{"id":8962,"date":"2018-08-16T11:43:19","date_gmt":"2018-08-16T04:43:19","guid":{"rendered":"http:\/\/arkipel.org\/?p=8962"},"modified":"2018-08-16T15:44:33","modified_gmt":"2018-08-16T08:44:33","slug":"homoludens-game-and-rules","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-game-and-rules\/","title":{"rendered":"Game And Rules"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”CATATAN KOMPETISI INTERNASIONAL 6″ css=”.vc_custom_1534408584589{margin-bottom: 0px !important;}”]\n

Permainan Dan Peraturan<\/strong><\/h2>\n

Pada pelaksanaan di hari keenam, Senin, 13 Agustus 2018, ARKIPEL\u00a0homoludens\u00a0<\/em>\u2013\u00a06th Jakarta International Documentary and Experimental\u00a0 Film Festival<\/em>, diadakan pemutaran karya-karya di sesi Kompetisi Internasional 6. Pada Kompetisi Internasional 6 ini, terdapat empat buah filem yang diputar. Karya-karya terebut adalah People Pattern<\/em>s<\/em> (Mark Schonagen\/Belanda), Song<\/em>s<\/em> of Fortune<\/em> (Veronika Burger\/Austria), Awasarn Sound Man <\/em>atau Death of The Sound Man <\/em>(Sorayos Prapapan\/Thailand, Myanmar), Loralir Sadhukatha<\/em> atau Tales from Our Childhood <\/em>(Mukul Haloi\/India) dan dihadiri oleh 10 pengunjung.<\/p>\n

Pemutaran filem dibuka oleh Afrian Purnama yang menjadi selektor untuk sesi ini. Pada pembukaannya, Afrian menjelaskan bahwa Kompetisi Internasional 6 ini mengusung tema Peraturan dan Permainan.<\/em> Afrian melanjutkan bahwa ide dari program ini adalah bagaimana saat ini video tidak lagi digunakan sebagai media distribusi, tetapi digunakan sebagai intervensi dari kenyataan. Afrian memberikan contoh tentang penggunaan teknologi VAR (Video Assistant Refere), di mana intervensi terhadap realita itu terjadi saat wasit melihat rekaman VAR.<\/p>\n

\"\"

Suasana sebelum pemutaran filem-filem Kompetisi Internasional 6<\/p><\/div>\n

Setelah Afrian membuka sesi Kompetisi Internasional 6, acara dilanjutkan dengan pemutaran karya pertama dari Schonagen yang berjudul People Pattern<\/em>s<\/em>, di dalam sinopsisnya tentang filem People Pattern<\/em>s<\/em>, Afrian menuliskan bahwa lewat balik jendela ruangan Schonagen yang nyaman yang berada beberapa lantai dari permukaan tanah, kamera bertindak seakan-akan lensa pengawas menangkap ragam pola perilaku kita dalam klasifikasi sosial di bawahnya. Interaksi dari kenyataan yang termediaikan ini memunculkan momen-momen jenaka serta refleksi atas disparitas kuasa sang pemilik teknologi ini.<\/p>\n

Terdapat hal yang unik pada karya sepanjang 25 menit ini, di mana sepanjang filem berlangsung tidak ada dialog sama sekali antara karakter-karakter yang bermunculan, hanya terdapat soundscape<\/em> dari lingkungan sekitar. Walaupun tidak terdapat dialog, kita dapat mengenali karakter-karakter yang bermunculan di dalam filem ini melalui penandaan bunyi instrument musik tertentu, seperti penggunaan bunyi bassoon<\/em> untuk karakter perempuan yang sedang berlari. Selain bunyi instrumen bassoon<\/em>, terdapat bunyi instrumen lainnya seperti klarinet, oboe, bass elektrik, harpa dan lain sebagainya.<\/p>\n

Filem kedua yang diputar adalah filem buatan Veronika Burger yang berjudul Song<\/em>s<\/em> of Fortune<\/em>.<\/em> Di dalam sinopis filem ini, Afrian menuliskan bahwa filem ini bertutur tentang ode perempuan, yang diselingi narasi yang mengiringi bidikan di sebuah ruangan kosong. Pada filem ini hubungan antara musik dan narasi sangatlah kuat. Pembuat musik merespon setiap narasi yang diceritakkan, baik dengan memvariasikannya menjadi lirik maupun menggunakan kekuatan cerita dari narasi tersebut untuk mengatur tensi latar belakang musik yang dibuat.<\/p>\n

\"\"

Afrian Purnama memaparkan programnya yang berjudul Permainan dan Peraturan<\/p><\/div>\n

Filem ketiga yang diputar adalah karya Sorayos Prapapan yang berjudul Awasarn Sound Man (Death of The Sound Man).<\/em> Pada filem ini, Sorayos\u00a0 seakan ingin menyatakan bahwa kenyataan sinematik sering kali merujuk pada kenyataan visual. Namun kita tidak begitu sering membicarakan kepelikan produksi suara yang juga beroperasi seiring dengan visualisasi. Pada pemutaraan filem ketiga ini, beberapa adegan berhasil memancing tawa penonton, seperti ketika adegan kedua tokoh utama saat mengambil suara bunyi kibaran bendera maupun ketika adegan pembukaan di mana pembuatan foley<\/em> melibatkan penggunaan sosis berukuran besar yang dimasukkan ke dalam mulut.<\/p>\n

Filem terakhir yang juga menjadi filem penutup pada sesi Kompetisi Internasional 6 ini adalah filem buatan Mukul Haloi berjudul Loralir Sadhukatha (Tales From Our Childhood).<\/em> Filem ini merupakan filem dengan durasi terpanjang dibandingkan dengan ketiga filem sebelumnya. Filem ini membicarakan tentang pengalaman personal dan kolektif, tentang ingatan seorang teman dan mimpi atas nasionalisme yang berlandaskan pada kesamaan lokasi, etnik dan kultur. Kedua narasi kecil dan besar ini lantas berkelindan, dan membentuk kisah yang merefleksikan masa lalu dan masa depan.<\/p>\n

\"\"

Para penonton program Kompetisi Internasional 6<\/p><\/div>\n

Setelah sesi pemutaran filem selesai, penulis sempat mewawancarai seorang penonton yang bernama Batara Aji Pekerti tentang kesannya setelah menonton keempat filem yang di putar pada Kompetisi Internasional 6 ini. Aji menjelaskan bahwa sebetulnya ia tidak begitu mengerti tentang tema besar sesi pemutaran filem ini, namun ia megungkapkan bahwa ia menyukai filem kedua yang berjudul Awasarn Sound Man<\/em> karena menurutnya filem ini masih bersifat komersil. Selain Awasarn Sound Man<\/em>, ia juga mengungkapkan ketertarikannya pada filem People Pattern<\/em>s<\/em> yang mana menurutnya filem tersebut berhasil memberikan referensi tentang realitas sosial yang ada pada filem tersebut di mana orang-orang yang terlibat berasal dari kultur yang sangat berbeda dibanding dengan Indonesia. Hal ini tidak ia dapatkan pada filem-filem yang biasanya, dan menurutnya yang juga menarik dari filem ini adalah bentuknya yang seperti kolase dari rekaman CCTV.[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”CATATAN KOMPETISI INTERNASIONAL 6″ css=”.vc_custom_1534408865999{margin-bottom: 0px !important;}”]\n

Game And Rules<\/strong><\/h2>\n

On the sixth day of ARKIPEL homoludens<\/em> \u2013 6th Jakarta International Documentary and Experimental Film Festival, <\/em>Monday 13th of August 2018, the screening of works in International Competition 6 is being held. On this International Competition 6, there are four films being screened. Which are People Patterns <\/em>(Mark Schonagen\/Netherlands), Songs of Fortune <\/em>(Veronika Burger\/Austria), Awasarn Sound Man or Death of the Sound Man <\/em>(Sorayos Prapapan\/Thailand, Myanmar), Loralir Sadhukatha <\/em>or Tales from Our Childhood<\/em> (Mukul Haloi\/India) and was attended by 10 visitors.<\/p>\n

The screening was opened with remarks by Afrian Purnama who is the selector for this session. In his remarks, Afrian explained that the International Competition 6 held the theme of Game and Rules<\/em>. Afrian continued that the idea of this program is how at the current state video is no longer being used as a medium of distribution, but rather as an intervention to reality. Afrian gave an example as to the use of VAR technology (Video Assistant Referee), where intervention on reality happens at the moment when the referee looks the recording of VAR.<\/p>\n

\"\"

The atmosphere before the 6th program International Competition films<\/p><\/div>\n

After Afrian opens the session, the first film by Schonagen with the title People Patterns<\/em> is screened, in the synopsis of People Patterns<\/em>, Afrian wrote that through the windows of Schonagen which sits comfortably several level above the ground, the camera acts as if it was a surveaillance camera capturing variety of our behavior in a social classification beneath it. Interaction from the mediated reality resulted funny moments and reflections to the power disparity of the technology owner.<\/p>\n

There is a unique moment during the 25 minutes of film screening, where during the entire course of the film, there isn\u2019t any dialogue took place between the appearing characters, nothing but the soundscape of the environment. Although with the abscence of dialogue, we could recognize several characters as they appear by the marking of certain musical instrument, such as the use of bassoon for female character who is running. Besides the instrument of bassoon, there are other instruments such as the clarinet, oboe, electric bass, harp, etc.<\/p>\n

The second film being screened is a film by Veronika Burger with the title of Songs of Fortune<\/em>. In the synopsis of the film, Afrian wrote that the film tells a story of female, with narrative intermitting aim at an empty space. In this film, the relation between music and narration is very strong. The music creator respons to every narration that is printed, whether by varying them into lyrics or using the power of the naration to control the tension created by the background music.<\/p>\n

\"\"

Afrian Purnama explained his program entitled Game and Rules<\/p><\/div>\n

The third film being screened is the work of Sorayos Prapapan titled Awasarn Sound Man <\/em>(Death of The Sound Man)<\/em>. In this film, it is as if Sorayos wanted to stated that the cinematic reality often revers to the reality of visual. However we rarely discuss the difficulty of sound production which works in line with visual works. In the third screening, several scene successfully attracts the laugh of audiences, such as the scene where two of the main character during the sound of the waving flag and also the opening scene where a foley <\/em>\u00a0was created through the use of gigantic sausage inserted to the mouth.<\/p>\n

The last films which is also the closing film on the International Competition 6 is the film by Mukul Haloi titled Loralir Sadhukatha <\/em>(Tales From Our Childhood)<\/em>. The film is a film with the longest duration compared with the three previous films. This films speaks of personal and collective experience, about memories of a friend and dreams of nationalism under the based of common location, ethnic, and culture. Both small and large narrative are intertwining to each other, and forming a story that reflects both the past and the future.<\/p>\n

\"\"

The audience of the International Competition program 6<\/p><\/div>\n

After the screening took place, the writer had a chance to interview an audience named Bathara Aji Pekerti about the impression after watching all four films which were screened in the International Competition 6. Aji explains that although he did not understood the bigger theme of the film sccreening, he enjoys the second film titled Awasarn Sound Man <\/em>because according to him, the film is still comercial. Besides Awasarn Sound Man<\/em>, he also mentions his interests on People Patterns <\/em>which according to him the film successfully gives reference to the social reality of the film because the people involved are from a completely different culture to Indonesia. What he found unique to other films, and one that he also found to be interesting of this film is the collage form from CCTV footage.[\/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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Karya-karya individual dan kolektifnya pernah dimainkan di beberapa festival seperti Young Composers in Southeast Asia Festival 2013, 21st Young Composers Meeting, Studio Musikfabrik meetsACME, Shanghai New Music Week, SETTS #1, Biennale Jogja XIII #3, 1st Celebration of One Year Asia Culture Center, Art Summit Indonesia, ASEAN Creation. Tahun 2018 ia mendapatkan beasiswa dari OeAD-Austrian Agency for International Cooperation in Education and Research untuk belajar komposisi di University of Music and Performing Arts Graz, Austria dengan Prof. Beat Furrer, ia juga mengambil kelas komposisi Algoritma dengan Gerhard Nierhaus. - Septian \"Gembul\" Dwi Cahyo (Jakarta, September 7, 1992) is an Indonesian young composer, graduated from Indonesian Institute of The Arts Yogyakarta. 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