Karya Fotografi Kontemporer
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| Saya teringat
dengan komentar yang bernada agak "sinis" yang
keluar dari mulut seorang pengunjung saat menyaksikan
karya Davy Linggar dalam sebuah pameran fotonya tahun
1999 lalu. Hal yang sama pun terjadi saat pameran
fotografi karya-karya mahasiswa ISI Yogyakara di GFJA,
yang bertajuk Revolution #9, yang menurut saya benar -
benar sangat revolusi (sesuai
dengan tajuknya) . Menurut saya kata sinis tersebut harus keluar karena ia harus menikmati karya brillian tadi ditengah pengetahuannya selama ini bahwa karya foto harus selalu indah-indah, atau kata itu harus terlontar karena ketidak biasaanya melihat karya-karya tadi ditengah karya-karya yang bisa dilihat yang selalu bernuansa indah, salonis dll. Kata sinis seharusnya tidak keluar jika kita menengok dan sadar inti dari penciptaan seni sendiri (yaitu ekspresi), maka kita akan paham dan harus mulai tidak bersikap menganak tirikan karya-karya tersebut. (Baca : Fotografi adalah seni). Dan sepanjang jalan sejarah fotografi diIndonesia belakangan ini sebelum dua pemeran yang saya sebutkan itu, telah banyak karya-karya yang mucul dengan nada-nada yang sama seperti itu, tentu kita tidak lupa dengan Arkeologi Abad Mesin karya Nico Dharmajungen yang menurut saya sangat brillian. Dan mendapat pujian diluar negeri. Jika kita ingat dan sadari apa yang kita ekspresikan melalui karya-karya kita, maka karya tersebut akan bicara tentang manusia (si penciptanya) yang sedang menyampaikan sesuatu kepada dunia melalui karyanya. Si pencipta berupaya menyimbolkan (dalam fotografi) & mentransformasikan (dalam seni rupa), tentang apa yang dirasakanya dalam dirinya (perasaan, kejiwaan,emosi dll) dan diluar dirinya (komunitas, sosial, budaya dll), yang semua itu dituangkannya kedalam media yang dipilihnya. Dan kadang apabila ia berusaha untuk menjelaskan tentang segala sesuatu yang ada diluar dirinya ia akan cenderung mengunakan kajian atau presepsi dirinya sendiri untuk mentransformasikan atau menyimbolkan hal tersebut. Subyektif. 
Andres
Serrano
Hal itu saya sebut dengan proses
kreatif (konseptual), bahwa
pengekspresian sebuah karya pasti berasal atau melalui
proses kreatif si seniman, bahwa si seniman pasti dapat
melalui salah satu atau beberapa proses-poses ini,
sebelum menciptakan karyanya ia akan : membanyangkan atau
mengimajinasikan, kontemplasi atau perenungan, merasai,
meresapi, menciptakan presepsi sendiri, memikirkan &
mengkonsepkan, karya yang hendak diciptaknnya. The Morgue Series: Rat Poison Suicide II Courtesy Paula Cooper Gallery Saat karya berbicara tentang si pencipta yang sedang mengambarkan apa yang dirasakanya atau apa yang dialaminya maka, melalui proses kreatif itu kita akan menyadari bahwa semua itu akan sangat subyektif dan relatif, karena proses kreatif itu berasal dari diri si seniman. Maka segala hal bisa ekspresikan, keindahan pun menjadi subyektif, aturan dan golden rule pun menjadi satu yang subyektif, akhirnya seni menjadi abstrak, universal dan bebas. Dan kebebasan itu akhirnya membuat belengu keteraturan, kemapanan, komposisi, golden rule dan lain sebagainya dengan sengaja diporak - porandakan (memberontak), yang akhirnya kita akan mengenal banyak sekali aliran dalam karya seni (khususnya seni rupa). Yang berasal dari pemberontakan tatanan yang sebelumnya ada. Contoh pada masa klasik di masa selanjutnya muncul realism selanjutnya impresionisme, selanjutnya ekspresionisme dan selanjutnya muncul suryalis, dadais dan lain sebagainya. Masing-masing memiliki ciri yang berbeda-beda, tapi yang satu akan mendobrak yang lain, yang baru mendobrak kemapanan. 
Wols
(Alfred Otto Wolfgangschulze)
Pada masa sekarang apa
yang dimunculkan oleh karya fotografer yang saya sebut
diawal adalah bentuk perkembangan seni menurut
konteks masanya. Menurut saya pada konteks dasar atau awal, karya Conetemporary art (seni kontemporer) atau karya fotografi kontemporer adalah seni berusaha mendobrak tatanan dan kemapanan yang telah ada, ia memberontak aturan-aturan dan mengangapnya sebagai belengu yang membelengu kebebasan (golden rule/komposisi dll), ia berusaha memberontak dari keindahan yang oleh seniman dulu keindahan malah dipuja (padahal keindahan tidak selalu berasal dari hal yang indah tapi dari apa yang kusam dan selanjutnya dengan segaja ditampilkan indah (dihiasi), itu semua terkesan menjadi tidak jujur dan munafik). Apalagi pada era globalisasi saat ini, seniman dapat menjadi jemu dan jenuh, mungkin karena pengaruh dari dinamika dunianya, sosial atau komunitasnya, atau tekanan yang menekan dan memarjinalkan kesenimanan (khususnya seniman kontenporer), tapi memang yang paling klasih adalah ia menjadi jemu untuk mengikuti aturan dan menampilkan keindahan (yang munafik menurutnya), ia secara berani menampilkan ketidak indahan karena memang itu adanya atau sesuatu yang benar-benar tidak indah menjadi tujuan, hal ini dikatakan oleh Herbert Read (1893-1968) "Seni rupa pada akhirnya adalah penyingkapan kesadaran secara tidak senonoh...karena itu dalam seni rupa kontemporer keindahan bukan lagi tujuan", Selanjutnya apa yang secara tak sengaja/sengaja di lakukan oleh seniman kontemporer dengan menampilkan ketidak indahan, memberontak dari kebisasaan atau ketidak laziman, atau bahkan nyeleneh (aneh) dll sepertinya akan menimbulkan daya tarik atau sengaja dilakukan untuk menarik perhatiaan dari audiance atau penonton, memberikan satu kejutan, sesuatu yang lain dari pada yang lain.  Karya Seni rupa
V-yramid
(1982), a pyramid of 40 working television sets, is an
example of the work of Nam June Paik, an experimentalist
in television imagery and an enthusiastic participator in
musical and multimedia happenings. (Whitney Museum of
American Art, New York
 Karya Seni rupa
Non-Site
(1965), by Robert Smithson
Dan menurut budayawan kita
Dick Hartoko dalam bukunya Manusia dan seni,
penerbit Kanisius, ia mengatakan "Sifat
umum yang dewasa ini sering nampak dalam kesenian dunia
barat tak lain adalah tak bukan ialah usaha untuk
menimbulkan efek "shock", memperlihatkan rasa
fustrasi, dan kejemuan yang dirasakan oleh sang seniman
dan .....sebagian masyarakat. Baik dalam seni sastra,
seni drama, seni pahat, seni film , dimana-mana kita
jumpai gejala-gejala serupa itu,
" Shock " : menggoncang (istilah
saya memberontak) yang dulu dianggap mapan
dan stabil, melemparkan batu ke kaca-kaca yang melindungi
harta nilai-nilai tradisional, dengan sengaja
menertawakan dan mencemoohkan apa yang oleh
angkatan-angkatan dulu diangap suci dan keramat,
memberontak terhadap tata tertib yang dulu tak pernah
diragu-ragukan serta membubuhkan tanda tanya dibelakang
setiap pernyataam dam ucapan. Gejala frustasi nampak dari
suasana keabu-abuan yang meliputi banyak karya seni
koentemporer rupanya tak ada gairah, ditonjolkan tanpa
emosi secara faktual saja".
Andrea
Modica
Tapi dalam perkembangan
selanjutnya menurut saya karya kontemporer bukan lagi
bicara pemberontakan kepada keindahan (dalam seni) atau
upaya untuk memberontak dari aturan baku (tatanan yang
ada komposisi, golden rule dll) dalam seni, tapi memang
tidak dimungkinkan unsur itu akan selalu ada. "Treadwell, New York" Courtesy Julie Saul Gallery, New York Dan selanjutnya pada perkembangan saat sekarang dan nanti karya kontemporer akan selalu menurut pada dinamika waktu, karya kontemporer itu sendiri akan berusaha terus memasukan kejemuan, frustasi, unsur sindirian, protes dan yang terpenting ia akan selalu memasukan unsur pada masa itu atau masa sekarang/masa kekinian, selanjutnya sesuai dengan masanya ia akan berusaha memasukan dan mengikuti trend atau gaya pada saat itu, teknologi (contohnya video dan Tv), bahkan berusaha memasuk-masukan unsur metropolitan / kosmopolitan yang berlaku saat itu dan yang terakhir yang saya tahu bahwa karya kontemporer mencoba kembali kepada alam dan kesederhanaan, dengan memasukan unsur alam dan etnikal. Sepertinya ada kefrustasiaan kepada moderenisme. Sedangkan karya fotografi kontenporer lebih berbicara pengunaan kamera utuh untuk secara realistis merekam konseptual pemikiran si fotografer, ia akan selalu tampil jujur apa adanya, mempertontonkan ketidak indahan, subyektifitas, keburaman (out of focus seperti karya David Amstrong), blur, kesengajaan dalam proses pencucian dan pencetakan (seperti karya Ernst Hesse), kesederhanaan subyek yang menjadi obyek rekamnnya, kadang kesimpang siuran entah itu bidang atau garis diagonal dari benda yang ditemuinya (seperti karya Nico Dharmajungen), itu semua dijadikan satu alternatif untuk menentang keteraturan dan semua itu masuk dan berdampingan dengan fotografi yang merekam keindahan (salonis) dalam dunia fotografi sejak fotografer seperti Walker Evans, Man Ray atau Stern mulai mengabadikan sesuatu yang dimasa itu disebut aneh dan di masa sekarang karya mereka dihargai sebagai karya fotografi kontemporer yang brillian. Saya lebih melihat ini semua sebagai gejala proses perkembangan karya seni sesuai dinamika yang terus berubah. Maka di era musik Alternatif, karya foto kontemporer adalah alternatifnya dunia fotografi. Jika kita pahami karya-karya itu sebagai satu ragam yang baru dan apresiasi yang baru, segar dan modern maka kita akan sadar bahwa karya-karya itu akan benar-benar dikemudian hari akan memperkaya khasanah seni fotografi di Indonesia dan pada akhirnya dapat diterima. http://apphoto.8m.com/note05.htm |
Senin, 05 Agustus 2013
Karya Fotografi Kontemporer by Agung Prabowo
Wimo Ambala Bayang :Menelisik Fotografi Kontemporer [Agung Frigidanto]
Wimo Ambala Bayang :Menelisik Fotografi Kontemporer
Sekarang fotografi sudah tidak peduli lagi pada bagaimana mengambil
obyek dengan gaya tertentu, obyek tidak menjadi patokan dalam membuat
foto menjadi indah. Bagaimana sudut pandang obyek harus dikuasai? Ini
yang menjadi penekanan kontemporer. Ataukah cara lain memperlihatkan
benda itu sebagai obyek foto. Vitalisasi obyek inilah yang membedakan
dalam fotografi kontemporer. Bahwa obyek tidak begitu diperhatikan dalam
pengambilan gambar. Benarkah?
Ada pengertian mendasar bagaimana memahami fotografi kontemporer
dalam pameran Wimo ini. Selain itu obyektivitas melihat fotografi secara
kekinian. Mungkin, bisa dilihat obyek mempunyai nilai dalam ranah
fotografis, dilihat atau di foto secara apa adanya, atau melalui reka
visual subyektif. Wimo mencoba meletakan pembacaan fotografis melalui
benda-benda yang dihadapinya.
Wimo dan Obyek Fotografi
Melalui foto yang dipamerkan Wimo Ambala Bayang dengan judul pameran:
Not So High (Heels), tempat: D gallerie, Jalan Barito , Jakarta, pada
tanggal: 27 Juli – 10 Agustus 2010. pertanyaan diatas menjadi bagian
dari visual foto. Interpretasi terhadap foto merupakan bagian
kontekstualisasi terhadap konsep apa yang dibawa oleh juru foto.
Penekanan konsep karya dan konsep pameran menjadi sesuatu yang
fragmentatif. Bagian karya, foto, bukan lagi diluar pameran tetapi
menyatu dengan pameran tersebut. Sehingga apa yang diungkapkan dalam
karya dengan konsep tidak ada batas.
Pada pameran ini Wimo mengungkapkan tentang bagaimana sepatu dengan
tumit tinggi terlihat dari berbagai sisi, atau diberbagai tempat
dimanapun berada. Seperti di atas tanah, bahkan dilumpur. Terlihat
bagaimana permainan dengan benda-benda itu menjadi sesuatu yang menarik
untuk dilihat lebih jauh. Karena tidak setiap saat benda itu atau sepatu
high heels berada di lumpur. Layaknya permainan yang dilakukan oleh
anak-anak menghadapi situasi alam. Tetapi sepatu yang digunakan Wimo
untuk membuat visual fotografis lebih monumental dalam meletakan high
heels tersebut. Sebab latar belakang dimana high heels ada merupakan
keberadaannya.
Selain itu penutup kepala yang wujudnya seperti bulu kambing. Menutup
kepala, dan seluruh rambut tertutup rapat, hingga terlihat bahwa kepala
tergantikan oleh penutup mirip bulu domba tersebut. Melalui gaya
pemotretan dengan latar belakang gedung dan kolam renang, serta model
menggunakan baju renang, memperlihatkan keberadaan di tempat yang,
mungkin, tidak semestinya. Karena bulu-bulu yang menempel dan menutup
seluruh kepala seperti tidak tahan air. Tetapi kondisi model masih
diatas air, sedang mempersiapkan diri diatas kolam renang.
Pameran ini memperlihatkan konteks bagaimana menggunakan benda yang
subyektif dalam wilayah pemotretan. Apa yang diperlihatkan secara
obyektif bukan cara memotret, tetapi apa yang dipotret. Sedangkan sudut
pandang juru potret adalah subyektif, dan memberi pemaknaan bagaimana
melihat benda diluar konteks setiap harinya. Inilah yang memberi
pemaknaan baru terhadap benda, serta sudut pandang visual yang lebih
atraktif.
Menafsir Obyek Non Permanen
Ketika kita mengunjungi pameran dan belum dibuka atau masih dalam
tahap persiapan pembukaan, apa yang kita lakukan? Pertanyaan ini
merupakan motif utama ketika Wimo mengerjakan proyeknya. Saat dia
mengunjungi ArtStage, Singapore dan ArtHongkong tahun lalu. Wimo mencoba
membuat foto-foto persiapan pembukaan, foto dengan obyek karya-karya
yang hendak dipamerkan, atrau yang sedang ditata di booth, dijadikan
obyek oleh Wimo Ambala Bayang.
Pada tahun 1990 Wimo Ambala Bayang mendirikan MESS56, kelompok
fotografi di Jogjakarta. Karya-karya mereka yang tergabung dalam
kelompok ini banyak dipamerakn di luar negeri, seperti di Australia,
Jepang dan Korea. Berbagai pameran di Eropa sudah mereka jelajahi,
bahkan menjadi artis in resident di berbagai negara. Fotografi
kontemporer menjadi karya yang menarik, bahkan balai lelang Sothebys dan
Christie’s melelang fotografi kontemporer dengan harga yang lumayan
tinggi.
Melalui pameran: IsHot, dibuka pada tanggal 12 November 2011,
bertempat di The Goods Dept, lantai 4, Plaza Indonesia, Jakarta. Wimo
Ambala Bayang memajang karya hasil proyek pemotretan di art fair:
ArtStage, Singapore dan Art Hongkong. Apa yang ada dalam pameran
tersebut, terutama karya yang dipamerkan menjadi obyek utama Wimo dan
dipamerakan dalam pameran kali. Berbagai karya yang ada di pameran itu
menjadi obyek fotografis.
Melalui dua pameran tunggal diatas Wimo mencoba menjembatani
bagaimana fotografi digunakan untuk membuat obyektivitas melihat benda
dengan kenyataan dan lingkungan yang menjadi tempatnya. Atau bagaimana
benda itu berada di suatu tempat dengan kondisi apa adanya. Disini
pengertian fotografi kontemporer menjadi telaah yang mendasar, bukan
bagaimana mengejawantahkan obyek tetapi apa yang ada secara nyata dalam
obyek.(Frigidanto Agung)
Minggu, 05 Mei 2013
THE DISPOSITION AND REPOSITION OF THE JAVANESE CULTURAL EXISTENCE IN CYBERCULTURES PRACTICE
THE
DISPOSITION AND REPOSITION OF THE JAVANESE CULTURAL EXISTENCE IN CYBERCULTURES
PRACTICE [1]
Moh.
Rusnoto Susanto
PhD Candidate at
Indonesia Institute of the Arts, Yogyakarta. Lecture at Art Education,
SarjanawiyataTamansiswa of University, Yogyakarta. Email: m_rusnoto@yahoo.com
Abstract
The simulation of communication technology
developments in cybernetic discourse and cybercultures praxis is very
interesting to learn the material, especially in the context of Javanese culture in terms of
culture, of course, glorious of civilization. This phenomenon is very impotant
to given the rapid development in the next 5 to 10 years, especially in
building and developing internet network.
The technological rapid increasingly changes the explosion of visual
culture through a variety of fantasy and also the visualization which have
dominant element in the reality of mechanical cybernetic system.
The contemporary culture is very popular, with those
applications that easly and instantly, anyone can use without special
skills. The program has received wide
coverage through advertising supplier of mobile technologies, the company’s
mobile technologies such as
PDA’s, mobile phones, Ipad compatibility mode or compatible system. All the technology specially designed which
enables internet application was so easy and always within them grasp.
Actually Java has compatible cyber aspects in a
special sense, Java has a remarkable history of technological telepathy
sophistication, and the transfer suggestion, even threw the origin of quantum
life’s pace. When we speak of
cyberculture and the provision of the existence of the real culture centre of
Java, then explore the past Java history and figures marked implicit cultural glories. How quantum leaps by Sri Sultan Hamengku
Buwono I (HB I) which change the calendar system and specially named (legi,
pahing, wage, pon, and kliwon) which is different and follow the Saka year, is
n ot A-D and A-H in specific disposition
of the Javanese culture.
The disposition
same thing when we see the ancient painting in caves un til the emergence of contemporary
puppet (puppet condoms, puppet plastic, and puppet suket by Slamet Gundono, akapela
puppet Sujiwo Tedjo, and puppet naughty by Enthus Susmono and Jaya Suprana
opera puppet show with 60 dancers bring to Sydney. This is the actual fact that
the phenomenon of cyberculture
that imaginative people dissolve entry into a puppet story.
Enjoying mocopat,
gendhing literature, pangkur and puppet; as if we re a
flat-screen optical fiber into the imagianry dimension and simulation af
multi-layered illusive presence brings usto the land of Alengka, Chandra Dimuka
crater expense, the Mahabharata war and allows us to contemplate the character
of Krishn inspiration. Javanese
cyberculture is not have surpassed the graet idea, isn’t? So Java, sociaty and culture adapted the
contextual relevance of cyberculture that emerged today. I believe that people in Central Java and the
corners of the area are almost entirely enjoys products of cyberculture, which
are television, mobile phone, telephone, internet, social media (twitter and
facebook) even a majority of actinve system users.
Key Word: Javanese culture, cybernetic, disposition, and
cybercultures
Introduction
The cultural
transformation happened in Java is not only because of the influence from
Europe, but also from India, and China.
Indonesia and Java, particularly during two thousamd year in history,
has become a cross culture, from the important world civilizations, met,
received, processed, developed, and updated.
(Denys
Lombard)
Socio-cultural transformation which is a part of
historical imperatives give the effective contribution to the emergence of
contuinity orientation that-move-split, for the development of several
perspectives, disposition, reposition, and socio-cultural delocalization. The delocalization causes a depraved of any
spiritual format and the implementation of ethic principles and moral truth
that pointed in the procces of social identity reduction and cultural
values. Then it emerges a consciousness
that needs reposition and redefinition procces of our culture.
However, the problem is the elements of cultural
cotruction have to put back local culture aspect, as a pattern to estimate any
consciousness. This consciousness
sharpens the orientation of human natural tendency as the actor of change. If we talk about disposition or reposition,
it may pay attention implicity to the aspect of identity terminology, enter to
certain enxiently, and tend to act defensively in the position of national
identity (local genius) and the global (cybercultures).
Observing the development of communication
technology, practice in the cyberculture discourse and praxis cyberneticis very
intersting to research studies, particularly in the context of Javanese
cultural terms of civilization (Budaya Adiluhung). It is possible just in term of cultural
change. This phenomenon is very important
considering its development is very rapidly over the past 5-10 years, especially
in building and developing the internet network. The fact, Java has an adherence on cyber
aspect in a special sense; it also has a remarkable history of technological
sophisticationsuch as telepathy, trasfer sugestion, even to make quantum-paced
life well known. When we talk about
cyberculture and disposition of the Javanese cultural existance, we record the
history of Java figure and mark the glorious of Javanese cultural implicity. How Sri Sultan Hamengku Buwono I created a
quantum by changing the system of time (calender system) by naming the day ‘weton’ especially (legi, pahing, wage, pon, and kliwon
follow the Saka year compelety
different with Masehi and Hijriyah year) it was specially for
Java. This diposition is similar to when
we look at ancient paintings in caves until the appearance of contemporary Wayang (wayang condoms, wayang
plastic, wayang suket of Slamet
Gundono, wayang akapela of Sujiwo
Tedjo and naughty wayang of Enthus
Susmono) and opera wayang show of
Jaya Suprana with 60 dancers in Sydney.
The
development of technology increase rapidly emerged an explosion of visual
culture trough any fantasy and visualization that b eing a dominant element in
mechanic reality of cybernetic system.
Temporary cultural trend with many innovative application program which
is so easy and instant, can be used whoever without special skill. That program is published broadly trough
advertising by technology mobile provider, the company of celluler technology
such as PDA, iPAD, Iphone, Blackberry or
comptible handphone system. All are
designed specifially possible to internet application easily and always in hand
of Javanese people today in every their activity.
This is the actual fact that the phenomenon of
cyberculture which imaginatvely people brought ‘katrsis’ into the stories of
wayang. While enjoying mocopat,
literature of gendhing, pangkur, and wayang, as if we are at the center of
flat screen from the fiber optic of computer flat screen enter to the imaginary
dimension and simulation multi-layered brought into the our illusive existence
in Alengka Land, crater of Chandra Dimuka, Mahabharata war, and possible to
allow us reflect a character of Krishna.
Is not Javanese culture has been beyond the great idea of
cybercultures? So, Java society and
culture has a contextual interrelation is so adaptable to the emerging of
cyberculture today. I am sure that the
Javanese in the city or in the rural area is almost entirely enjoy cyberculture
products such as; television, mobile phone, telephone, internet, email,
tweeter, friendster, badoo, twoo, and facebook, even they are a majority
ofactive system users.
1. The
Disposition and Repostion of the Existence: the Acculturation and Chance of
Javanese Cultual Change
To keep the thoughts and views of cultural changes
and developments in general, till to the cultural orientation specially
‘Javanese culture’ reminds us, of course, of the procces of enculturation
appearance of post-Second Vatican Council that purifies the Jessus. It was interpreted in different perspective
and meaning, by signing into local culture and make themas media of evangelism
which is then called by enculturation.[2] This procces is considered very effective and
sporadic to an enrichment interpretation course in cultural approach as did by
the ‘Wali Songo’ in the Java. Indonesian culture especially that developed
in Java is the cultural fact that acculturated by Church and dominated the
implementation of Eucharist celebration in Java’s tradition. This eucharis celebration enters the traditions
of Java without omitting the first purpose of eucharis celebration. In other word, the chrurch uses the
enculturation formally as a way to evangelism.
In Ensiklik Rdemptoris Misio (about the Bible), Paus Yohanes Paulus II,
states that through enculturation, Church creates bible in the form of
different culture and at once bring the whole nation into its culture or Church
federation.
The practice of syncreatism as only mixed various
ideology or cultures without there is something obvious, while the enculturation
using cultures or ideology-ideology as evangelization procces. Syncretism in ancient India happened merger
various origin beliefs and immigrants, then in the Green-Roman at the time of
Hellenism, and in Chinese (Taoism, Buddhism-Mahayana-Confusianism)
be asimple landscape that activity lasted for centuries with extraordinary magnificence perfect. Such a procces is happening in Indonesia such
as animism, Hinduism, and Buddhism mixed in Javanese culture before Islam
arrived in Indonesia. The presence of
Hindu-Buddhist culture in Indonesia has caused the emergence of
acculturation. Hindu-Buddhist culture
which is in Indonesia does not take for granded but through proccesing and
adjustment with the living conditions of Indonesia society without losing the
original elements. This is because the
people of Indonesia especially Java already has the basics of high culture so
that the entry of foreign culture into Indonesia increased treasury Indonesian
culture. Another thing is the special
ability of Indonesia or local genius is the basic ability to receive foreign
culture elements and proccesing eleement in accordance with the personality
‘aspect of the locality’ of Indonesia.
The influence of Hinduism’s culture is only a
complement of the existing culture in Indonesia. The merger of Hindu-Buddist culture emerged
the acculturation that has been preserved until now. The acculturation is the result of proccesing
foreign cultures in accordance with Indonesia culture. Muh. Rifqi Fauzy on his personal blog that
posted on Wednesday, August 5, 2009 about the ‘Culture Acculturation
Hindu-Buddhist-Islam in Indonesia’, in personal blog http://riefqie-yupss.blogspot.com/...
/akulturasi-budaya-hindu-budha-islam-di.html, states in detail finding the acculturation in the form of:
1)
Social, after Hindu was in Indonesia there is a change in the social order of
Indonesia. This recognized in the structure of society on caste in
Indonesia.
2)
Economy, in economy is not so great the infuence into Indonesian society. This is because the societyhas been familiar
with shipping and trade long before the Hindu-Buddhist influence in Indonesia.
3)
Government System, before Hindu-Buddhist in Indonesia, the system of government by chieftain
was chosen becauseit has certain ability compared to other group members. When the influence of Hindu-Buddhist, the
kingdom was control the society, led by a king who ruled for generations. King is considered as a son of gods who have
power, respected, and revered.
4)
Education, the Hindu-Buddist also effect the lives of the people of Indonesia in
the field of education. Indonesian
people are not familiar with writing before.
But after the Hindu-Buddhist was in Indonesia, some communities in
Indonesia began to recognize the culture of reading and writing. The proof of the influence of education in
Indonesia is the use of Sanksekerta and latter of Pallawa in the lives of some
communities in Indonesia. Language is
primarily used among the clergy and nobility of the Kingdom. It is also recognized Kawi as a language, the
language of ancient Javanese and Balinese which is derived from Sanksekerta.
Other
proves appear on the hight works of literature that that is interpretation of
the tales of Hindu-Buddha (Empu Sedah and Panuluh; Bharatayudha, Empu Kanwa;
Arjuna Wiwaha, Empu Dharmaja; Smaradhana, Empu Prapanca; Negarakertagama, and
Empu Tantular; Sutasoma). The influences
of Hindu-Buddha also appear on the development of ethic doctrine base on the
Hindu-Buddha doctrines. The doctrines
taech the affection or charity, peaced, and respectable between others. It is known and dome by some people of
Indonesia. In the begining the priests come to Indonesia to teach the education
and learning about Hindu. It caused the
trade relationship in Indonesia. Then
the priests bulid the educstion center that cslled by prasmanan. In this place, the people get the education. Because of this, there are some figures of
Hindu that have many ability and high education of religion created a works and
try to spread the doctrines to other place.
To get more deep understanding of the religion doctine, there are many
people come to the origin place Hindu.
Then, they came back to Indonesia and teach using own language in order receivable
by the people of Indonesia. While in
Buddha, we know the great master and their works such as Sriwijaya; Dharmakirti, Sakyakirti; Dharmapala. Even, the king of Balaputra Dewa builds the education center for student before
studying in Benggala (India).
5)
Beliefs, before the influence of the Hindu-Buddhist in Indonesia, the Indonesian
people know and belief to the ancertor spirits (animism and dynamism). The arrival of Hindu-Buddhist religions
encourages people of Indonesia from the Hindu-Buddhist religion, althought not
abandon the original belief such as the
worship of ancestral spirits and gods of natural. There has been a kind
syncretism such as the emergence of animism, dynamism, totemic in the
Hindu-Buddhist for example in East Java, Tandrayan
which is practised by Kertanegara
from Singosari as the incarnation of Shiva.
The belief in ancestral spirits still embodied in rituals og death such as 3
days, 7 days, 40 days, 100 days, 1 year, 2 years and 1000 days of ritual meal,
and there are still many things that are done by Java community.
6)
Art and Culture, the influences of Indian art on Indonesian is
clearly visible in the fields of arts building (Architecture), it is observable
on the building of the temple as a from of a mixture of original art of
Indonesian and the Hindu-Buddhist art. The temple is an embodiment of
acculturation of Indonesia and India. The temple is the result of megalithic
era building that is the building has stairs which is the influence of Hindu
Buddhist. The fine art appears on sculpture and relief.
Literary
art and letter, in the first period,in the middle of Java. The influence of Hindu literature is so
strong enough. Then, in the middle
period Indonesia began interpreted the work of India such as Bharatayudha that
is the tale of Mahabharata by Mpu Sedah
and Mpu Panuluh. The content is about the war since 18 year
between Pandawa against Kurawa. the
expert state that the real content is the power affairs of the Kediri kings
family. The epigraphs were written by Sansekerta language and Pallawa
letter. The language of Sansekerta is
much used on ancient book of India. The acculturation of Sansekerta language
and the Javanese language created an ancient Javanese language by Pallawa
letter modified appropriate with understanding and the taste of Javanese
people, then become the ancient Javanese letter and ancient Bali. Then, it becomes the Javanese letter and Bali
letter now. In the Sriwijaya kingdom,
the letter of Pallawa develop becoming Nagari letter.
7)
Techonology, actually, the Indonesian people already have enough a high culture before
Hindu-Buddhist religion came. The Hindu-Buddhist culture influence is more and
more make the Indonesian culture more extendable and enhances the technology
that has been previoushy owned by the Indonesian. The influence is seen on the
development of Indonesian society technology in the field of maritime, contruction and agriculture. In the field of
agriculture, it appears to the good management of irrigation systems were
introduced and developed when Hindu-Buddhist was in Indonesia, and on temple
relief depicting irrigation technology at the age of Majapahit.
8)
Calendar System, adopted from the calendar system of India. This can been in the Saka year in Indonesia. The Saka calendar is the year that began in
78M ( the of the Sun, Samsiah years)
at the time of King Kanishka I was
crowned, the number of day in 1 year is 365 days. But on the other hand, the
Balinese is not based Saka on the
system Surya Pramana but on the
system Chandra Pramana ( the Moon yeas, Qamariyah
year) 1year is 354 days. Summer falls on the same day in March where the sun,
the earth, the moon is in a straight line. The day is celebrated as the great
day of Nyepi. The Candrasangkala or Kronogram is in order to commemorate the
event with a year or calendar of Saka.
Candarasangkala is the number of
letters in the form of sentence structure or word description; if it must be
interpreted in the form of the sentence. The Islamic sculpture is called
calligraphy, which can be caeved in wood. For example, callygraphy and carvings
on the front wall of the Mantingan
mosque in Jepara, and in the Cirebon mosque by tigershaped sculpture that
called Arabesk.
9)
Literature, it appears at works of literature in the Malaka and Java. Literary works
develop (a) Suluk, literary works
which contain the teaching of Sufism: Suluk
Sukrasa, Suluk Wujil. (b) The Tale,
the fairy tale or legend that hadexisted before Islam: the Hikayat Amir Hamzah and Hikayat
Panji Semirang. (c) Chronicle, the story that sometimes includes a royal
lineage of the kings Islam (chronicle of Java, chronicle of Cirebon, and
chronicle of Ranggalawe).
10)
Government System used the rules of Islam in the government of the Islamic kingdoms in
Indonesia. It is proofed by the King of
Islam Mataram was originaly titled Sunan or Susuhunan, meaning respected.
Raja will be given the title Sultan if it has been appointed with the
approval of caliphs who ruled in the Middle East. There is another title that is Panembahan or Maulana.
11)
Social, here it has become a popular democratic system. It does not recognize the case system, does
not know the difference group in society.
12)
Philosophy, after the birth of Islam, philosophy developed science that serves to
support Islamic region. In the 8 th
century, was born the basics Science of Qalam
‘Theology’ and Mysticism theology ‘Tasawuf
Qalam’, is the principal teachings ofIslam about the the oneness of God,
Theology or Science of Tauhid. The origin of Sufism is since the birth of
God’s search for love and longing in God.
Sufism developed into the religious sect of belief.
Acculturation appears when urban population increase
in a certain region. Java geographically
potential to be urban growth places that carry out the habitus and their local
cultural background. Java community in particular whill have a culture that is
referred and inherited by generations in order to change, develop, and enrich
in every aspect. When urbanization
occurs on a large-scale community group (other professions), leaving the
regions to the central switch as well as with the current culture crisscrossed,
build a new cultural groups adapt the local aspect and adopt the global
content, including cultural aspects of cybercultures.
This procces begins with the daily intensity of
systemic community feel that the activities of the cybernetic world have the
important role to build the culture with the imagery of modernity, then there
are mixing, crossbreeding, displacement, and disposition of moves that allow
the creation of a new culture. After
becoming an inevitable trend, how persistent Java community with various social
strata and economy shifting their perspectives of life to ab sorb telecommunications systems, information,
business activity, self-image through a virtual world to the stage of the
comfort transactional system addicted.
In that context, the sporadic ‘change’ transfer
procces has to exchange the culture (cultural share), crosses, and mixed
culture is always intersting to be seen related with the shift of individual
models and society at large that appear in the big cities of Java as a results
of modernity projection through the touch of culture (cultural encounters). The communication tended to construct
intensity of cultural contacts is so significant. If the basic assumption is
the communication as a basic material of cultural process, the products of cyber-cultures make possibilities to
extend the process of culture itself universally and have power to mobilize the
cultures of Java on a single dispostion chance or consciousness to
repositioning. These opportunities
should be based on cultural awareness to
cultural repositioning of in an Java integral position. As stated by Sarwono that the consept should be in Javanese culture (exactly art) and
tradition in the local community is by making the cultural resitioning in the
era of globalization, because this era of globalization makes an interaction
and cultural exchange and influence to its elements. (Sarwono, Reposisi Kreasi Budaya dalam Penggugatan
Masyarakat Lokal, sarwono.staff.uns.ac.id/.../reposisi-
kreasi-budaya-dalam-masyarakat-lokal)
The
position of strong culture tradition will make use of the interaction in order
to defend the identity, but the weak culture tradition trends to change,
trnsformed and even broken in the globalization era. Among the strenghth, the culture tradition,
include the art tradition are in inside of the strenght. So, the culture
tradition ‘exactly the art’ has to reposition the culture; looking for
strategic alternative in constellation of time.
Thus, the culture tradition ‘exactly the art’ considered as a static
culture, indignation must have a new position in the globalizartion era through
the critical consciousness. It aims to
make the culture can develop based on its paradigm, and strenghthen the system
and principle based on local in order offer to global. This reposition context is considered as the
most important thing as the way to reposition the culture, until it can develop
the interesting and belonging of the local people that inherited cutural
tradition, including art. The phenomena
associated with cross-cultural communication happened between urban society and
local communities in their daily lives. In the activities of community life, we
cannot break away from cultural activities.
2. Cyber-cultures:
Facebook is world Identity and Fascism
in Java’s Contemporary Lifestyle
The most exciting thing today for world community,
including most of the Java community is to enjoy the convenience of
communication technology facilities and cybernetic simulation, twitter and facebook.
Actually,
what does make the contemporary world community interested and comfortable with
facebook? What happened with facebook or
other social networking, twitter, friendster, or blogging, till they want to
spent their time and money to do it? Why
the social networkings as facebook begin becoming basic need for social
relationship and even defeat the physical contact directly? One can build new worlds nd social networking system, and make the population
user growth rapidhy. If you already on account of social networking such as facebook, so someone can get involved
for hours just to browse the information, meet old friend and a virtual adyssey
to find new relationships for interction through cyberspace.
Since 2004-2010th is a very short time, from the emergence of
facebook, and led the virtual world of friendship. Mark Zuckerberg designer of this site, in
2004, intended as a medium to know each other for the student of Harvard
University. It just took two weeks,
almost all students at Harvard University have facebook accound, and within
four months, 30 campuses in the United States have been registered in this
network. Facebook started to interest
some supervisors service, including friendster, and some investors. September 2005, the facebook is open to
public. In January 2010, the facebook
users in the world reached 350 million people, including active facebook users
in Indonesia ranks in the second place, followed by the Philippines.
The high activity of urban society in big cities
trends to fulfill the will to do the whole work more quickly and
efficiently. Then this is very likely to
use the facilities of communication technology, information and digital with
high population and growth very rapidhly. The use of virtual space facilities
seem to be able to change the characterstics of urban society with contemporary
culture in the digitalizing system. From
the data found in th field, some active users or facebookers in Indonesia
creating an accound on facebook aims for promotion and information (blogs,
business, and service), trends and lifestyles (networking or socializing),
sensation, and controversial maker. (Deni S. Jusmani, Facebook dan Kuasa Fasisme: Merenung Dalam
Kuasa Hidup yang Palsu, upload on Thursday, September 28, 2010 at www.indonesiaartnews.or.id/artikeldetil.php?id=68)
In Indonesia, especially in Java, have shown the
changes in the system (social system, system of governance and cultural
system), in the context of instruments use of cybernetic sporadically. The application of mechanical cybernetic
networking system bring other social changes that give a significant influence
on social change, changes in the economic system with an indication of the
changing life style (the style of communicating, shopping style, style of
business transactions, learning style with cyberspace facilities and cyber sex
style). All instruments that establish
working system of social networks which facilited by cybernetic system. This phenomenon activities a cultural change
and shift vision gradually that arrange them selves to form a new dimension and
vision. As started by my anthropologist
fiend from Germany, Anton Larenz that New York Times published an article about weathering Capsule Tower, an
apartment for single people in Tokyo.(Lorenz, 2009: xx). The
New York Times published the article about Capsule Tower, an apartment building
for unmarried people in Tokyo. Every
Capsule in Capsule Tower that build in 1972th is full of modern
facilities like television, tape recorder, and refrigerator. These building are the example of Javanese
Metabolistm, a movement and trend architecture involved in resurgence of Japan
after war. Their urban vison adhered to
their culture after the war. The city
built and designed by float system as sign of the people that are in the
transition procces of change. At the same time, the structure of Japanese people
clearly showed on shift of traditional family structure and the expansion of
the national worker. This phenomenon
makes the world inteerseted and expected by the architect. Today. There is idea to build the architecture
museum for the past. Here, the influence
of cyberspace and virtual space idealization are in the soul of the people of
the world recently.
Related with its growth and development that are
increasingly beyond the earth’s population is almost all aspects have been
taken over, though not entirely by the allure of this simulation of
technology. However, the next are able
to disqualify all aspects of the world virtual information systems, and led to
the formation of a new culture that is multicultural accumulation in the form
cybercultures which is a response from the changes and shifts in the virtual
world (virtual displacement and virtual replacement). Then, it will give a significant effect of
cultural change relations that marked by a factual phenomenon today which is
constructed the people lifestyle.
According to Giddens, the development of life style
and the change of structural modernity associated each other trough the
intitutional reflectivity; due to the opened of social life in the present,
plural contextual acting, and different outhority, the life style option more
be important in identity aspect and daily activity. He also reminded that the ideaof life style
had been corrupted by consumerism, although the market, primarily, when has
been an ideological theme in the politic of neoliberal, seem offering the
freedom to chose, it means to promote the individualism. Giddens also state
that self comodification through narration genre of media, while marketing
strategic determine the style to investment cost of personal meaning. (1) To
explain the idea of Giddens, related with the lifestyle in Indonesia, we have
to open our mind, in order does not clash with the paradigm of east and west
context. Of course, we have to understand the idea of Giddens as effort to
minimizing the style and life style of non-narative people that develop in this
country. At The New Oxford Thesaurusof
English explain about the style understanding. (Giddens,
1973).
(2) Fashion,
style, mode: these are all about the fashion (fashion, style, and mode), but
actually they were one union. If we talk
about the fashion, of course we talk about the style and something like
mode. Here, it called by way. (Giddens,
1981). (3) Style called as design of
mode and style. (Giddens, 2007).(4)
Mode (5) be said as vogue, current/latest style, look, trend, latest thing,
latest taste; craze, rage, fad, general tendency, convention, custom, and
practice. (Giddens, 2004). (6)
Roland Barthes, understand this mode as an autonomy object, by the own
structure, and new form; other function subtituted or added to the social
functions are the analog of what found in literature and can be concluded by
saying through the language in fashion style, it will lead to the mode aspect,
design, ornamentation, and material that involved the creator expression, with
different communication. (Giddens,
2004). (7) Stylist can be called as
acting stained or constrained. (Giddens, 1990).
Therefore, it was unabe to control, even it turned
us precisely controlled existence. In
the context of posmodern society, urbanization does means the movement of
people into the city in real space, but evolved in the direction of urbanization
that is virtual human displacement on a
large scale into the center of ‘cyberspace’ digital city.
The world of facebook is in the shadow of
fascism. Fasism is also contains an
ideology of distrust in the ability of the reason. This ideology will ignore all forms of
discussion, bargaining, and kill the values of deliberation to reach
consensus. Remember, facebook was
created firstly by Mark Zuckerberg aims to the introduction, to facilitate the
students to know each other and familiar.
Not, all information in facebook is correct, even in certain condition,
facebook tell the lies, curses and obscentities, and lives in fascism.
Melville J. Herskovits and Bronislaw Malinowski
points out, that everything in the society is determined by culture which the
community itself owns. So, where are the
lies of the facebook and a culture of fascism in Indonesia? To discuss the
culture of fascism, which also was pointed facebook culture, while the
opposition is the culture that developed in Indonesia (hard to tell as the
indigenous cultures of Indonesia), then we have to distinguish the characterics
of both. If facebook is in the realm of
culture, then it becomes the work, taste, and the coppyright of community. Especially when refering to the Tylor idea,
the fascism is more invisible to be discussed. (Steven
Best and Dauglas Kellner, 1997: 38)
However, if we agree with the idea of Malinowski,
the facebook culture does not belong to the Indonesian nation obviously. The values of facebook trend to create a
generation and group that have a high idealism, and very individualistic.
3. The
Contextual Realation of Javanese Culture and Cybercultures Practices
Before describing the relation of Javanese culture
and cybercultures practics, at least coniders such as Umar Kayam that stated,
“Culture is basically a dialectic process between the systems in a society
where human beings as members of society will always be involved in the process
of developing culture”. Then, Dr.
Radjiman state, “If the natives fully and forcibly separated from her past, so
which will be formed is a man wiyhout roots, no class, and get lost between two
civilization”. Dr. Radjiman statement in
the cultural congress, he give 7 reasons; (1) Ancient Javanese culture based on
region sociology, (2) This foundation found in the soul of Javanese people
although no people understand it, (3) An ancient Javanese culture is needed to
support the social consciousness (character forming), (4) A new influence is so
important and needed to associate internationally to study and learn much about
knowledge, (5) The education has to appropriate with the educated ethic
teaching and esthetic value, and pay attention to basic of nation tradition,
(6) The practice and usage of javanese language, art, and culture, and history
have to be the important point in eduaction, (7) The opportunity to learn and
study about Ducth language has to keep opened in order to be useful to the
international relationship.
Indonesia in the future obtained the personality
primarily from the origin culture and also obtained as a modern human
personality, especially of the nation culture.
Prof. Dr. Timbul Haryono in fullpaper of
seminary, Kebudayaan Nusantara Di Tengah Peradaban Dunia states; changes in the national infra-scale covers the urban area,
communities, families and individuals, and interactions between all levels and
unit. The change in the
supra-nation scale included the region, ocean, and hemisphere, national group;
and etho-racial, and global interaction with the whole elements. It includes the union of thousand ethnic
groups, linguistic and belief in one independent nation, and the adaptation of
the different ethnics and place. The
progressive culture development is also along with the regression.
The
rise of population radiply that is not
with the education development and economy, it possible to rural exoduses which
are not equivalent with the urban adaption.
The transmigration (the leaded internal migration) does not attention to
anthropology aspect of the ethnography and settlement; economic anthropology
less attention because of it follows tourism aspect. The stability and secularuty is just for the
nation not for human. The art develop become
a touristic art and commercial. The life
style wave, mode of fashion and the food are always from the west (especially
from America). The tradition, taboo
become insignificant matter, and sexology exploitation is always often found
for commercial purposes. The culture
exchange is not symmetric and tends to individualistic hedonism. Arise of sporadic globalization has changed
the way of our society in culture.
Slowly but surely, the local culture began to erode foreign culture
hegemony. The culture of western
countries which adopts capitalism is not only changing the exiting of social
order, but also it affects behavior, life style and mindset of our
society. This culture develops
consumerism and hedonism culture at all levels of society, men and women. Thus, a local culture as identity and
heritage of our ancestors increasingly faded, even disappear.
The culture was familiar with the term of popular
culture (pop culture). Initially, the characteristic on popular culture is
mass, commercial, open, born of the people, and of course like the people. So the pop culture categorized as cultural
people (folk culture) or low culture.
The mass culture or pop culture is often called popular culture has
developed since the 1920 decade upward.it affects is extraordinarily to the
society through television, newspapera, magazinea, radio, internet, and
others. Through mass media, public can
see, and consume the information from all over the world and breaking down the
barriers of all parts of the world.
Imitate and consumerism culture is more developed,
making a local cultural values in creasingly eroded even threatened with
extinction. Television is a product of
popular culture whose influence is very large in the community, through television, our society began to
imitate a variety of thing: speaking style, the fashion style, life style, and
mindset. The impact occurs social
changes in society and the essence of local cultural values disappear. Capitalism is a mastery of the production by the
owners of capital, and produced as closely as possible to gain maximum
profit. Uncosciously, the consumerism
and hedonism culture developed in Indonesia.
The decade of the 929s and 1930s is an important turning point in the
review and evaluation of popular culture starting from the emergence of cinema
and radio mass production and consumption of culture. The rise of fascism and
the maturity of liberal democracy in a number of western countries all are take
a role and bring the debate over mass culture. (Strinati, 2003: 4).
Beside, the social change is prodeced by industrial
progress. The introduction of industrial
people and the shift of modern life style become parts of work time and
vocation culture. They are in the form
of music, dance, theater, style, social ritual, and other form
traditionally. This culture is
considered as a high culture or adiluhung and has a high standard (taste,
quaity, and esthetic). For example, low
culture such as dangdut, and a high culture such as clasical music, it caused
the audience of dangdut are the low level of social class, while the classical
music are elite class. Therefore, the
mass culture understandable as a commercial culture prodused massively. The pupose is just the profit. Then, pop culture is fused between a low and
high culture.
Finally, mas culture or pop culture is understood as
aculture that reduces the level of public taste and lower the quality of
civilization. By its more sophisticated
form, more subtle, and more enjoyable, succed to ensnare the potential market. How pop culture is so strong gripping our
mass media, especially television media is talent search contest in the field
of music or movies. Indonesian Idol and
AFI adopted from the reality show of the abroad. AFI adopted from Mexico, while the Indonesian
Idol adopted from Pop Idol which aired
in the UK. Pop Idol was only adopted by
Indonesia with Indonesian Idol title, but also by other countries like in
America with the title of American Idol, Australia with the title of Australian
Idol. The winner from each country
competed in the World Idol. The form of
uniformity or globalization itself will bear a new culture popularly known as
neo-globalism in which a region adopted the culture of other regions and forming
a new culture of the old cultural acculturation. The Asian pop culture forms youth lifestyle
that is almost the same in various countries in Asia. Now we can see almost no difference in the
way artist’s fashion of Taiwan, China, Korea, and Japan. We can also see almost no differense in the
way of designingthe soap opera in Asia.
This shows indirectly the cultural homogenization process in which the
uniform itself is a characteristic of globalization.
4. Epilogue
Of course, I am not talking about enculturation, acculturation and syncrentism in this paper focus
further, extensive and detailed. However, it is as a first point how exactly
the cultural positioning of java on a variety of changes in the current view of postmodernism when put your position,
disposition and reposition of javanese culture in the context of the
representation of the cyberculture phenomenon existence. However, culture
changes and development is an absolute think took plece in almost all cultures
inthe earth. The problem is how to remap the local aspects in local
genius prespective can provide control over the global cultural that today is
as an integral part of most people of Indonesia especially in Java.
This is
reinforced by Prof. Dr. Timbul Haryono statement that the increase of
population is not accompanied by education and aconomic growth that resulted
rural exodus not equivalent with urban adaptation. Java with a high population anf progressive
has potensial user ot the cybernetic
(TV, phone, PDA, IPhone, Ipod, email, twitter,
freindster, facebook and others). The
graphics of user’r cybernetic product ranked highest in Indonesia, including
users of social networking facebook as communication network friendship motifs with
on old friend for romance or hartcore with certain motives to build a business
network. This pattern is slowly but
surely showing the disposition of Javanese culture in the context
of the existence and humanistic awareness among users, soan, and sungkeman tradition with parents when
Idhul Fitri immediately repiaced with cybernetic
facility. The fact is that user of this facility endemic to all levels of
society and beyond to all ages and social strata from the city to the corner of
the village until to the extent satellite from the provider. The World is now in the hand. The activity of life is spent for a cycle job
that runs with high acceleration that
potentially trapped for the humankind in the rhythm of acceleration as well as
narrowing the space and time for journey of human life that is in spiritual
meaning. The achievement of top
acceleration on the one hand increased levels of efficiency, effectiveness and
comfort. On the other hand is narrowing
the level of spiritual attainment which his a direct impact on the metropolitan
community to share space and time for
small talk, greeting, and interact socially. In this situation, the concept of persence in
reality would be a problem because of the declining awareness on the quality of
social interaction and loss of tolerance
humanity.
Simulation
technology build on an ongoing basis as well as legitimizing inevitability of
the pattern of reality presentations in cybernetic space representation of a
virtual-reality-which is able in change the social and mental construction of
contemporary society. By a variety of
exploration that dominated by stimulation technology role, the phenomenon of
virtual worlds, cyberspace, virtual space, and virtual reality move on the
Cybercultures construction. Metcalft’s in Barbara M. Kennedy (2000:
20) to share her thoughts about the
Cybercultures; Cyberculture is replete with this ontology: a continual
exploration of new identities, new subjectivities, their merging with machines,
bodies, and technological, within the Greater machine of technological,
cultural, and aesthetic evolution. Metcalf’s argument suggest that
neither modernism nor postodernism can account for that dynamic force of
creative potential which is emblematic of cybercultural experience. Of
course very inspring what confirmed by
Barbara M. Kennedy that cybercultures as a continuous and ongoing exploration
of new identities, new subjectivities, and its intergration with the engine,
body, and technology within the framework of the greater technological,
cultural, and aesthetic evolution. The accuracy and clarity of his perspective
make the building aspects of cyberculture is very important and integral part
in a variety of positioning. It is increasingly strengthen that culture
developed from multi-disciplinary clusters that have the breadth of
perspective. It also happened with the interreatio with contemporary cultural
text that is contextually such as cyberspace.
David Bell (2000:
3) note that, An Importent component of
the cultural approach to cyberspace is to find it in our imaginations, to read
its symbolic forms and meanings, to cross-reference to the ways in which if is
represented. David, imaginatively,
reinforce it with a view that the critical components in cyberspace a culture
approach is to immediately find it in the space of our imagination, then using
it to read the meaning and symbolic forms and the associate with each other in
a way which is cyberspace represented. The strategic position of cyberspace culture
is in response and developing the
imagination aspect of someone in
understanding and perceiving messages and impressive information. This
imaginative aspect finds its space in interacting and constructing.
What we find
in cyberspace is the result of this complex interplay, which work at the level
of subjectivity to produce something akin to Gibson’s consensual hallucination;
for if we ask the question ‘Where are we when we are in cyberspace?, we have to
move beyond the simpleanswer that, physically, we are seated in front of a
monitor, our fingers at work on the keyboard. With chapter 30, (Lupton, 1997: 101). Wee are there, to be sure, but we’re
simultaneously making ourselves over as data, as bits and bytes, as code,
relocating ourselves in the space behind the screen, between screens,
everywhere and nowhere.
The
cyber-cultures and their products bring
us to discuss about the culture of fascism, which also was pointed, the
facebook culture, while the opposition is the culture that developed in
Indonesia, especially Java culture and we must differentiate the characteristic
of both. When facebook have already existed in the realm of culture, it becomes
part of community cultural facilities, if referring to the opinion of Tylor,
the fascism is more invisible to discuss. However, if we look at the views of
Malinowski, the facebook culture does not belong to the Indonesia obviously.
Ideologically, facebook has an aspect value of not believing in the ability of reason, no degree of human, behavior is based on violence, lies. Government elites,
totalitarianism, racism andimperialism.
Other values are in contradiction with the basic of social thought of the
people and communities in Indonesia
where the physical existense, psycholigical relationships, work together, of
course facebook is flexible in this
perspective because it is only as a means to build social networking apparent.
Facebook values tend to produce generation of and groups with a high idealism,
as well as highly individualist characteristics.
Facebook,
indirectly prove the power of dehumanization, the dominance of technology
rather than the man himselt. Fascism is characterized by the denial of the
degree of humanity, at once showed a tendency of weakening the hierarchical
social souls. A contemporary society tends to integrate with these social
networking systems. The denial of this degree of humanity, referring to the
specificity of human values, inequality and the diversity led to the emergence
of idealism of life. Ideologically, facebook and othre social networking site
system will generalize the user, as a whole society that has high ideals of
life which affect the formation of certain communities to build new individual
worlds which erodes the most substantial humanistic value. The crisis is not
impossible to create a high regional egocentric, racict, and inheritor to the
values of imperialism. Here, the Javanese culture needs to determine the strategic of reposition of cultural
approach and the specific formulas that can revitalize the culture of Java n
the related contexts. The applicative and integrative local aspects in the
proportional discourse and practice of cybercultures that play attention to the
local culture could ultimately lead to the disorientation, disposition, or
dislocation of culture itself. Conversely, with cultural awareness and respect
of cultural heritage, doctrines ethics, morals, work ethis and philosophy-of repositioning
the Javanese culture as one important aspect in the contruction of national
culture. Thus. The position of Javanese culture has a strong bargaining value
of cyber culture that produced by the elevation and up to date of the
digitalization era, although the community to absorb it in deeply, but the
characteristic and humanistic spiritual values as the typical of Javanese
culture still exist.
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accesed at March 01, 2008)
Moh.
Rusnoto Susanto, S.Pd, M.Sn
Born in Tegal, Indonesia on 30 September1972. 2010 Doctoral Candidate Graduate Program ISI Yogyakarta. 2007 Master
of Arts in the Graduate Program Creation ISI Yogyakarta, (cum laude in 2009). 1992
Studies in Art Education Teachers' Training Institute Jakarta (UNJ), graduating in 1997. Has taught at Art Pogram in
Jakarta State University, UNJ (2006-2007)
then since 2010, teaching at the University of Fine Arts Sarjanawiyata
Tamansiswa Yogyakarta. Besides being active in the world of college he was
active as a painter, independent curator, and author of the study of art.
Active in art exhibitions since 1993-is now a solo exhibition by 8 times and 54
times the exhibit together at home and abroad. Now settled in the village Jetis
No.. 999 Rt. 03 Tamantirto, Poor Bantul, Yogyakarta, Indonesia. Phone no.
081586185965 - Email: m_rusnoto@yahoo.com
Curatorial Activities. Curatorial
activities engaged since 2005 and now has published 48 manuscripts in several
curatorial important galleries and museums both at home and abroad including:
Indonesian National Gallery, National Museum of Indonesia, Jogja National
Museum, Taman Ismail Marzuki, Jakarta, Chandan Gallery Damansara, Malaysia,
Vietnam Art Museum, Hanoi-Vietnam, Bentara Budaya Yogyakarta, Taman Budaya Yogyakarta, Sangkring Art Space, Langgeng Art Space, Tujuh Bintang Art Space Yogyakarta, Tembi Contemporary, Galeri Biasa Yogyakarta, and AJBS gallery Surabaya.
Research and
Seminar Activities. 2012
Research of Residency Artist at Muzium & Galerry Tuanku Fauziah USM,
Universiti Sains Malaysia. Panelists 'Art Sembang Malay' in Fakulty Fine Arts,
Universiti Sains Malaysia. Panelists 'Artist Talk # 1' in Fakulty and Reka Art
Form, Universiti Teknologi Mara, UiTM Perak, Malaysia. Panelists 'Artist Talk #
2' in Fakulty Visual Arts, Universiti Pendidikan Sultan Idris, Tanjong Malim
Perak UPSI, Malaysia. Panelists 'Artist Talk # 3' in the Gardens Art &
Galerry Muzium USM Tuanku Fauziah, Universiti Sains Malaysia. 2011 INTERNATIONAL SEMINARY Panelists
'Exploring Noble Values of Local Wisdom and Prime Javanese Culture to
Strengthen the Nation Identity' at The Institute Javanology of Sebelas Maret
Univerity-UNS Surakarta. Panelist Indonesian Art Teacher Award for 2010, 'Multiculturalism CONSTRUCTION:
Existence and Cultural Revitalization Image Art Educators' at PPPPTK art gallery in Yogyakarta. 2010 Panelist at the National
Seminar on 'Considers Return Multiculturalism in Education Arts and Crafts' in
UNY, Yogyakarta. Panelists 'Multicultural Perspectives and Empowerment of Local
Content in Arts Education' in Museum Education UNY, Yogyakarta. 2009 Panelists 'Development of Motoric Creativity Fine' Department of Education Region Western
Regional in Grand Pasundan Hotel Bandung. 2007
Panelists 'Abstract Art Central Testing and Assessing Spiritual Himself In
Context' at the National Gallery of Indonesia, Jakarta. 1998 Panelists 'Institute of Art Expansion Base For Aesthetic
Ideology' UNJ-ITB in Jakarta Education Office Plaza. Panelists '... Who,
Carrying Arts Tricking Project' under the table Community, Jakarta. 1997 Panelists 'Between Identity and
Ideology Artists Aesthetics' in PPIA-LIA Jakarta.
Scientific Writing
and Publishing Activities. 2011 Procceding 'Life Style & Architectur'
with fullpaper: CYBER-ARCHITECTURE AND THE CONSTRUCTION OF PARADIGM CYBERCULTURES LIFESTYLE IN CONTEMPORARY SOCIETY, National Architecture Conference, in Atmajaya University,
Yogyakarta. 2011 International
Seminar Procceding 'Exploring Noble Values of Local Wisdom and Prime Javanese
Culture to Strengthen the Nation Identity' at The Institute Javanology in Sebelas Maret
University, Surakarta. 2010 SOULSCAPE: The Treasure of Spiritual Art, (arteries Nurjaman,
Anton Larenz, Netok Sawiji_Rusnoto Susanto, Sulebar M Soekarman), Yogyakarta:
Indonesian Visual Art
Foundation: Jakarta. 2010 Virtual Displacement in SURYA ARTS Arts
Journal Creation and Assessment, PPs ISI, Vol.6 1 February 2010. 2009 Considering Return Multicultural
Paradigm in Education Arts & Craft, (Author: Dr. M Dwi Marianto, Kasiyan,
MHum, Dr. Djuli Djatiprambudi, Hajar Pamadhi, Rusnoto Susanto, et al), FBS UNY
Publisher: Yogyakarta. 2008 SENI ABSTRAK INDONESIA: Renungan, Perjalanan
dan Manifestasi Spiritual, (AA. Nurjaman,
Netok Sawiji_Rusnoto Susanto, Sulebar M Soekarman), Visual Art Indonesia Foundation:
Jakarta.
[1] Paper for presentation at International Seminary on Exploring Noble
Values of Local Wisdomand Prime Javanese Culture to Strengthen The Nation
Identity, at Sebelas Maret University, UNS Surakarta, March 7, 2011
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