{"id":9712,"date":"2019-08-12T23:07:37","date_gmt":"2019-08-12T16:07:37","guid":{"rendered":"https:\/\/arkipel.org\/?p=9712"},"modified":"2019-08-13T02:10:23","modified_gmt":"2019-08-12T19:10:23","slug":"evolutionary-memetic-behaviour-in-a-strange-loop","status":"publish","type":"post","link":"https:\/\/arkipel.org\/evolutionary-memetic-behaviour-in-a-strange-loop\/","title":{"rendered":"Evolutionary Memetic Behaviour in A Strange Loop"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1565620699516{margin-bottom: 0px !important;}”]\n

Evolutionary Memetic Behaviour in A Strange Loop
\n<\/em><\/strong>Perilaku Mimesis Evolusioner dalam Lingkaran yang Aneh<\/em><\/h1>\n

Host: Otty Widasari<\/strong><\/p>\n

Thursday, August 22, 2019 | 16:00 | GoetheHaus<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565620714064{margin-bottom: 0px !important;}”]Evolusi Imitasi Perilaku Manusia<\/em><\/strong><\/p>\n

Pada pertengahan abad ke-19, terjadilah sebuah revolusi dengan ditemukannya teori yang mempelajari perubahan perilaku manusia, yang kita kenal sebagai teori evolusi. Charles Darwin yang kita kenal sebagai pelopor teori ini mengekspresikan perubahan tersebut sebagai \u201cketurunan dengan modifikasi\u201d. Diyakini bahwa perubahan karakteristik populasi biologis diturunkan dari generasi ke generasi berikutnya, dengan karakteristik ekspresi gen dari induk diturunkan pada anak saat proses reproduksi.<\/p>\n

Pada pertengahan abad ke-20, Richard Dawkins mengemukakan prinsip-prinsip evolusioner dalam menjelaskan terjadinya persebaran ide dan fenomena kultural. Bahwa evolusi tidak hanya bergantung pada basis kimiawi tertentu dari genetis, tapi juga atas keberadaan unit transmisi lainnya, yang juga memiliki kemampuan mereplikasi diri sendiri. Dawkins mencontohkan meme<\/em> sebagai unit replikasi diri lain yang signifikan dan potensial dalam menjelaskan perilaku manusia dan evolusi kultural.\u00a0 Meme<\/em> adalah imitasi dari ide, perilaku atau gaya yang menyebar dari orang ke orang di dalam tubuh kebudayaan. M<\/em>eme<\/em> menjadi unit untuk membawa ide, simbol atau praktik-praktik kultural yang bisa disiarkan dari satu benak ke benak lainnya melalui tulisan, pidato, gestur, ritual, atau fenomena lain yang bisa dibuat tiruannya.<\/p>\n

Memasuki abad ke-21, perilaku manusia berubah signifikan dengan makin gencarnya penggunaan internet. Imitasi dari ide, perilaku, dan fenomena lainnya dalam kebudayaan umat manusia berpindah wadah \u2013 jika perubahan perilaku manusia terjadi melalui replikasi genetis dalam tubuh dari generasi ke generasi; kemudian kita bisa melihat imitasi perubahan tersebut dalam wadah kebudayaan berupa meme<\/em> \u2013 maka kini kita bisa melihat imitasi perubahan perilaku manusia terkini terjadi dalam wadah budaya internet: Internet meme<\/em>.<\/p>\n

Meme<\/em> mereplikasi diri dengan mengopi sistem syaraf yang satu ke sistem syaraf yang lain, baik dengan cara komunikasi atau imitasi. Komunikasi dapat langsung atau tidak langsung, di mana meme<\/em> ditransmisikan dari satu orang ke orang lain melalui salinan yang direkam dalam sebuah sumber: image macro<\/em>. Pola keberhasilan penularan pikiran dalam bentuk meme<\/em> menjadi lestari dalam kebudayaan dapat diukur melalui bagaimana tingkat replikasi meme<\/em> yang tinggi, karena meme<\/em> bersanding dengan paparan ide-ide yang bersaing. Tingginya tingkat replikasi tersebut membutuhkan beberapa pola. Banyak orang menggunakan cara-cara yang humoris, sinis, serta bersifat puzzle<\/em> atau teka-teki. \u00a0Dalam era internet, tak jauh berbeda, namun perbedaan yang signifikan terletak pada bagaimana meme<\/em> tersebar dengan sangat cepat. Maka bisa kita bayangkan betapa cepatnya perubahan perilaku manusia dalam wadah budaya internet sekarang ini. Konsep, aktivitas, ide, slogan (catchphrase<\/em>), penggalan media, atau bahkan peristiwa, menyebar seperti virus (viral) dari orang per orang dengan sangat cepat dalam wadah jaringan budaya pergaulan yang selalu terhubung.<\/p>\n

Bentuk imitasi budaya mengalami perubahan besar. Dia memiliki peluang besar untuk bermain di wilayah arbitrer.\u00a0 Salah eja, atau pun gramatika rusak bisa menjadi estetika baru dalam budaya yang diimitasi dalam wadah internet ini. Meme<\/em> internet merupakan evolusi ragam gaya dan sensasi yang tumbuh dengan sangat cepat karena internet merupakan\u00a0 fasilitas transmisi komunikasi instan dari mulut ke mulut (word of mouth<\/em>).<\/p>\n

Putaran Yang Aneh<\/em><\/strong><\/p>\n

Filem karya Alxander Cooper berjudul Weirdloop<\/em> yang dikirimkannya ke Arkipel tahun ini adalah sebuah karya video blog (vlog) di akun Youtube pribadinya. Sebagaimana vlog, pengambilan gambar yang dilakukan Cooper bergaya snapshot<\/em>, yaitu gagasan dalam fotografi yang diambil tanpa persiapan, dan kemudian akhirnya dijadikan sebagai estetika tersendiri. Jelas dia menggunakan estetika yang ada di ranah kultur internet. Kesadarannya sebagai vlogger yang seperti tidak mempersiapkan sesuatu jelas mengindikasikan sesuatu yang justru dipersiapkan. \u00a0Menariknya, si sutradara menerapkan estetika meme<\/em> internet ini dalam sebuah lokasi nyata: berkeliling kota membaca tanda-tanda yang tersebar dan mengindikasikannya sebagai sebuah konspirasi jahat yang diatur oleh kekuasaan besar yang menggiring masyarakat untuk berporos, entah ke kanan, atau ke kiri.\u00a0 Filem ini seperti dijadikan oleh pembuatnya sebagai alat analisa yang menghubungkan titik-titik aneh yang sebenarnya tidak aneh sama sekali, sekedar untuk membalikkan pemikiran umum yang praktis. Jika kita menilik lagi bagaimana meme<\/em> mereplikasi dirinya sendiri di wadah internet, dia bergerak dengan sangat masif karena di sana ada intervensi jaringan teknologi digital dan media sosial secara robotik. Tanpa berkontak dengan manusia, dia akan tersebar melalui kerja alamiahnya algoritme internet. Maka apa yang terjadi di sana bukanlah visual yang harus dibaca dalam konteks estetika buah pemikiran manusia, melainkan estetika komputasi internet.<\/p>\n

Dalam usahanya mempelajari perubahan perilaku manusia baik secara biologis maupun kultural, para ilmuwan bergerak sebagai agen dalam kapasitasnya untuk bertindak, memberi sumbangsihnya terhadap ilmu pengetahuan. Weirdloop<\/em> adalah filem yang memainkan kapasitas keagensiannya dalam membingkai situasi sosial (politik) sekarang, dengan skeptisisme yang bisa dilihat sebagai sebuah kritik. Dengan melompat keluar dari estetika seni filem itu sendiri, Weirdloop<\/em> melakukan aksi berkelana memenuhi hasrat \u201ctidak penting\u201d layaknya meme<\/em> dan menyajikan sebuah estetika sosial.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565620733742{margin-bottom: 0px !important;}”]Evolution of Human Behaviour Imitation<\/em><\/strong><\/span><\/p>\n

In the mid-19th century, a revolution occurred when a theory that studies changes in human behaviour, which we know as the theory of evolution, was discovered. Charles Darwin, who we know as the pioneer of this theory, expressed this change as “descendants with modification”. It is believed that changes in the characteristics of biological populations are continued from generation to generation; characteristics of gene expression from the parent passed on to children during the reproductive process.<\/span><\/p>\n

In the mid-20th century, Richard Dawkins proposed evolutionary principles in explaining the spread of cultural ideas and phenomena. That evolution depends not only on the certain chemical basis from genetics but also on the existence of other transmission units which also can replicate themselves. Dawkins exemplifies memes as another significant and potential self-replicating unit in explaining human behaviour and cultural evolution. Memes are imitations of ideas, behaviours or styles that spread from person to person in the body of culture. Meme becomes a unit to carry cultural ideas, symbols or practices that can be broadcast from one mind to another through imitable propagations such as writing, speech, gestures, rituals, or other phenomena.<\/span><\/p>\n

Entering the 21st century, human behaviour changes significantly with the increasingly incessant use of the internet. Imitation of ideas, behaviour and other phenomena in human culture moves to another container. If the changes in human behaviour occur through genetic replication in the body from generation to generation,\u00a0 we can see then the imitation of this change in the cultural container in the form of memes. Thus, now we can see an imitation of the latest changes in human behaviour takes place in the pool of internet culture: the internet meme.<\/span><\/p>\n

The memes replicate themselves by copying one nervous system to another, either by communication or imitation. Both in the direct or indirect communication, the memes are transmitted from one person to another through a copy recorded in a source: image macro. The culturally sustainable pattern of success in transmitting thoughts in the form of memes is measured by the high levels of meme replication because memes coexist with the exposure of competing ideas. The high level of replication requires several patterns. Many people use humorous, cynical or puzzle-like methods. In the internet age, it is not much different, but a significant difference lies in how memes are spread very quickly. So we can imagine how fast changes happen in human behaviour in the pool of internet culture today. Concepts, activities, ideas, slogans (catchphrases), pieces of media, or even events, spread like a virus (viral) from person to person very quickly in the ever-connected social networks.<\/span><\/p>\n

The form of cultural imitation undergoes a major change. It has a great opportunity to play in an arbitrary area. Misspellings or even broken grammar can be a new aesthetic in the culture imitated in this internet container. Internet memes are an evolution of a variety of styles and sensations that are growing very fast because the internet constitutes facilities of instant communication transmission through word of mouth.<\/span><\/p>\n

The Strange Loop<\/em><\/strong><\/span><\/p>\n

Alexander Cooper’s film, Weirdloop<\/em>, which he sent to ARKIPEL this year, comes from a video blog (vlog) in his personal YouTube account. Like the vlog itself, Cooper’s camera captures the image by using snapshot style, that is a photography concept that captures reality unprepared, but eventually, it becomes a distinctive aesthetic. He used such specific aesthetics from the realm of internet culture. His awareness as a vlogger who does not seem to prepare something indicates that actually something was being prepared. Interestingly, the director implemented the aesthetics of this internet meme in a real location: travelling around the city to speculate about the scattered signs and explained it as an evil conspiracy governed by the great powers that lead the public to pivot, either to right or left. The film\u2019s creator seems to make it as an analytical tool that connects strange points which are not strange at all, just to reverse the common sense. If we look again at how the meme replicates itself on the internet, it moves very massively because there are robotically interventions from digital technology and social media networks. Without any contact with humans, it will spread through its natural mechanism of the internet algorithm. So, what happens there is not a visual that must be read in the context of the aesthetics of human, but rather the aesthetic of internet computation.<\/span><\/p>\n

In their efforts to study the changes in human behaviour both biologically and culturally, scientists move as agents in their capacity to act, to contribute to science. Weirdloop<\/em> is a film that plays its agency in framing current social (and political) situations, with scepticism which can be seen as a criticism. By leaping out of the art aesthetics of the film itself, Weirdloop<\/em> takes an action of wandering to fulfil the “unimportant” desire, just like a meme, and presents itself as social aesthetic.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” 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=”9529″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565620836857{margin-bottom: 0px !important;}”]\n

Weirdloop<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Alexander Cooper<\/strong> (UK)
\nInternational Title<\/em>\u00a0\u00a0Weirdloop
\n<\/strong>Country of Production<\/em>\u00a0\u00a0UK
\n<\/strong>Language<\/em>\u00a0\u00a0English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

131 min, stereo, color, 2018[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565620854980{margin-bottom: 0px !important;}”]Dengan menggunakan gaya vlogging, <\/em>filem ini menghadirkan analisa spekulatif netizen tentang peta spekulatif autisme masyarakat yang mengurung diri dalam pengulangan yang aneh.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565620866798{margin-bottom: 0px !important;}”]By using the style of vlogging, this film presents the netizen’s speculative analysis regarding the speculative maps of public autism who confine themselves to a strange repetition.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9713″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565620910310{margin-bottom: 0px !important;}”]Alexander Copper <\/strong><\/em>adalah aktor dan produser yang berbasis di Inggris yang menginisiasi berbagai proyek yang kini dalam berbagai tahap pengembangan. Dia mengambil berbagai peran pendukung dalam proyek-proyek TV dan filem seperti The Greatest Living Englishman<\/em>, Downton Abbey<\/em>, The Imitation Game<\/em>, Woman in Gold<\/em>, The Man Who Knew Infinity<\/em> dan Bastille Day.<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565620928827{margin-bottom: 0px !important;}”]Alexander Copper<\/strong><\/em> is a UK based actor and producer with numerous projects in various stages of development. He has taken various supporting artist and actor roles in TV and film projects such as The Greatest Living Englishman, Downton Abbey, The Imitation Game, Woman in Gold, The Man Who Knew Infinity and Bastille Day.<\/span>[\/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 Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8120″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565625934563{margin-bottom: 0px !important;}”]Otty Widasari<\/strong> <\/em>(lahir di Balikpapan, 1973) merupakan lulusan Seni Murni di Institut Kesenian Jakarta (IKJ). Ia pernah kuliah di jurusan Jurnalistik Institut Ilmu Sosial dan Ilmu Politik (IISIP) Jakarta. Ia adalah seniman, penulis, sutradara filem, dan salah satu pendiri Forum Lenteng. Direktur Program Pendidikan Media Berbasis Komunitas, akumassa, dan Pemimpin Redaksi www.akumassa.org.<\/p>\n

Otty adalah salah satu anggota tim selektor ARKIPEL bromocorah.<\/em><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565637007396{margin-bottom: 0px !important;}”]Otty Widasari<\/strong> <\/em>(b, 1973 in Balikpapan) graduated Fine Arts at Jakarta Institute of Arts (IKJ). She once studied Journalistic at Institute of Social and Political Science Jakarta (IISIP). She is an artist, writer, filmmaker, and one of the founders of Forum Lenteng. She is also program director of akumassa and Editor in Chief at www.akumassa.org.<\/span><\/p>\n

Otty is one of the selector members at ARKIPEL bromocorah<\/em>.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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