Hasil Pencarian  ::  Simpan CSV :: Kembali

"Machine generated contents note: 1. The birth of histories from the spirit of mourning; 2. Seven types of forgetting; 3. Silences; 4. Spatial orientation; 5. Tradition as conversation and tradition as bodily re-enactment; 6. Tattoos, masks, skin; 7. Emphatic, mimetic and cosmic projection."

"How is the memory of traumatic events, such as genocide and torture, inscribed within human bodies? In this book, Paul Connerton discusses social and cultural memory by looking at the role of mourning in the production of histories and the reticence of silence across many different cultures. In particular he looks at how memory is conveyed in gesture, bodily posture, speech and the senses - and how bodily memory, in turn, becomes manifested in cultural objects such as tattoos, letters, buildings and public spaces. It is argued that memory is more cultural and collective than it is individual. This book will appeal to researchers and students in anthropology, linguistic anthropology, sociology, social psychology and philosophy."

"ABSTRAKFilm Mother Dao The Turtlelike(fMD) merupakan sebuah film yang disusun dari penggalan-penggalan film dokumenter Hindia-Belanda (1912-1933). Penggalan film dari masa kolonial tersebut disusun dalam bentuk kolase dan dibubuhi sonor berupa bunyi-bunyian, tembang dalam bahasa Jawa dan Sunda, puisi dalam bahasa Indonesia serta sebuah mitos penciptaan Nias. Disertasi ini berusaha mengungkap cara sineas memanfaatkan unsur-unsur sinematografis dan naratif untuk menawarkan suatu memori kolektif poskolonial yang lebih kritis.Dengan memperlakukannya sebagai teks, analisis struktur film dilakukan dengan menggunakan teori naratologi film. Hasil analisis memperlihatkan perbedaan pandangan tentang kolonialisme antara para kinematograf film Hindia-Belanda(fHB) dan sineas fMD. Bagi para kinematograf dan pemesannya kolonialisme diyakini sebagai upaya pengentasan penduduk dan pengembangan wilayah koloni. Pandangan sineas fMD sebagaimana tercermin dalam sonor memperlihatkan hal yang bertentangan: kolonialisme adalah eksploitasi manusia atas manusia dan alam.Susunan berbentuk kolase dan pengimbuhan sonor mengubah gambaran kolonial dalam fHB. Dengan cara itu sineas menjadikan filmnya sebagai langkah awal pembentukan memori poskolonial yang lebih kritis.

---

ABSTRACT

The documentary film Mother Dao the Turtlelike (MDT) is not a remake but composed from footages of the Ducth East Indies (DEI) films made between 1912 and 1933. A sound-over is then added on this collage composition which consist of Javanese and Sundanese songs, Indonesian poems, and the mythology of creation of Batu Islands, Nias. This dissertation tried to find out the way the filmmaker uses the cinematographic and narrative elements in an attempt to construct a new postcolonial collective memory.

Assuming film as a text, the film?s structure is then analysed using the theory of film narratology. Despite the highly complicated structure, sinds there is no commentary added to the collage composition, a comprehensive analyses have to be conducted. The analysis showed the different perspectives of the cinematographers of DEI films and of MDT. Colonialism is still believed as an effort to develop the colony and its people. On the contrary the composition of collages and sonores in MDT clearly show the missery and extreme sufferings of the indigenous people. As well as the exploitation of their nature for the sake of the welfare of the colonialist.

The composition of colages and sonores in MDT change the colonial image of DEI films. The colage and the sonores in MDT give the chance to the viewer to see what colonialism really meant. MDT will enhance spectators critical thinking as well as their an humanistic postcolonial collective memory;The documentary film Mother Dao the Turtlelike (MDT) is not a remake but composed from footages of the Ducth East Indies (DEI) films made between 1912 and 1933. A sound-over is then added on this collage composition which consist of Javanese and Sundanese songs, Indonesian poems, and the mythology of creation of Batu Islands, Nias. This dissertation tried to find out the way the filmmaker uses the cinematographic and narrative elements in an attempt to construct a new postcolonial collective memory.

Assuming film as a text, the film?s structure is then analysed using the theory of film narratology. Despite the highly complicated structure, sinds there is no commentary added to the collage composition, a comprehensive analyses have to be conducted. The analysis showed the different perspectives of the cinematographers of DEI films and of MDT. Colonialism is still believed as an effort to develop the colony and its people. On the contrary the composition of collages and sonores in MDT clearly show the missery and extreme sufferings of the indigenous people. As well as the exploitation of their nature for the sake of the welfare of the colonialist.

The composition of colages and sonores in MDT change the colonial image of DEI films. The colage and the sonores in MDT give the chance to the viewer to see what colonialism really meant. MDT will enhance spectators critical thinking as well as their an humanistic postcolonial collective memory."

"

Layaknya organisme yang hidup, kota akan terus berubah. Tiap sudut kota menjadi saksi atas rekam jejak perubahan tersebut. Dalam konteks ini, ruang publik di kota berperan ganda: sebagai repositori sekaligus tempat diproduksinya memori kolektif. Tempat dimana masa lalu dan masa kini mematerialisasikan dirinya dalam satu waktu. Tulisan ini akan menelusuri jejak memori kolektif di ruang publik kota yang lebih lanjut membentuk identitas ruang tersebut di mata publik. Objek studinya ialah Taman Ismail Marzuki, ruang publik yang kaya akan nilai histori. Penelusuran dilakukan dengan metode etnografi, melibatkan wawancara kualitatif dan observasi mendalam dengan kajian berdasarkan narasi formal sejarah sebagai pembandingnya. Hasilnya, didapatkan rangkaian identitas TIM yang variatif pada tiap periodenya, dengan potongan memori kolektif masa lampau yang turut tersisip di wujud terbarunya. Residu dari memori kolektif ini beragam wujudnya, muncul dalam bentuk program ruang, nama bangunan, mural, hingga motivasi komunitas seni untuk berlatih di TIM.

---

A city is similar to a living organism, constantly changing. Every corner of the city becomes a witness to these transformations. In this context, the city's public spaces serve a dual role: as repositories and as sites where collective memory is produced. They are the places where the past and present materialize simultaneously. This article will explore the traces of collective memory in public spaces, which will further shape the identity of these spaces in the eyes of the public domain. The study will focus on Taman Ismail Marzuki (TIM), a public space that is rich in historical value. The exploration is conducted through ethnographic methods, involving qualitative interviews and in-depth observations, with a comparative analysis based on formal historical narratives. The findings reveal a diverse range of TIM's identities in each period, with fragments of collective memory from the past embedded in its current form. The residues of this collective memory take various forms, appearing as spatial programs, building names, murals, and even motivating artistic communities to practice at TIM.

"

"Penelitian terdahulu telah menelaah efek dari evaluasi yang diharapkan (saat peserta percaya mereka sedang dievaluasi tanpa diawasi langsung oleh seorang penilai) dan koaksi (saat peserta bekerja secara individu dalam kelompok) pada kreativitas. Namun, belum ada studi yang menyelidiki pengaruh evaluasi secara langsung (yaitu, evaluasi kinerja secara langsung oleh penilai yang tidak dikenal) terhadap kreativitas. Oleh karena itu, penelitian ini bertujuan untuk menguji pengaruh dari evaluasi secara langsung oleh pemirsa terhadap output kreatif (yaitu, kreativitas hasil tugas). Berdasarkan teori pemahaman evaluasi, kreativitas pada tugas sederhana akan meningkat di hadapan pemirsa yang memberikan perhatian penuh.Desain penelitian 3-level independent digunakan, dengan variasi kondisi tanpa pemirsa, pemirsa yang hadir tanpa memerhatikan, dan pemirsa dengan perhatian penuh. Tiga puluh mahasiswa (10 lelaki, 20 perempuan) berpartisipasi dalam penelitian ini, dengan 10 partisipan di setiap kondisi pemirsa. Partisipan ditugaskan untuk menulis sebanyak mungkin nama aplikasi kencan yang kreatif dalam dua menit.Hasil penelitian menunjukkan bahwa partisipan dengan pemirsa dengan perhatian penuh secara signifikan menghasilkan lebih banyak nama daripada mereka yang tanpa pemirsa, tetapi tidak ditemukan perbedaan yang signifikan antara kondisi pemirsa yang hanya hadir tanpa memerhatikan dengan kondisi pemirsa dengan perhatian penuh. Dapat disimpulkan bahwa evaluasi dari pemirsa memengaruhi output kreatif. Namun, evaluasi dan kehadiran pemirsa tidak menghasilkan dampak yang jauh berbeda.

---

Past studies have examined the effect of expected evaluation (i.e., participants believed they were being evaluated without directly being watched by an evaluator) and coaction (i.e., participants worked individually in groups) on creativity. Nonetheless, none have investigated the influence of direct evaluation (i.e., in person performance evaluation by an unacquainted evaluator) on creativity. Hence, this study aimed to investigate the impact of audience direct evaluation on creative output (i.e., task result creativity). Based on evaluation apprehension theory, creativity on simple tasks would improve in the presence of attentive audience.A 3-level independent design was used, with audience conditions that include no audience, merely present audience, and attentive audience. All thirty participants were university students (10 males, 20 females), with 10 participants in each audience condition. Participants were tasked to write as many creative dating app names within two minutes.Results indicated that participants with attentive audience significantly produced more names than those with no audience, but no significant difference between merely present and attentive audiences was found. In conclusion, evaluation from audience influenced creative output. However, evaluation and mere presence of audience did not produce significantly different impacts."

"

Penelitian ini membahas pentingnya pelestarian kawasan cagar budaya sebagai warisan perkotaan dalam mengembangkan identitas dan budaya kota. Penelitian ini melibatkan kolaborasi dengan masyarakat dalam menilai integritas dinamis warisan perkotaan melalui pendekatan sense of place dan memori kolektif. Fokus penelitian ini adalah pada kawasan Kotatua di Jakarta yang mengalami perubahan fisik dan fungsi seiring waktu. Pemerintah provinsi DKI Jakarta telah mengeluarkan kebijakan untuk menjaga keaslian dan kelestarian kawasan ini, tetapi perlu ada instrumen yang kuat untuk meminimalisir dampak negatif. Penelitian ini berusaha menyusun konsep perencanaan tata ruang yang aplikatif dan fleksibel, dengan mempertimbangkan urban memory masyarakat. Tujuannya adalah meningkatkan kualitas kawasan pemugaran dan mempertahankan nilai sejarah serta identitas lokal. Hasil penelitian ini mengungkap bahwa kawasan Pemugaran Tambora memiliki aspek fisik dan non-fisik yang menjadi urban memory yang diingat oleh masyarakat. Jalan Kali Besar Barat, Masjid, Rumah Cina/Pecinan, dan Pasar Pagi menjadi elemen penting yang diingat karena aktivitas yang beragam, nilai religius, identitas budaya, dan simbol perdagangan. Penelitian merekomendasikan pelestarian Jalan Kali Besar, Masjid-Masjid Cagar Budaya, Rumah Cina/Pecinan, dan Pasar, sementara aspek lain dapat dimodifikasi dan diberi penggunaan baru untuk meningkatkan kualitas lingkungan dan produktivitas kawasan.

---

This study discusses the importance of preserving cultural heritage areas as urban heritage in developing urban identity and culture. This research involves collaboration with the community in assessing the dynamic integrity of urban heritage through a sense of place and collective memory approach. This research focuses on the Kotatua area in Jakarta, which has undergone physical and functional changes over time. The provincial government of DKI Jakarta has issued a policy to maintain the authenticity and sustainability of this area, but robust instruments are needed to minimize negative impacts. This research seeks to develop a spatial planning concept that is applicable and flexible, taking into account the urban memory of the community. The goal is to improve the quality of the restoration area and maintain historical value and local identity. The results of this study reveal that the Tambora Restoration area has physical and non-physical aspects that become urban memories that the community remembers. Jalan Kali Besar Barat, the Mosque, the Chinese House/Chinatown, and the Morning Market are essential elements to remember for their diverse activities, religious values, cultural identity, and trade symbols. Research recommends preserving Jalan Kali Besar, Heritage Mosques, Chinese Houses/Chinatown, and Markets. At the same time, other aspects can be modified and given new uses to improve the environmental quality and productivity of the area.

"