata are portrayed in films. Michael also explained Harun Farocki’s interest in deduction, and how he took things that were complex and made them easier to understand.<\/p>\n

As a filmmaker, Harun Farocki has made more than 120 films since 1966 to 2014. There are many other works Farocki that one might enjoy. Michael recommended two other famous works of Farocki, which is not included in this program, such as The Inextinguishable Fire<\/em> (1969) which is available in YouTube and also Images of the World and the Inscription of War<\/em> (1991). Those two films are a good spectacle for those who want to start to enter the world of Harun Farocki.[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Utami","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/482ba0e70413ef5a0b2f9a3aed6c0349?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/482ba0e70413ef5a0b2f9a3aed6c0349?s=96&d=mm&r=g","caption":"Niskala H. Utami"},"description":"Niskala H. Utami, dikenal sebagai sebuah enigma, adalah seorang seniman multidisipliner yang karyanya mencakup penulisan dan lukisan. Niskala punya pengalaman kerja di berbagai jenis bidang, dari penulis naskah, astrada, manajer proyek, manajer bagi seorang seniman pendatang baru, penulis redaksi, pemimpin kreatif, dan seterusnya. Namun yang selalu konsisten dalam kehidupan Niskala adalah keteguhannya untuk menjelajahi dunia perfileman, musik, dan kesenian. - Niskala H. Utami, also known as sebuah enigma (an enigma), is a multidisciplinary artist who mainly works with writing and paintings. Niskala has experiences in various job outlets such as scriptwriter, assistant director, project manager, manager to an emerging artist, editorial writer, creative lead, etc. But what is consistent in Niskala is a determination to explore the world of films, music, and art.","url":"https:\/\/arkipel.org\/people\/contact-niskalahapsari\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2018\/08\/farocki-2-3.jpg?fit=1280%2C853&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2kd","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/8941","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\/145"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=8941"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/8941\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/8944"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=8941"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=8941"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=8941"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}