{"id":9732,"date":"2019-08-12T23:54:34","date_gmt":"2019-08-12T16:54:34","guid":{"rendered":"https:\/\/arkipel.org\/?p=9732"},"modified":"2019-08-13T02:11:26","modified_gmt":"2019-08-12T19:11:26","slug":"limit-of-the-infinite","status":"publish","type":"post","link":"https:\/\/arkipel.org\/limit-of-the-infinite\/","title":{"rendered":"Limit of The Infinite"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=&#8221;.vc_custom_1565628130726{margin-bottom: 0px !important;}&#8221;]\n<h1 style=\"text-align: center;\"><strong>Limit of The Infinite<em><br \/>\n<\/em><\/strong><em>Batasan Ketidakterbatasan<\/em><\/h1>\n<p style=\"text-align: center;\"><strong>Host: Afrian Purnama<\/strong><\/p>\n<p style=\"text-align: center;\">Friday, August 23, 2019 | 13:30 | GoetheHaus<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565628154544{margin-bottom: 0px !important;}&#8221;]Saya tertegun saat melihat sebuah tayangan di kanal video <em>streaming<\/em> yang berisikan tentang investigasi penampakan mahluk halus di sebuah gudang kosong dan gelap yang dipercaya banyak dihuni oleh makhluk halus. Beberapa orang yang seakan memiliki akses dan dapat melihat ke dimensi lain menunjuk-nunjuk satu sudut gelap yang menurutnya dihuni arwah-arwah; kuntilanak genderuwo, pocong, dan lain sebagainya. Setelah gestur menunjuk-nunjuk itu, adegan video berpindah ke tayangan dari kamera lain, yang menampilkan sudut lain dari tempat yang sama. Karena direkam di dalam ruangan yang sangat gelap, rekaman itu menghasilkan gambar yang sangat buram dan tebal akan <em>noise<\/em>. Seorang paranormal lalu datang dan melihat rekaman itu dan menjelaskan <em>noise<\/em> tadi sebagai gejala keberadaan mahluk halus yang mencoba berinteraksi dan terekam kamera. Seakan tidak cukup dengan imaji <em>noise<\/em> tadi, dia segera mengambil cat air dan kertas untuk menggambarkan rupa hantu yang mendiami tempat itu, seakan-akan dia sadar bahwa kamera, seberapa pun canggihnya, tidak akan mampu menangkap bayangan dari dimensi lain.<\/p>\n<p>Kasus tersebut adalah praktik yang menempatkan benda hasil perkembangan teknologi seakan-akan kehilangan fungsi aslinya. Kita melihat benda tersebut \u2014 yaitu kamera \u2014 dihadapkan pada suatu situasi kultural, sehingga keberadaannya tidak lagi hanya untuk menangkap objek fisik saja. Keterbatasan benda itu dilihat bukan sebagai dampak atas kelemahan yang terjadi dalam sistem mekanis dan elektronisnya, namun sebagai penggambaran subjek lain dan diinterpretasikan sejalan dengan pemahaman kulturalnya. Sedikit pengetahuan terhadap cara kerja kamera, khususnya kamera digital, akan membuat kita paham bahwa perekaman di sebuah ruang dengan cahaya yang minim akan menghasilkan banyak sekali gangguan berupa <em>noise<\/em>. Dalam kasus ini, gangguan atau <em>noise<\/em> diterjemahkan ke dalam bahasa lain yang sama-sekali tidak berhubungan dengan cara kerja mekanis dan elektronis kamera.<\/p>\n<p>Ide terhadap keterbatasan atas cara kerja kamera, lalu menginterpretasikan, atau mentransformasikan keterbatasannya itu menjadi tema utama tulisan di seleksi ini. Dalam konteks berkesenian, keterbatasan sangat lekat dengan praktik eksperimentasi karena kondisi keterbatasan sering kali menjadi celah bagi seniman untuk mengupayakan rupa dan bentuk baru, sehingga hasil yang dicapainya menjadi berbeda dan progresif dari bentuk yang sudah pernah diupayakan sebelumnya. Kedua filem yang hadir dalam program seleksi ini membicarakan usaha-usaha metode representasi visual, yang sebenarnya menekankan pada dua hal yang berbeda, yaitu proses dan hasil akhir. Namun keduanya tetap terikat dengan ide terhadap keterbatasan sebagai dorongan eksperimentasi dalam ranah seni. Filem <em>Camara Oscura<\/em> menyituasikan penonton ke dalam proses ulang-alik reproduksi gambar; digital, analog hingga non-mekanikal. Dalam tangkapan gambarnya, kita melihat karakteristik masing-masing metode, apa-apa saja yang dapat ditampilkan, dan yang juga tidak dapat ditampilkan dari metode produksi gambar tersebut. Sementara dalam filem <em>Memento Stella<\/em>, kamera seakan-akan melampaui fitrahnya sebagai alat perekam gambar bergerak. <em>Memento Stella<\/em> memperlihatkan permainan tekstur cahaya yang dihasilkan oleh metode penumpukan gambar. Gambar yang <em>multi-layer<\/em> ini menciptakan suatu sugesti terhadap ruang yang tidak terbatas, konfigurasi cahaya abstrak, dan seakan-akan tidak merepresentasikan objek fisik yang ditangkap kamera, tapi juga tetap bisa diintepretasikan secara subjektif oleh masing-masing penonton.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565628183682{margin-bottom: 0px !important;}&#8221;]I was stunned when I saw a video on a streaming channel about an investigation of the appearance of spirits in an empty and dark warehouse that was believed to be inhabited by ghostly spirits. Some people on the screen who seemed to have access and were able to look at the other dimensions, they pointed at a dark corner that they think was inhabited by the spirits; <em>kuntilanak<\/em>, <em>genderuwo<\/em>, <em>pocong<\/em>, and so on. After the pointing gesture, the video moved to a new shot filmed with another camera, which displayed another angle from the same place. Because it was recorded in a very dark room, the recorded video produced an image that looked very blurry and noisy. A psychic then came, saw the recorded video, and explained the image noise as a sign that there were spirits who were trying to interact and to be recorded by the camera. As if not enough with the image of noise, the psychic immediately reached for watercolor and paper to paint the image of the ghost that inhabited the place; it looked as if he realized that however sophisticated the camera was, it would not be able to capture the traces of the other dimensions.<\/p>\n<p>That case is a practice in which objects from technological development seem to lose their initial function. We see these objects \u2013 namely cameras \u2013 are placed in a cultural situation, and their existence is no longer just to capture physical objects. This limitation of the cameras is seen not as the impact of their weak mechanical and electronic systems, but a depiction of other subjects, and this limitation is interpreted in line with their cultural understanding. With a little knowledge of how cameras work, especially digital cameras, we know that recording in a room with minimal light will produce a lot of disturbance in the visual form of noise. In this case, the disturbance or the noise is translated into another language, which is completely unrelated to the mechanical and electronic works of cameras.<\/p>\n<p>The idea of limitations on how the camera works and the interpretation of the transformation of their limitations become the main theme in this selection. In the context of art practice, limitations are very closely related to experimentation because the limiting conditions can often become an aperture to seek new forms and visuals so that the results of that practice can become different and more progressive compared to what has been attempted before. The two films in this program discuss the methods of visual representation that emphasize two different things, namely the process and the final result. But both remain attached to the idea of \u200b\u200blimitations as an encouragement to experiment in the realm of art. <em>Camara Oscura<\/em> engages the audience in the processes of image reproduction; going back and forth between the digital, analog, and non-mechanical processes. In the images that it captures, we can see the characteristics of each image production method, and also see what can and cannot be displayed by those methods. While in <em>Memento Stella<\/em>, the camera seems to surpass its nature as a recording device. <em>Memento Stella<\/em> shows us the play of light texture produced by the method of layering images. These multilayered images suggest an unlimited space, configurations of abstract light, and they do not seem to represent the physical objects captured by the camera, yet the audience can subjectively interpret them.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=&#8221;Film List&#8221; color=&#8221;black&#8221; border_width=&#8221;3&#8243;][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=&#8221;modern&#8221; spacing=&#8221;2&#8243; active_section=&#8221;1&#8243;][vc_tta_section title=&#8221;FILMWORK&#8221; tab_id=&#8221;1532969190362-a01badc7-fcf5&#8243;][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;9380&#8243; img_size=&#8221;full&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565628329588{margin-bottom: 0px !important;}&#8221;]\n<h2><strong>C\u00e1mara Oscura<\/strong><\/h2>\n<p><em>Filmmaker\u00a0<\/em><strong>Javier Miquelez<\/strong> (Argentine)<br \/>\n<em>International Title<\/em>\u00a0\u00a0<strong>C\u00e1mara Oscura<br \/>\n<\/strong><em>Country of Production<\/em>\u00a0\u00a0<strong>Argentine<br \/>\n<\/strong><em>Language<\/em>\u00a0\u00a0<strong>&#8211;<br \/>\n<\/strong><em>Subtitle<\/em>\u00a0\u00a0<strong>&#8211;<\/strong><\/p>\n<p>61 min, stereo, HD, B\/W, 2017[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565628355171{margin-bottom: 0px !important;}&#8221;]Seorang pria yang kira-kira berumur paruh baya berada sendirian di dalam ruangannya untuk melakukan proses produksi dan reproduksi gambar. Pria ini tidak memiliki kisah, tidak juga bercerita apapun tentang sesuatu yang personal, namun apa yang dilakukannya terhadap kamera, layar, juga kuas menceritakan proses ulang-alik tentang bagaimana sebuah gambar tercipta.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565628368781{margin-bottom: 0px !important;}&#8221;]<span style=\"color: #808080;\">A middle-aged man is alone in his room, producing and reproducing images. This man does not have a story, nor does he tells anything about something personal, but what he does with the camera, the screen, and the brushes tells the process about how an image is created.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=&#8221;FILMMAKER&#8221; tab_id=&#8221;1532969190418-0b77954e-9992&#8243;][vc_row_inner][vc_column_inner width=&#8221;1\/6&#8243;][vc_single_image image=&#8221;9733&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565628411411{margin-bottom: 0px !important;}&#8221;]<em><strong>Javier Miquelez<\/strong><\/em> lulus dari jurusan Filem di Sekolah Seni Sinematografi di Avellaneda, Buenos Aires. Ia adalah <em>director of photography<\/em> pada beberapa filem, seperti &#8220;<em>Lo Que Vendra<\/em>,&#8221; &#8220;<em>Trelew<\/em>,&#8221; dan &#8220;<em>Ronda Nocturna<\/em>.&#8221; Dia juga bekerja di industri periklanan. &#8220;<em>C\u00e1mara Oscura<\/em>&#8221; adalah filem pertamanya sebagai sutradara.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565628429379{margin-bottom: 0px !important;}&#8221;]<span style=\"color: #808080;\"><em><strong>Javier Miquelez<\/strong><\/em> holds a degree in Film Studies of Cinematographic Art School in Avellaneda, Buenos Aires. He was the director of photography on several films, such as \u201c<em>Lo Que Vendr\u00e1<\/em>,\u201d \u201c<em>Trelew<\/em>,\u201d and \u201c<em>Ronda Nocturna<\/em>.\u201d He has also worked in the advertising industry. \u201c<em>C\u00e1mara Oscura<\/em>\u201d is his first film as a director.<\/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_tta_tabs style=&#8221;modern&#8221; spacing=&#8221;2&#8243; active_section=&#8221;1&#8243;][vc_tta_section title=&#8221;FILMWORK&#8221; tab_id=&#8221;1565627063299-bf510960-5bb5&#8243;][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;9535&#8243; img_size=&#8221;full&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565628504388{margin-bottom: 0px !important;}&#8221;]\n<h2><strong>Memento Stella<\/strong><\/h2>\n<p><em>Filmmaker\u00a0<\/em><strong>Takashi Makino<\/strong> (Japan)<br \/>\n<em>International Title<\/em>\u00a0\u00a0<strong>Memento Stella<br \/>\n<\/strong><em>Country of Production<\/em>\u00a0\u00a0<strong>Japan<br \/>\n<\/strong><em>Language<\/em>\u00a0\u00a0<strong>&#8211;<br \/>\n<\/strong><em>Subtitle<\/em>\u00a0\u00a0<strong>&#8211;<\/strong><\/p>\n<p>60 min, stereo, HD, color, 2019[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565628526453{margin-bottom: 0px !important;}&#8221;]Memento Stella berisi konfigurasi abstrak dari pergerakan cahaya-cahaya yang direkam melalui kamera. Filem ini seakan-akan mengimajinasikan dimensi yang tidak terbatas, baik itu waktu, ruang serta arti terhadap gambarnya itu sendiri.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1565628538943{margin-bottom: 0px !important;}&#8221;]Memento Stella contains an abstract configuration of the motion of the lights recorded through a camera. This film seems to imagine an unlimited dimension, about the time, space, and the meaning of the image itself.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=&#8221;FILMMAKER&#8221; tab_id=&#8221;1565627063746-e331ca79-ea40&#8243;][vc_row_inner][vc_column_inner width=&#8221;1\/6&#8243;][vc_single_image image=&#8221;9734&#8243; img_size=&#8221;full&#8221; add_caption=&#8221;yes&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565628601265{margin-bottom: 0px !important;}&#8221;]<em><strong>Takashi Makino <\/strong><\/em>(1978) lahir di Tokyo. Ia merupakan lulusan studi Sinematografi\/Perekaman Suara di Departemen Sinema <em>Nihon University College of Art<\/em><em>, <\/em>Jepang, di tahun 2001 dan ia mengkaji filem, pencahayaan serta musik di Quay Brothers di Atelier Koninck QBFZ di London pada tahun 2001. Ia memperoleh keahliannya terkait filem dan video ketika ia bekerja sebagai <em>Colorist<\/em> yang mewarnai berbagai filmografi, iklan dan video musik dari tahun 2001 hingga 2011. Karyanya kini telah banyak dihadirkan pada berbagai festival filem dan acara kesenian. Ia tinggal dan bekerja di Tokyo.<\/p>\n<p>Disarikan dari <a href=\"https:\/\/urano.tokyo\/en\/artists\/takashi_makino\/\">https:\/\/urano.tokyo\/en\/artists\/takashi_makino\/<\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565628622525{margin-bottom: 0px !important;}&#8221;]<span style=\"color: #808080;\"><em><strong>Takashi M<\/strong><strong>akino<\/strong><\/em> (1978) was born in Tokyo. He graduated from Cinematography \/ Sound Recording course at Department of Cinema at Nihon University College of Art, Japan in 2001 and he studied about film, lighting, and music under Quay Brothers at Atelier Koninck QBFZ in London in 2001. Makino gained his skills relating to film and videos while he was undertaking coloration as a Colorist on various filmography, CF, and music videos from 2001 to 2011. His works have been presented in various international film festivals and art context. He currently lives and works in Tokyo.<\/span><\/p>\n<p><span style=\"color: #808080;\">Retrieved from <a style=\"color: #808080;\" href=\"https:\/\/urano.tokyo\/en\/artists\/takashi_makino\/\">https:\/\/urano.tokyo\/en\/artists\/takashi_makino\/<\/a><\/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=&#8221;About the Host&#8221; color=&#8221;black&#8221; border_width=&#8221;2&#8243;][vc_row_inner][vc_column_inner width=&#8221;1\/6&#8243;][vc_single_image image=&#8221;8364&#8243; img_size=&#8221;full&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565628733203{margin-bottom: 0px !important;}&#8221;]<em><strong>Afrian Purnama\u00a0<\/strong><\/em>(Jakarta, 1989) adalah kritikus dan kurator film, anggota Forum Lenteng, dan penulis utama di\u00a0<em>Jurnal Footage<\/em>(<a href=\"http:\/\/www.jurnalfootage.net%29\/\">www.jurnalfootage.net)<\/a>. Lulus dari Jurusan Ilmu Komputer, Universitas Bina Nusantara, tahun 2013.<\/p>\n<p>Afrian adalah salah satu anggota tim selektor ARKIPEL\u00a0<em>bromocorah.<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;5\/12&#8243;][vc_column_text css=&#8221;.vc_custom_1565637078974{margin-bottom: 0px !important;}&#8221;]<span style=\"color: #808080;\"><strong><em>Afrian Purnama\u00a0<\/em><\/strong><em>(Jakarta, 1989) is a film critic and curator, a member of Forum Lenteng and a main writer at\u00a0<\/em>Jurnal Footage<em>(<\/em><a style=\"color: #808080;\" href=\"http:\/\/www.jurnalfootage.net%29\/\"><em>www.jurnalfootage.net)<\/em><\/a><em>. He graduated Computer Science at the Universitas Bina Nusantara in 2013.<\/em><\/span><\/p>\n<p><span style=\"color: #808080;\"><em>Afrian<\/em>\u00a0is one of the selector members at ARKIPEL\u00a0<em>bromocorah<\/em>.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>Camara Oscura engages the audience in the processes of image reproduction; going back and forth between the digital, analog, and non-mechanical processes. In the images that it captures, we can see the characteristics of each image production method, and also see what can and cannot be displayed by those methods. While in Memento Stella, the camera seems to surpass its nature as a recording device. Memento Stella shows us the play of light texture produced by the method of layering images. These multilayered images suggest an unlimited space, configurations of abstract light, and they do not seem to represent the physical objects captured by the camera, yet the audience can subjectively interpret them.<\/p>\n","protected":false},"author":1,"featured_media":9535,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[532,344],"tags":[526,528,192],"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Limit of The Infinite &#8212; ARKIPEL<\/title>\n<meta name=\"description\" content=\"Camara Oscura engages the audience in the processes of image reproduction; going back and forth between the digital, analog, and non-mechanical processes. In the images that it captures, we can see the characteristics of each image production method, and also see what can and cannot be displayed by those methods. While in Memento Stella, the camera seems to surpass its nature as a recording device. Memento Stella shows us the play of light texture produced by the method of layering images. 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