THE ROLE OF TELEVISION IN criticized the council INDONESIA CRYING

Globalization Discourse Indonesia Crying

"Mama, mama! Let's blow the horn! "Cried one girl to her mother, but her mother did not respond with a word. In the mouth of the mother only prayer-prayer terlantun with a soft voice. Meanwhile, the child continues to whine because the reaction comes from his father who was also nearby. He put his index finger as a sign dihidungnya to send their children to be quiet. At the moment his mother was drowned in an atmosphere of sadness that is released by one of the private television station. Himself carried away by an event invitation to reflection night prayers for tsunami victims in Aceh and North Sumatra.


Thus the image of the celebration of the end of the house of one family in Jakarta.
Grief and quiet atmosphere is also covered most of the residential population as well as public activity center. The traders also complained because the horn trumpet usually been traded on the New Year's Eve, just sold a number of count fingers.

Reflections dissolved in silence this evening is one part of the discourse Indonesia cry. Information technology has the potential to exploit the social from the natural disaster which occurred on 26 December. Until the end of social polarization arises in the tsunami-stricken areas, an absorbing supergravitasi of social and audience action first world society archipelago.

Take the illustration from the world of television news and Indonesia from the early days of the earthquake and

tsunami to this day. CNN, BBC and news stations the other world-class for several weeks this review focuses on the tsunami that hit Asia. In fact it does not complete for one of our local television station if it does not install themes Indonesia cry.

This is very contradictory with the turn of the year before the previous discourse set the festive celebrations. The wail of trumpets and fireworks explosion in the settlement triggered by a "countdown" conducted by final-year show on television. But there temunya point on the simultaneous aspects of globalization. This aspect has become a new tradition in which the expression of the entire Indonesian society tersinergi on a common sense in a moment the same. The influence of global information, at once, and it follows the interactive effects, as a result, demonstratifnya effect.

Agenda Setting

After December 26, pos-pos of humanity on behalf of tsunami victims in all directions berjamuran archipelago. Even an assumption that appears incomplete if one location to be passing by the social dynamics if not completed by Posko care Aceh and North Sumatra. But in previous times we have never or rarely seen in the discourse of aid posts earthquake in Nabire and Alor.

From here we see that the television audience affects perceptions about what is important. It does not determine the television "what to think", but it affects the "what to think about". According to communications experts Unhas Muliadi, in Makassar, television is the most responsible media in the role of philanthropy, the role of empathy to drive and inspire community participation to contribute. The amount of current public empathy because television has caused the disaster presents a very close and real to the viewers.

Cognition in the human mind in the form of visual mapping dikomplementari with audio functions. Technology owned by a television adaptation of human natural ability to function, so that television has the potential to be a strong media (Powerful media) in presenting a new discourse to a person's thoughts. In a non-material dimension, this medium has unconsciously become an extension of the instrument senses (sense extension) that allows us to perceive the real feel of Aceh and North Sumatra which was hit by lantah yield a tsunami into our lives.

Negative Consequences of Globalization Tsunami

A few days after these terrible disasters, television stations repeatedly show amateur videotape of the events of "drama" tension and violence experienced by tsunami citizen. An audio-visual publication overwhelmed with anxiety, panic, anxiety, fear, crying, worried. As a result, the accumulation of negative emotions that have been recorded are to stimulate a psychological association in the minds of people who watch it. An association between the thoughts of fear, awe and sorrow till then allows the formation of trauma symptoms.

As stated by Carolyn Simpson and Dwain, in his book Coping with Post-Traumatic Stress. Trauma symptoms arise not only experiencing the traumatic event directly, but also on those who witnessed the incident. This social distortion effects of a television channel that is the psychological trauma to viewers who witnessed the violence of nature is. TV footage instill a real picture of the tsunami waves with information about the damage it causes to the subconscious mind, allowing to form a compulsive neurotic behavior to the audience.

Examples of symptom severity, is like what happened in a college student at the State University of Jakarta. After seeing the magnitude of the tsunami are shown in one private television station, he waived his intention to return home to Garut, for reasons not entirely rational. "In the event of a tsunami in Java, Garut will certainly come swept" he emphasized. His attitude has not changed even though he had heard the affirmation of the Meteorology and Geophysics Agency (BMG) will issue about the incorrectness of the earthquake and tsunami in West Java. Her fear was also covers most of the people who live in this country. Activities in various areas especially in the coastal area is often hampered by issues that are not responsible parties, when the government represented by BMG expects people to remain calm and perform the usual activities while maintaining vigilance though.

Another example of a more chronic occurred in West Sumatra town of Padang. Hysteria occurred in this city because of the issue of the tsunami would have hit Padang. Similar events are also a lot happening in different parts of the ground water. These realities is one of the many consequences of globalization are often the tsunami unconscious.

Potential empirically television in this discourse is not only evoke empathy, but also eliminate the common sense and rationality erodes. The image generated by the current television show is highly ambivalent, while some scenes may drive the sense of our humanity, the other scenes that can memeberikan to our mental distortions. This deficiency is to be scrutinized since the majority of people in our country get the information through the medium of television.

Socialization Discourse Indonesia Acting

As part of this nation, much-needed positive nationalism developed in the local television beings, as its vital role as the primary communications media discourse Indonesia cry. Therefore, the television stations are expected to very selective and careful in structuring the show, because the information will be broadcast over the television became a public agenda (public agenda) which will be reflected in the cognitive and affective life. Never Had television stations compete Indonesia Indonesia launched the theme crying and giving information 'junk' just for the sake of reaching for attention, sympathy and advantage of the masses.

With the global nature and interpersonal in this discourse, the television was asked to be able to give a positive variable against humanity, especially in areas in the tsunami ravaged Nusantara. With mebyiarkantayangan humanity that can knock an audience without giving a vulgar picture to humanity, will be a recovery process wujudnyata than this nation. Through television prososial cognitive functions of mass communication can be done by changing the discourse into the discourse Indonesia Indonesia crying act.

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Art departure Framework 2000: Searching for Idiom Acquisition

Monday, March 8, 1999

The dialectics of art (creativity) and politics, to this day still have not found pijaknya framework (platform) is true.
The ideals and beliefs that have voiced through the Cultural Manifesto (Manikebu) in 1963, "diganyang" in its fight with the Political Manifesto (Political) is (also) supported some of the artists who embrace the paradigm of "politics is the commander". The power of art and culture-energy, creative freedom in the next development was also dibonsai by the New Order regime of Suharto, and until now have not terumuskan instead.
The situation is what happened, and that is the struggle of Indonesia, after the dawn-term reforms are made of letters Dr Sindhunata-place surface-Suharto New Order.

Examples for this lot. In Malang, East Java, to get permission traditional art performances, the group leader must provide the cement for 20 zak Sector Police Office (police), and paint the office of the Military Rayon Command (Koramil). In Bengkulu and Palu, the Arts Council (DK) outside the bureaucrats have no right to speak. Not only can the funds, information about the work program was never there, what else is described. While in East Java DK, allotted a budget of Rp 400 million that should they receive, just drizzling USD 15 million. Licensing Ratna Sarumpaet theater performances, banned by the stigma of the resistance movement. Despite the time, this nation has entered the era of reform.
Reasonable, but also tragic-ironic, that later appeared Party Arts and Dhagelan (Parsendi) in Solo in 1998, which was established solely to gain jobs over the incident later in 1999 elections. An attitude of "slam"! While the wealth of art and culture that is always proud of the government, not channeled in an organized network steadily. And at least the tradition of art is a source of creativity and the power of the Indonesian arts.
While institutionally, appeared overlapping and interference of the most complex arrangements in the world, to the extent that a Ford Foundation program director, Dr Jennifer Lindsay called our crisis is not crisis, but the "crystal": a total crisis, in the field of arts and culture.
***
THIS IS protruding central issue in the National Congress (General Assembly) Arts Council in Indonesia V/1999 and the National Theater X/1999 Temu, who respectively held in Yogyakarta, 3-6 March and 3-7 March. Simultaneously, in the same city last Indonesian Arts Festival (FKI) I 5-11 March, which initiated Cooperation Agency (BKS) Art Universities in Indonesia to seek answers about the system's new arts education in Indonesia.
Two tasks to meet the turn of the century art is fighting for freedom in the era of reform to be a bridge tersalurkannya human values, more concrete and more literary and art work come to play a role to explain and dissect the issue of political power, as once championed by a number of artists who brought the Cultural Manifesto (Manikebu) a universal humanity (universal humanism).
If the press has gained its freedom in the air of fact, art should not simply reduplication facts, but the creation of the facts and ideals that transcend the facts, it did not have idioms, symbols. Art it was still poor shape, symbols, and idioms, as he is rich in freedom.
At the level of praxis, the cultural forces that often proud and voiced by the government, its existence tenyata vulnerable because holders of power (and money), does not understand how to build a pluralistic cultural insight. The average experience in the various regions DK shows, not just bureaucratic apparatus provide support for what diomongkannya, which tends not interfering portion, through an elaborate network of institutions and overlapping. In fact, the power of art and national culture, the source instead of local culture, but whose fate even more poorly.
"This network-sac antarkantung cultural, and networking with international institutions can not help is a necessity, if we did not want to force our culture collapsed," said Soelebar Soekarman, Chairman DK Jakarta that the agency served as the Inter-Agency Contact DK a Indonesia. This is probably the last six years began to realize DK Yogyakarta, especially community and Priyo Fred Wibowo Mustiko, followed by Community Kotagede-consciously began to revive to life the culture bags through the village and cultural centers.
***
Mudji Sutrisno see, the power of cultural enclaves in the Moluccas and traditions, is one answer that can restore solidarity, and mutual confidence to stem the structure of "monologue" that had been created by the authorities, including through the issue of race, religion, race, and antargolongan (SARA).
So before participating art "free society", so Sindhunata, art should liberate themselves from oppression in the past, and not primarily thinking about the future. A "moment mesianistis", ie Manikebu born 1963, who once took her to the extent possible jump to the front, to look back.
"In that Manikebu, tergaris clearly the ideals of art and culture to free themselves from oppression. That goal was later abandoned during the New Order, that is exactly what art should be compensated after he obtained his freedom in this reform era," said Sindhunata , in a discussion of the National Conference Se-Indonesia DK V, which presents another speaker, DG Pranoto Deparsenibud WJ, and Dr. Mudji Sutrisno.
Described, Manikebu is the event where there is dialogue, and even conflict, which is very intense between creativity and politics. Manikebu in essence is a statement that the creativity of art rejects all shackles. With him, the satrawan and cultural arts hold that creativity can not under dikebawahkan anything, including under the "revolution" that was proclaimed by Sukarno Manipolnya. Repetition doctrinal damage, according to records Goenawan Mohammad, causing aggressive character of our language, with the appearance of the words "eliminate", "mengeremus" dominant in the political idiom of democracy. Political slogan became automatic language repeated without thought. And many of the abstract noun: workers, peasants, people, homeland, freedom ... are some words that are no longer pointed object or a particular human, but a generic, which includes the idea.
Forward to the New Order period, with the flag of "economic (development) as the commander", the regime authorities do anything, including the oppression and murder of creativity. For the sake of "growth" economy, "stability" politics, and for the sake of "security", has become the "realism of development" (New Order), replacing the doctrine of "socialist realism" in the Old Order (Orla).
Art and literature have to free ourselves from the domination of that, to make resistance to automation Orba sloganisme epistemological level. As identified by Sapardi Djoko Damono, racial intolerance is actually the official barrier literary development, he may be an acceptable reason for any party in the literary community to prevent.
Therefore, Sindhunata view, facing the new millennium later, do not expect the light literature, but instead must dare grope in the dark. Literature should open the history of truth, not a single truth, and a single language, which imposed so far.

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Media & Image

Faced with the word 'media', it will deal also with the print and electronic media. But if dikerucutkan, then the media can be read as a tool not only as a means of communication or its message, but it is the product of the corporate image / community. For this it is necessary not explained at length about this imagery, as each community wants to spend its own identity according to his ideals.


For this imaging activities, community youth who wanted to form a discourse on the problem and the pleasure it offers to the masses of all the ideas. For this also, so easy to find all the attributes that are image or identity vying to play in the area of clothing, souvenirs, zine or indie record.
Area of media is a very potential area for a time this imaging process. We'll see since the days of Lupus with his O, then the process is running relatively quickly followed by a schoolboy style similar or 'dimirip-miripkan' with the characters. O magazine at the time became mainstream for young people (represented by a man) to show identity. Then comes a magazine The girl, Anita, Aneka, my friend until now a local magazine but foreign-oriented, such as Cosmopolitan, Cosmogirl, etc. bombard young people with the process of their own image.

Indi Media, Music and Lifestyle
To form an indie image as a spirit of independence, out of the limits to show identity, then the music is the media in other forms as well. Music and media are in unison. Plus everywhere, not least in small towns, music studio has become the scene spirit of the times.
By behavior, then the music studio is a purpose to establish a new community. Usually also, this is the beginning of indie spirit for reaching other media such as magazines are now many in circulation.
What is the relationship between the music with such a lifestyle? To answer this, then put the example of hip hop music enthusiasts will certainly differ from punk music enthusiasts. Similarly, F4 music enthusiasts will certainly differ from Radiohead music enthusiasts. This is a form of ideological lifestyle or a performance. In ideology, when in the thought process there is a kind of understanding of themselves and the environment to do something, whether it was built, changed or destroyed.
In performance, the audience may be conceptually different as meaning something in his appearance. This is what will ripen the target audience will be addressed. Not all young people have the spirit of indie, because not blame them if they are breast-feeding since they've invested in a brand, that 'big is the quality'.
It is also closely linked with the ability to enter the indie media area outside the community. When this happens, it will calculate how many printed magazine that voicing community.
This is what I call the image of indie media community. If there are five communities with five different ideologies, so there were five magazines that will rise. Wow ... this might still be in one city, imagine if every town in Indonesia has a community with a different ideology. So it is not surprising indie magazines that would be potentially a major thrust magazine is much older then.
When the initial issuance of Trolley in 1999, he had could be called indie media, because the funding is really no big publishing subsidies. Media very day (hear-hear) make magazine O lost, because the presence of unexpected Trolley earlier than the visual appearance or content so fantastic (for this I really applaud the Trolley). By
raising the issue of lifestyle, art and music Trolley positioning itself as an indie magazine with serious cultivation with its particularities Bandung. Although he is now a history of the birth of young children who do not rely too mainstream to get their ideology, but O got 'burned' by the presence of indie media.
Hey check it has no more energy can not be said if not creative.
After the Trolley, the born indie magazines are more segmented, the Blank!. With the primary market target graphic design lovers, this magazine was born in Yogyakarta offers a unique scent. Coincided with the Blank! More and more magazines are not only offering the writing, but also comics with local tastes, such as comic books from the
community or communities Growing Meat Tehjahe. Next Outmagz (Yogyakarta) to magazines Pause and Ripple (Bandung) or Singkink (Solo) spread more indie tastes are not confined by the standard journalistic language, but rather to offer a desire to have fun or swim in the ideology.

A Brainstorming
Indie magazines to come up with a certain character is not really difficult. The hard truth is the desire that never appeared. Some friends from Bandung, states that the first mass gathering, in fact we've gathered a remarkable investment. Next garaplah what ideas or characters that will appear, to then determine who will go.
If we learn from the big publishers, then determine the target audience must be really ripe, because the target audience that will be formed then we can determine what kind of magazine, how the language to be used, a visual understanding of what that support them until the price will be applied. Of all the indie magazine found, only a few are segmented, rather the fulfillment of other market tastes (?) When the other speak lifestyle, then start hunting lifestyle. When all the talking skateboard, it also began the pursuit of the news of the skater. Just pondering, Ripple magazine with a magazine Pause or may Outmagz and Singkink, trying to imaging themselves each with a visual style raised. But in terms of content, the magazine said it made no difference. What is different is the packaging. If so, then be prepared to compete took market share.
Which should not be forgotten is the visualization and artistic layout. This is intended as an identity or a comparison with other magazines. From the visual display, the consumer's understanding of his brand. From indie magazine that had been circulated, then with special consideration, then I can classify the two poles, the poles of the west (Mumbai) with the polar center (Yogyakarta and Solo).
Visual character of the two poles are very different. West Pole is more oriented on the use of extreme aspects of photography plus ad like Australia and the German model. Meanwhile, more to the center pole of the vector on the utilization of computer software is more digitalistik. (What about the polar east ?....)
Breath of the spirit of indie media is friendship. While competing to create the brand, but the discussion is still being done. Cultivate relationships with understanding will form a positive image in the balancing action of local potential with established products. Also indie media is the opportunity to speak anything. There is no limit here, that there is a spirit of freedom of expression.

27/10/2003 16:00 --
Obed Bima Wicandra (Visual Communication Design Lecturer Petra Christian University Surabaya)
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In Private Room Attendance: Romanticism and Political Economy Sinteron Indonesia

By Nuraini Juliastuti

Television is already a concern cultural studies long ago, and I think there could be no other media in terms of television to match the volume of texts produced popular culture. It was, television was always able to bear the new parts are interesting to watch and analyzed, ranging from news, television commercials, soap operas, television movies, talk shows, quizzes, music events, and so on. Thus television is also an interesting experiment space for social scientists to try a variety of methods and theories as knives and tools to analyze the cultural issues. Therefore, many things that must be understood from the television. Starting from the text, the relationship between text and audience, the political-economic aspects that surrounded him, the television relationship with other aspects of welcome, until the pattern of cultural meaning in television. This paper will make the analysis of the soap opera as part of the world of television.


It is true that the writings have been circulating about the soap operas such as always giving us a dark shadow will be life-bad soap opera script writer soap opera quality, low work ethic of workers ranging from soap players, directors until the technical workers are there, the absence of the festival or container to measure the quality of soap-soap in circulation, the absence of a good soap opera critic, reached a low appreciation of the audience themselves, and so on, and so the conversation about the soap opera to be boring and not fun because we seem to already know all the bad things about. But is not it a sign not intend to give a final assessment about something? What I do in writing this time is to provide clarification on aspects of audience reception and political-economic aspects of the soap Indonesia. The audience occupies an important position in the reading of a cultural phenomenon. Unfortunately they often escaped the attention of the public, including by the researchers of culture. The process of reading the crowd an exhibition, a film, a soap opera, what affects their interpretation and forms of communication such as what is actually happening between the artist and audience, between the director / script writer and the audience, should serve as an interesting theme for research. In addition to audience reception dimension, another dimension is also overlooked is the political-economic dimension. This is done considering that in a culture that runs the circuit, not only are aspects of production and consumption, but there are other aspects such as aspects of the distribution, regulation, representation and identity formation, which are all closely interrelated.

Romantic and the World Political Economy, Sinetron
Currently there are about 55 fruit soap opera is playing at the station, the private television station in Indonesia. If further described, various kinds of soap operas on television circulating represent some of the main characters namely: the open character of the story and character story centered on the theme of interpersonal relationships the players. In the first characters, a series of soap opera episodes running just flows. Each episode shows a different interwoven stories. There are no particular issues that it tries to solve from the beginning of the episode until the series ending episode of this soap opera. Whereas in the second character, the story centered on the soap opera of human relationships: family conflict, love, marriage, division, adultery, revenge, and so on. Points of interest are of a variety of soap operas that played them, 80% of issues circular on romantic love and all. Each of us see the soap opera, there is a strong air of romance that blew there.
Even the soap-based soap opera mystery and action is action that much-loved audience like Mystery of Mount Merapi (Indosiar, Sunday, 19:30 pm), Resentment, Nyi Pelet (Indosiar, Monday, 18:00 pm), Mystery Nini Pelet (SCTV, Monday, 19:30 WIB), also Angling Darma (Indosiar, Wednesday, 19:30 pm) and Prahara King Siliwangi (SCTV, Tuesday, 19:30 pm) is also a cause of the problem of romantic love. Nyi Pelet such a grudge about a girl who had a grudge against all men because he was his idol had another lover. So he studied, master of black magic, and turned into Nyi Pelet, always ready to spread death for young men met. From this it seemed that the real democratization of discourse in Indonesia's soap opera does not exist. That there is uniformity discourse precisely because of all the issues of love drawn in question ..
So if the soap is a work of art or craft? Answers to these simple questions were not simple. Because of what happened in the world posmodern, as he had been expressed by Mike Featherstone (1991, 1995), is a blur the boundaries between art, culture, and advertising or business world that led to the general estetikasi everyday life. Looks like a work of art rather than works of art, while the things that appear in daily life seems so beautiful and aesthetic.
Political-economic analysis including the production and distribution in it has been ignored. Cultural analysis is more focused on textual analysis. According to Kellner (1997), political-economic analysis needs to be emphasized given the fact that culture is always in one area together with the economic system, laws, state, social
institutions, mass media and other dimensions of social reality. Another fact that must be faced is that culture is always produced in the relations of domination and subordination. Analysis placed the cultures in the production and distribution systems can help to describe and explain the things that limit the production of cultural artefacts, discourses what is the dominant place in society at that time, also influence the political aspect at the time of the cultural artifacts are being distributed. In fact, the political-economic analysis should also consider the other perspective-perspective in analyzing things. Other perspectives can be a perspective of gender, race, ethnicity, class, or nationalism. Richer perspective used to analyze, the analysis results will get better.
Given the soap opera is a complex phenomenon that it is absolutely necessary diversity perspective. House production (production house), director, player, script, script makers, music industry, advertising, television stations, and the audience are aspects contained in the soap opera, and ranges from production to consumption processes. Probably still remember when TVRI celebrated his birthday on 20-26 August 1999 ago. At that time tuned TVRI Sinetron week anniversary TVRI. Soap-soap opera that played in the event include: The New Rich of the KOMA theater, Wagiyem, Karsih and Karsiman, and Tears delusion. The emergence of the KOMA theater TVRI very interesting considering past KOMA theater had banned the TVRI because manuscripts are considered dangerous play for the security and stability of the country. The themes of soap opera scripts other ranges which appear also on political issues like the struggle of an NGO activist, the issue of corruption, prison island of Buru and student demonstrations. Sinetron-sinetron will not be displayed with a free before the incident occurred in May 1998 in Indonesia. This phenomenon also shows the change in political attitudes because once TVRI TVRI is known as the primary funnel new order.
Selection soap-soap operas broadcast by television stations is also noteworthy television stations have given criteria and specific standards are set. These criteria include story ideas, who made the script, who the director, whoever the artists involved. Those are the main values of the soap opera that determine whether a marketable soap opera or not. In addition to the above problems, another thing that must be taken into account is the match between stories, impressions of the planned slot, with a set price. While walking soap opera production, aspects that influence it are also more and more. For example, if the rating of a soap up, and the number of ads that go too higher, whereas the episode was almost gone, then the director and playwright is forced to double the number of episodes and develop the story which sometimes deviated from initial story ideas. Even the often happens that the story development carried out without special planning, and conducted on the spot shooting took place. Things like this usually happens in soap operas, soap opera whose numbers have reached hundreds of episodes. The much-loved soap operas such as Si Doel Anak Sekolahan terdongkrak even more popularity because the character of selling borrowed characters to portray the product ads and public service ads.
Another interesting issue observed in the soap opera world is the relationship between soap opera with the music industry. Indonesian songs popular and best-selling tape bought by fans are now not only can be enjoyed on the radio or music events on television, but we can also listen to the show as a soap opera soap opera theme song. We know the characteristics of soap opera Love Story (Indosiar, Monday, 20:30 WIB) of the songs sung by the band Dewa. We also know the characteristics of soap Lupus Millennia (Indosiar, Thursday, 19:30) and soap opera First Love (Indosiar, Thursday, 20:00 pm) through the songs from the group Sheila On 7. Not only that. Almost all the soap operas that played on television right now would show one or two songs that are popular Indonesia. This phenomenon is similar to what happens in the film world. Back when the songs become the soundtrack Whitney Houston film The Bodyguard, people wonder whether fame wrote the song boosted the popularity of the movie, or vice versa, a film starring actor Kevin Costner is what causes many people searching for and buying tapes Whitney Houston. Of course, a significant relationship between the popularity rating of a soap opera with this song interesting to be studied further.

Dominant codes, Negotiation, and the Opposition
The audience is never a passive party in the reading of a cultural phenomenon. This is because the meaning is issued by the soap opera is never taken for granted directly by the audience. Instead, the audience perform the meanings of contextualization is real condition that happened, the audience also did their own modifications so that the meaning is in accordance with her wishes. Thus, the audience is an active party, and the consumption of any cultural phenomenon into something creative.
Television is something inherent in everyday life, then that analysis, including the television soap opera, not only must be attached with the meaning and interpretation issues but must also be connected to the rhythms of routine daily life. Watching television is usually performed in the family room, or in bed. From the private spaces of this, interesting to observe how the audience perform certain rituals before you start watching her favorite soap opera, for example, they will prepare a small meal as a friend to watch, and call your friends or relatives, warn that their favorite soap opera will soon be playing .
I've watched 4 people boarding residents who watched the soap opera princess love story together. They watched in one room boarding children who happened to have a television set. Throughout the viewing, they are busy commenting on the Mini, god, Nadia, Michael, and Miranda. They come happy and grateful for the Igo and Miranda get married. One of them upset with the sick Mini leukemia and transformed into a sissy. They also commented noisy when Miranda and the god who had met by chance dating in a restaurant. From this illustration it appears that discussions about soap operas is more important than watching a soap opera itself. Besides discussions, the things that also do is to estimate what about the rest of the story the way and sometimes also hope that the story went exactly as they want.
In receiving the messages, the audience often put themselves in a position different according to the reading of codes which they run. Stuart Hall (1981) proposed three types of code that usually followed are: a dominant code, code negotiated, and oppositional code. In the dominant code, the audience received meanings offered by soap operas. In negotiating the code, the audience was not fully accepted meanings but they offered to negotiate and adapt according to the values dianutnya, while in opposition the code, meaning the audience does not accept the proposed and rejected. In the following reading of the dominant code, the audience will be pleased when it finally Andri, a lesbian character in Love Story, starring Dhea Ananda, eventually going out with Rangga and not be going out with Nadia. Code of domination means that the audience agreed with the values shown in this soap opera that homosexuality is not a good thing. That women should have paired with men, not with other women, and then it is better Andri if dating Rangga.
Finally, the use multiperspektif rich in cultural analysis as done in this soap not only can improve the quality of the analysis itself, but may also be used as a way towards a better society and a better life.

Short version of this article published in Bernas, February 25, 2001

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Legitimacy crises Post-general election

By: Fajar Junaedi

Implementation Pemiluhan General (Election) that we just passed should be claimed by the General Elections Commission (KPU) as a successful election. Of course, such claims can not be separated from the interests of the Commission to show keberhasiannya as the executive committee elections. However, the Commission seems to ignore the one thing that is the high number of white groups (golput) in the 2004 general election, or even the Commission tried to subordinate the discourse is to direct golput public opinion about the elections they claim they have successfully carried out.


There are several modes of voters who do practice golput, namely golput ideological reasons based on ideology, political golput based on political reasons, which is imbued golput pragmatic reasons to distrust the government will be formed through elections and due to technical golput technical reasons, such as sound card voting errors.
Of various modes golput above, it seems the public distrust of the effectiveness of elections in forming a government that is committed to eradicating corruption that increasingly menggeroti various aspects of life, take out the rotten politicians increasingly bergentanyangan, bring the perpetrators of money politics and the economy hit a high cost (high cost economy) has the potential to grow bigger in the next election and at the same time make them apathetic and lazy to come to the polling stations (TPS). At least until now adherents golput premise is to find pragmatic justification basis. Bribes that hit two members of parliament Jakarta Democratic conclave in case of Parliament only a few days after they were sworn in as a respectable member of the council is the premise that the de facto proved. Not to mention the area, both executive and legislative busy-busy enjoying public money for the benefit of their own stomachs.
Indeed, as the Commission claims, the majority of the people more "aware" to use his voice to the right flock to polling stations, but whether they are coming to the polling stations based on their kesesuain with vision and mission of the party or presidential candidate they support. Lest they come to the polling stations only to go rah-rah feel the democratic party, means the desire to fulfill a larger role pleasure in making their decision to come to the polling stations.
This is more exacerbated by the behavior of political parties that only diligent visiting constituents at the time just before the campaign. Political elites hardly ever communicate his ideas, except when the campaign comes ahead. When the campaign was going on, the masses who came to the arena were treated to performances campaign dangdut music, dancing with the ladies. The legislative candidates and even presidential candidates also prefer to sing along with the masses who came. The fact is that winning elections is the candidate of the stage to stage campaigns always sang "There's a rainbow in your eyes ... ....".
So hard to deny that the democratic party we are not much different from the AFI. If so, then there is no difference between the democratic party called the election by the parties in the cultural industries, such as AFI, Indonesian Idol and the like. Everything becomes rah-rah, a shallow party without meaning.
If so condition, our democracy has been trapped into a crisis. This crisis can be traced from the model of democracy we profess. Although formally our democracy is the Pancasila democracy, but at the empirical level of liberal democracy is more applicable in our democratic life. Democracy is giving primary attention to the leader election procedure, so that what happened then is happening subordination issues more fundamental, such as inter-class justice, ecology, race and gender. This is what became one marker (signified) crisis in liberal democracies.

Crisis of legitimacy as a pathology
The crisis that swept this liberal democracy has actually resulted in criticism of the democratic model developed in the framework of liberal democracy. Mahzab thinkers Frankfurt (Frankfurt School) that began by Max Horkheimer, Theodore Adorno, Herbert Marcuse, and later continued by Jurgen Habermas by using various approaches such as political economy, psychoanalysis, hermeneutics, and the young Marx took his criticism of the pathology of modernity. Although they are in the tradition that they develop critical of modernity, but these thinkers are still trying to continue the ideals of modernity project is to Aufklaerung or enlightenment. Following Immanuel Kant, they agreed that enlightenment is a business man out of the immaturity that is his own fault. Their loyalty to the project of Kant's enlightenment model of distinguished thinkers posmoderisme with many coming from the French intellectual tradition explicitly states have failed to enlightenment. In the critical tradition that developed Mahzab Frankfurt, critical theory thinkers are indebted to Georg Lukacs by reifikasinya theory. According to Lukacs, the relation between people in capitalism are animated by a liberal democracy is a relationship that is material and consequently no longer human beings in a position as the subject, but had shifted to the object.
Guise of reification can be disassembled from fetishism. The system is fetis because, similar to fetis in a real sense, the form of man-made systems, but later considered to have absolute power over the whole process of life. And at this point shows that liberal democracy currently plays its role as a fetis system, which can not be contested and manage all human life, as indeed taken for granted.
The crisis is clearly a pathology of liberal democracy is a crisis of legitimacy. According to Habermas in the crisis of democracy in this model starts from the economic crisis that occurred in the form of control of economic issues unresolved. From this crisis and crisis of legitimacy munculah by Habermas characterized by the occurrence of a direct contradiction threatens social integration and simultaneously will also endanger the social integration that have been awakened. The high number golput in recent elections showed the contradiction over what happened in our society, facing a vis a vis the political parties and the elites who still holds the reins of government, ideology adherents golput established itself as the other who no longer believe in the system prevailing in Indonesia.
This legitimacy crisis is mengkomoditikan practical implications of all the ideas and social activities in the cultural or language terminology Lukacs called reification, then there was a crisis of meaning which in turn led to a crisis of meaning. then at the level of the political system, this sense of crisis led to a crisis of legitimacy. As Robert said in his Hollinger Postmoderism and the Social Sciences, A Thematic Approach (1994), unfortunately echoes Habermas's ideas and the thinkers of the Frankfurt Mahzab unable to break through the hegemony of what they Kecam as the traditional theory (traditional theory). Of course, therein is the positivism of an instrument of liberal democracy that is currently the most hegemonic paradigm in the tradition of science - social sciences developed in Indonesia. During this hegemony is still there, our democracy still rests on the procedure, rather than on principles of justice and equality. The ends of government are formed through this election have to face a crisis of legitimacy, as a form of social pathology of liberal democracy.

* The writer is a lecture of the Department of Communication Sciences University of Muhammadiyah Yogyakarta, courses mengampu Ethics and Philosophy of Communication, as well as researchers at the Institute for Communication Studies. This article was never published in Bernas Jogja dated October 5, 2004

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Creativity Art and Discourse "Religious Harassment"

Harian Kompas, Sunday, October 29, 2000
By Putu Virata


THREE quarters of a century ago, Walter Spies with Wayan modulus Cak dance compose what became known as the Monkey Dance in the tourism in the island resort. Inspiration dance is dance Sang Hyang repeatedly witnessed in Samuan Three Spies, Gianyar, which is really a sacred ritual to ask the safety of natural rulers. Spies was fascinated by the sounds hessh that automatically comes from "dancers" who in a trance, attracted by the movements of their bodies swaying like a reed in the wind.


Short stories, along with modulus, composition digubahlah dancers, music composition element of his mouth and inserted into the epic Ramayana. Later, Cak Ramayana became very popular and is now one of Bali tourism mascot, which the pictures appeared on the arrival of Ngurah Rai Airport, the ads tourism promotion, and so on. Three-quarters of a century ago, the creation of this Ramayana Cak is not being accused of "insulting the Hindu religion". Although it is clear that even the visual inspiration we can catch any impression that the Cak Ramayana dance inspired by Sang Hyang sacred by the Hindus in Bali.
If in the past, the creativity of artists who take the ritual arts as a "wellspring of inspiration" does not feel abused, but why the recent discourse on "religious harassment" became popular and is a weapon that can kill creativity? Like for example, protested against the dance Rejang Dewa Made Bandem composed by Dr. ever staged at the altar of Prambanan, Yogyakarta, to protest at art happenings "Road" Made Wianta recently Lodtunduh Village, Ubud?
Both have protested the discourse of "abuse of religion"-something that later became a polemic and, of course, leaving the two groups in the community, the pro and contra. As a hypothesis and analysis, we can look back, the moment when the discourse of "religious harassment" has become a popular and able to mobilize the Hindu religion in Bali to make a protest to "defend the faith". The emergence of a feeling as if they were abused religion-at least as a discourse that can be used by the political elite nor the religious elite to mobilize his people, because of course there musababnya.
Nun emerged long before the protests in the discourse of "religious harassment" on the island of Bali, in Java there is such a case no less appalling. People soon realized that religious beliefs were able to mobilize the masses of religious believers to make the pressure becomes very scary, especially for a country like Indonesia where the "rule of the masses" to be''above''the rule of law.
'Wali', 'Bebali', 'Balih-balihan' In Bali, crystallization and resistance primordial could actually take place without the inevitable, among other things because of the exploitation of culture and religion by the government through cultural tourism program.
Sacred-profane terminology repeatedly produces a sharp polemic until then held a workshop to formulate the three categories of arts in Bali: art guardian, bebali art, art-balihan balih, which showed gradual art just for the ritual to the gods in the temple (art guardian), the art of ritual for people in religiusitasnya (bebali art) and art liquid entertainment without any rituals (balih art-balihan).
The clergy and the clergy and the people generally become easier to detect what they perceived as "religious harassment", when seeing a type of dance performed. Creative inspiration is contemporary dance and then performed the ritual at hotels can be accused of "insulting the culture" and slowly slide into accusations "insulting religion".
Categorization of art guardian, bebali, balih-balihan and its relationship in the context of rural socio-kala-patra (place, time, situation) will make it easier to categorize that person of a particular creation is assumed to be "insulting religion", while others do not. These assumptions however, is an attitude that is resultante of various factors before, social factors, cultural or religious.
A creativity of "brilliant creative" can be problematic in a "social" and if the community groups were invited to face a solid religious community, the point could be shifted to persentuhannya religion and be accused as he was "brilliant creativity abusive religion".
Although, if traced with a clear heart and sincerity, creativity of the artist was merely an "egoistic madness" who imagine themselves as the "central point of creation", a kind of celebrity who think his personal life as a reflection of the reality of the universe. Painter Ida Bagus Made (deceased), for example, that a Brahmin and was very eccentric in the context of Hinduism in Bali, once described Rama Shinta not make love in a glamorous figure as ruler of the kingdom of Ayodya, but as two beings who bare body. Ida Bagus Made was not protesting the abuse Hindu epic Ramayana although it can not be released to the origins of Hinduism in India there.
Another painting is a Barong-symbol guard the sacred universe by Hindus in Bali, the tired and nyelosor into the river to drink, like the cows are free to sip water when they are thirsty. "Barong ngoyot iyeh in tukade," (barong sip of water in the river), according to the terms of the late Ida Bagus Made, not a Hindu abusive accusations, but two barong in front of Hartono's Planet Bali-Indonesia's national pimp-protests and eventually dismantled . Even the expensive entertainment center closed Itupun government because the public outcry Bali, partly because the owner-Hartono Setiyawan-suspected of using Planet Bali as a place of business to consumer elite prostitutes.
Statues of Garuda and Garuda Wisnu sold by art shops in Bali held comfortably for decades, but the Garuda Wisnu Kencana Nyoman Nuarta supposedly high-altitude than the Statue of Liberty in America-there-out scorned by the cultural and religious elites , with accusations against the Balinese Hindu cosmology of the Nawa-sanga-nine parts of the universe where the gods dwell. Of course, creativity can not be discussing it with the absolute language, for he was all relative and subjective.
I believe that artistic creativity is not grown in a social vacuum. Therefore, the creative brilliance can not simply ignore the socio-cultural relevance of living locally, so as not to disturb her creativity convenience of local communities. Nyoman Erawan A-Village-born artist Sukawati, Gianyar-even repeatedly staged performance art and named it as a "rite of art Nyoman Erawan", took place safely. He played in Ruwatan, Nyoman Erawan Art Rite (1998), Pralayamatra (1998), Cremation Left (1999), Nyuryasewana Earth (1999-2000), which in fact is a real rites combined with "contemporary creativity" and he got a welcome warm and participation of various societies in Bali.
Because creativity is the art could not detach himself from the socio-cultural context of society, so if an artist made "the defendant or an abuse of religious values", for cases in Bali, the real core issue is about "communication" and how people are not disturbed . Of wonder, why Walter Spies acceptable in the creation of his Ramayana Cak, while Made Wianta with art happenings "Road" was there who think insulting religion. Walter Spies collaborate with Wayan modulus, Samuan native village of Three, while Made Wianta other artists collaborating "not known" and also the owner of a gallery, located at the venue, the local community viewed as a representation of an inhospitable capitalist and less kulo nuwun . Finished, the estuary of the usual misunderstandings ethical issues and personal egocentrism the artist, who then returned to the egocentrism of a community that feels its sovereignty compromised. Therefore, brilliance and creative wildness will be received with warm, too bright if he is ethically and socially.
People of Bali, which was experiencing the bitterness of the impact of the exploitation of "cultural tourism" did have crystallized and the resistance increases and therefore tend to be very sensitive to everything that they assumed "insulting religion and the local values".

* Putu Virata, journalists and observers of Balinese culture

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Conservation and Social Reality City Indonesia

Harian Kompas, Sunday, May 27, 2001
By Dr. Ing Widjaja Martokusumo

Destruction of heritage of old buildings to show the picture conservation concern. Not just the money and knowledge, but dedication and a strong desire also determines (Kompas, January 7, 2001 and March 16, 2001). The uncertainty of the political reform and national economic crisis is prolonged when the right to review the nature of the restoration in the planning and urban design in Indonesia, as part of the nation's identity formation.
Actually since the year 1931, Indonesia, Dutch East Indies at that time, has had Monumenten Ordinance Nr. 238, namely the protection of buildings regulatory old / historic. In 1992, the law is revised to Heritage Law No. 5 / 1992. However, the existence of this law has not warrant that the preservation and restoration activities in Indonesian cities go well, because of technical guidelines and policy support is still in the process of cultivation.

The weak implementation of legal aspects and the lack of understanding resulted in not a few historic old buildings were sacrificed for the sake of new development (modernization). This is where a conflict of interest between the pros and cons of conservation / restoration. This situation was exacerbated by the lack of community participation and motivation in the process of formation of the environment. Questions can be asked is the extent to which the link conservation activities with the social reality in Indonesia?
***
IN the era of economic growth, modernization of the physical into leveling business. The spirit of liberation and so-called minderwertigkeitskomplexe background process. On the other hand, the orientation of the economy demands not only lead to de-orientation of the physical development, but also a rejection of the concept and art products and art binakota buildings that have been terbina, including the historical legacy of the colonial era.
In his own conservation activities, there are still fundamental issues about the meaning of monuments and historical heritage. Monuments are meant only to limited monumental buildings, temples, monument or plaque. Unless the palace, palaces and religious buildings, other heritage who did not belong in the category of grand architecture, real-cultural products can not be accepted. In the discussion heritage, meeting place is still limited research on cultural heritage in the form of traditional art, calligraphy, art craft, traditional painting, and local languages / dialects. While the appreciation of historical artifacts in the context of art and buildings of the city is very limited.
Empirically, conservation activities in most Third World countries pioneered and performed the foreign experts or a small part affluent people who could get the education directly or indirectly from the West (see the case of the National Archives Building). Although these social groups has increased more days, but no guarantee of appreciation of the spread of cultural heritage running smoothly. Moreover urban physical development activities in Indonesia are still in a certain group of people and for them even become a commodity. This condition causes discrepancy in the structure of society which is reflected also in the physical development sector. So, it is clear why the activities of conservation with all its cultural aspects are still to be elitist and not yet popular in the community.
Social reality of the building art today Indonesia is in the context of community development of new industrial (information age). This is marked by a striking change from the feudal-agrarian society into a democratic-industrial society. Socio-cultural structures that shape and limit the value of its architectural design was still too vague. On the one hand, this vagueness can not be separated from the process of modernization and life attitudes on the other hand is closely related to economic growth that took place rapidly, but only enjoyed by certain segments of society. Resulting in social and income disparities that continue to widen because of the structure and pemerataannya not yet had time to wake up. No wonder that institutional development was slower than the physical construction of architectural. The existence of discrepancy in the community structure also indirectly lead to an appreciation of the difficulty pengungkapkan cultural heritage in general and the building art / art binakota particular. This happens because the social reality that support the value of the building art into fragments that are not easily linked to one another architecturally.
***
SINCE the last two decades the search begins discussions Indonesian architectural identity. To achieve this goal it was only natural when the position of art and the art of building binakota in Indonesia today are morally required to form the environment, characterized by the regional nuances of culturally. This well is expected to bridge the gap between informal and formal sector which is the phenomenon of reality art building.
Problems characteristic of this building art does not rely just on search "architectural style" but also on the concept of architectural expression that has been there before; especially from the treasury of traditional and colonial architecture.
On the basis of this thinking is a critical consideration of the cultural heritage, particularly traditional and colonial architecture, became central. Creative effort necessary to preserve the urban heritage. Education in appreciating the nuances of old concepts and menginovasi history as a reference for developing new concepts to be inevitable, as told by the architect Richard Rogers (1988) ... In all fields, not least in architecture, it is generally accepted that to learn from the past is the way forward and that history is a prime generator. This process is essentially the spirit of conservation.
In the concept of disclosure of historic buildings back to the existence of a clear benefit to the community for present and future. Conservation should be able to anticipate and answer environmental problems, so that conservation is not only to commemorate the past and freeze.
Sentimental culture must be eliminated because most of the past not to be memorable, but rather to serve as consideration for the concept of environmental development. Thus, the nature and one of the important goals of conservation of buildings and historic areas are for learning and community development per se.
Through the interpretation of historical and critical appreciation of the cultural heritage of this urban community are expected to increasingly able to appreciate the existence of cultural heritage. By writing the history of the old buildings and the area also, the process of this appreciation can take place.
Current reality shows, conservation activities are still in marginal position. Still is a shared responsibility to inform conservation and socialize with a participatory approach, which involves the community come to articulate environmental problems. Participation indicate a form of planning and design process democratic. Thus not only the active given the chance to know, learn from their environment, but also partially responsible.
However, given the social reality of Indonesian society, implementation planning and design process still requires keperantaraan functions that are not merely provide technical assistance, but also provide moral support and assistance to communities and to protect their rights and interests. Thus, the function is expected keperantaraan bridging the interests of stakeholders in the conservation / development, namely the public, private and government.
If the formation of national identity is believed to be achieved through the preservation of cultural heritage property, the construction of the built environment should be set off from reality. The process of understanding and appreciation of cultural heritage significance of history in it takes time, because they are also part of the process of a civilized community. In the end, conservation is a cultural performance!
***

*) Dr. Widjaja Martokusumo Ing, faculty Expertise Design Cities, Department of Architecture ITB

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When Women Writing

By Medy Loekito

Packed by Editor 18/09/2003

When women write, the world was shaken. This remarkable phenomenon really effective to be part of the promotion of Indonesian literature. Not be denied, Indonesian literary breakthrough indebted to these women writers. However, in addition to local euphoria or mass hysteria, is there a more serious analysis of how much buzz is a positive contribution to the development of literature itself, such as the terms of the importance of education and moral improvement of society?


***
An important part of a literary work is a moral and ethical content, in addition to the parade the power of language. Opinion that the literary work is a single entity independent and free spirit seemed to look out for, especially by the main perpetrators of literary art, which is the author or literary / sastrawati. Apart from the view of German researchers, Wolfgang Iser, that literature should be judged not only by the formation of the writing alone, but also should be noted the effect on consumers; ideally Indonesian literary actors could be more sensible to see the condition of his own people.

Dinar Rahayu literary expression, for example:

There was a man named Jones. He has many years a victim of his own brother sodomy. Sadly, not only that. Jones was also a victim of sexual abuse and rape a lonely mother, when she was little and adolescents. Actual birth mother also has her husband's infidelities behind pregnant by Jones, but later miscarried. Crazy, Jones and even enjoy a relationship with her own mother. He considers it as a gift for someone who really loved.

Is it true that the above text contains moral and ethical content required by this nation? Is it true that these irregularities have become a culture of Indonesian society, as stated by some writers and observers in defense of a work?

It was, indeed somewhat hyperbolic to say that the deviations of this kind of sexual behavior "has" become part of life "we" of everyday life, thus allowed the author to write freely without guilt. Such distortions that have become part of our lives everyday, it seems that more research needs in and seriously, using the criteria or the boundaries in accordance with the research area. Criteria of freedom of Western nations, for example, would be less appropriate if the legal standard for this nation.

Furthermore, what's the moral donated by the text above for this nation? Urban human moral course can not simply be the nation's moral standards. If the moral talk is still too in the air, both questioned the renewal of what was donated to the text on the welfare of this nation?

Some peer educators, both those working in formal educational institutions or social work in the informal education sector, have openly expressed their concerns about the widespread and growing development of sexuality-based literary writing which tends to pornography. While not revealing a panic, that education workers could ask, "It is said that the letters, the nation's myopic literature. So, teachers must actively treating it so myopic not to be blind. Now after we launched vigorous reading for all students, uh lha kok readings provided by the less educated. "

Unfortunately again, the students, both junior and senior high school, most interested in these books amid publicity and packaging which stimulate the interest to see and read. Then when the package was opened entitled yahud, terbacalah, for example, texts like this:

They rub my penis, they squeezed fruit zakarku ... They poured on top of whipped cream and licking it like a child who is thirsty.

Or: And I call for similar klentit small dick. But the pit was not given a name. Rather, with the tip of his fingers, he reached. And he penetrated with his penis.

Or something like this:

I am a woman, but I'm not weaker than men. Because, I do not suck mother's nipples. I suck dad penis. And I do not suck breast milk. Semen suck my dad.

Perhaps, the workers were worried about education, one day, both teachers and students will get lost in the confusion of what is called the beauty and what is called moral. Maybe we will not be able to find such a beautiful text:

And how great attitude every time he's Abdullah approached Dewangga love. He was like going to surrender, determined to accompany them to together, no one should be disappointed because it did not get to the top ....

Or educators and students can get stuck in confusion lost beauty of literary language, an important element of the work called "literature", such as Shakespeare's part of this:

Alas poor Romeo! He is already dead; stabbed with a white wench's black eye; shot through the ear with a love-song; the very pin of his heart cleft with the blind bow-boy's butt-shaft .... (Romeo is dead. Pierced black white girl's eyes, ears by singing dihujam love, every gap filled arrows cupid heart ....)

The beauty of language expression that involves a state of sexuality in the packaged in clear language arts besides literary aesthetic, as well as metaphorical.

If we have a little nationalism, should concern the education of workers is worthy of note. It should be considered together, going to where this nation is directed if the literature no longer has the moral teaching load and a true intellectual, and the circumstances in which physical aspects as well as more commercial matter. And besides, where would this nation's literature is placed if the position of literary value of a nation likened berundak stairs?

Without knowing what the teacher says, as described above, a high school student complained of a metropolitan literary charge that women are the dominant sex beraromakan it. However, he also located at the intersection of doubt, why this kind of work known as a great literary work?

Doubt these lay reader could certainly whipped the literary critic or literary observers to be more careful in his "halal"'s a work becomes part of the literary arts. Therefore, the current direction in droves are often misleading, especially if the direction is determined by a famous name.

Furthermore, it seems the desire to put the true position of literature and women writers back on their territories, are also considered urgent by some women writers. Yusmarni Djalius, a literary observer of West Sumatra who happened to be a practitioner's education, expressing the hope that the women writers who have invited abuse for women in general may be more sensible to minimize the use of vulgar diction diction-that feel less need for the integrity of a literary work. Morality and ethics are an important part of the charge of a literary work that must still be noted.

Yusmarni Djalius ever attended in the United States is also expecting a good education so that the mass of repairs can be done jointly by all parties. Meanwhile, writers are advised women to be more serious about literary language, among others, by reading the classic works of world literature.

Not that different from Yusmarni Djalius, Ani-Sekarningsih woman writer based in Jakarta, expect an awareness of women writers themselves to not let himself abused and used as a vehicle for harassing another woman.

This sort of thing can be observed, for example, from the comment of a woman named Gita Princess in a mailing list, "As for Ayu Utami, myself included fans, in the sense nungguin enough he works but also likes Amendment also did not reply he likes too much detail talking about the organ and sexual intercourse. Nothing, I think achieving a very detailed talk about sexual problems sometimes it traps the writer to the realm of 'semi-pornographic'. "

Kencana Ria or opinions. Young writers in this field suggests, "It was really fun when women should discuss all the opinions about anything. Pride and fun, before it was incorrectly interpret as the emancipation of the already excessive and loss of breath at first. Alas, sometimes as a woman now I'm ashamed to read the works of women writers themselves. It's like exposing myself. "

***

Regardless of the progress of the times or buyer demand, it is better if a woman writer could give a higher contribution to the country, by contributing intellectual ideas or suggestions through the writings of moral perspective. Is the physical load can not cause the growth of gender equality, but even more it sharpens the differences sexes. As one writer man, that by writing a sex scene with a very vulgar and strong, do not make writers to look smart or brave.

No one even if Cixous seeks the right formula up to the expression of feminism in the text, especially feminism sexuality, which is known by the term SEXT. Therefore, when Cixous spoke, "Your body belongs to you, write!" Too, women writers should not simply translate a word, but translated it into a constructive understanding of the relevant art, in accordance with the nature of art.

Apart from the major elements of the legal literature values differ for each person, we may also refer to the opinion of Austin Warren in Theory of Literature, that the expression of the author should be based on conventions which also valid for the recipient. Because, however the reader or customer is not unimportant for the breath of art and work.

***


*) Medy Loekito, poet, chairman of Multimedia Literature Foundation (YMS), living in Jakarta.
http://www.cybersastra.net/modules.php?name=News&file=categories&op=newindex&catid=5

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Women as Signs, The Deconstruction of Gender in Text and Practice of Fine Arts

By Farah Wardani
Bentara Budaya, Friday, 05 September 2003

Writing is a development of the paper that I presented in the discussion "feature of Women", which became part of the organization of exhibitions photography "Eyes of Women" in Oktagon Gallery, Jakarta, June. When first asked to identify the characteristics merisalahkan women in art Indonesia, I must admit that I felt a little difficulty. Because for me the term "female traits" that was already so problematic.


BY therefore, I prefer to use the term? To-women-an? to mark a broader conception would aspects inherent the definition of women themselves. This paper is a crude attempt for, first, tracing the development of the process definition? to-women-an?
it. This search could certainly not bring the problems in development practice and theory of feminism and gender discourses widely, and also how this affects and terrefleksi of art practice. After that, what I am trying to do also is to look back at how identification? to-women-an? It can further unexplored in the theory gender, and its application in reading the works of art related with this theme.
I. ? The women's?: Gender, and feminism binary opposition

Is really? To-women-an? that, if he is? And how should identify it? For those who choose to hold on to kehakikian concept of women as an absolute thing, this might
not a questionable thing again. ? Women? is a the natural thing, and also always paired with a binary opposition referred to as? man? with all the attributes that are being considered inherently essentialist. So, what is called? To-women-an? these generally can be defined easily, and is always paired are dichotomous with what is regarded as? to-man's?: smooth / rough, weak / strong, passive / active, small / large, submissive / aggressive, and so on. Core of it is the Body, as the lines of the absolute limit.

Dichotomy and the absolutism of this body functions that ultimately lead to a hierarchy in social life in various cultures that dominate heritage values
in the world today, one with what we know as patriarchy in particular. Feminism and gender ideology that is applied in Indonesia also inevitably wake of the adaptation model derived from the West, especially in terms of resistance to the patriarchal system that has been rooted in social structure of Europe since the first. However, the extent of this dialogue will developed and applied contextually still be questioned, and It could not be done without seeing and reviewing the way practices and gender discourse that has developed in the West.

When feminism emerged and began to flare up in the West thanks to the changes social pattern, especially since the industrial revolution, what happened was a contradiction of class (class struggle) between women as a social group against mengopresinya social groups, namely the men, with the aim to achieve alignment, or maybe sometimes opresor replace the position. Can be seen, this is still based
consensus will be a binary opposition between men and women as mentioned in above.

In further development, the dialectics of gender and feminist discourse in the West
better loose yourself reaching aspects of the more diverse the the development of new theories are expected to be able to give the perception that more openly about gender issues, sexuality and identity as well-if not more radical sort. This is also caused by the development discourse postmodernism and poststrukturalisme, which among other things feminism leads to further stage, such as what is called postfeminisme.

Postfeminisme can not be recorded as only wrestle on the problem? To-women-an? or representing women only, but also in the end he became part of the very berinterrelasi of postmodernism and postrukturalisme itself. He became a union framework very dialectical discourse in the challenge gender widely, with surgery starting from the perspective of semiotics, linguistic, cultural studies, postcolonialism, and so on, with the theorists such as Julia Kristeva, Luce Irigaray, Hélène Cixous, Gayatri Spivak, and others.

Interaction between theory and practice of art and then produce widespread development of western art, whether done by women began by Carolee Scheemann and Hannah Wilke in 1960, Mary Kelly, Ana Mendieta, Marina Abramovic, Cindy Sherman and after a lot of questioned the issue of the relationship between gender, identity, and representation. In Moreover, the further development, this leads to the expression
freedom of selfhood and sexuality as did Tracey Emin and Sarah Lucas in the 1990s, or the manifesto also gay / lesbian in the art.

Before moving to the discussion of the development of gender theory, re - to the problems that I mentioned at the beginning of this writing, when to see again how? women? or? to-women-an? put forward in art Indonesian way. First of all who have expressed the views of travel Indonesian art history, especially in the period before the decade of the 90's, application to? women?'s still struggling on the representation problem, ie women as objects. 'Obyektivikasi' this woman could mean in terms of Body, which to some extent rooted in modernism Mooie Indie and the continued afterwards, and also obyektivikasi her own issues, which could also be related to the position of inaugural issue of women artists in art form itself.

Regarding the latter, which is hard to let go of the suspicion of 'pengetengahan' figure women themselves as icons of a certain moral 'propaganda' which often becomes the target eventually 'obyektivikasi' and commodification. This can be seen from the many works of art about women who created by female artists themselves, where 'pengetengahan' be limited to women as ideological issues, which ultimately often trapped at the level of representation and identity politics. This is not become a thing that is not feasible, but the assessment of the works of art This must be balanced by an awareness of context and suspicion the new Orientalism? idolize? pemojokan third world women.

Problems appreciation and acceptance of? To-women-an? in this art, on the other side is also something that is not less important and are worth questioned the basics. From here, further suspicion is: study gender or feminism in here is still struggling in the level of movement social groups, which can base an adaptation of the values
Western feminism is not accompanied by the development of a balanced dialectic. This
also of course closely connected with the broader suspicions will practice fine art (contemporary) that most are still to be addressed as a political medium to convey messages that represent social interests or ideology particular, either by itself perupanya, art critics, audiences and the related.

Therefore, any appreciation of art should be alert to the pitfalls discourse and ideology like that, and try to do the exploration of ground or other point of view more to offer new possibilities, apart from the political issues of identity and representation. This is where lies significance of the development of art treatise process more open to the framework of gender theory and identity, which can be a point if readings will reject this issue offers a better perception and reflection
new. A theoretical framework I will describe below is about Subjectivity study, which is widely used to analyze the deconstructive essential conceptions of the discourse of gender, identity, and also sexuality.

II. "Subjectivity": gender as a text

Dialectic is happening in art, in this case that developed in the West, both in practice and at the level of discourse is always connected and supported with the development of gender studies and theories that also interact with socio-cultural changes around them.

When talking about? To-women-an? in particular, or gender in Generally, the time now when the values and all things considered essentially continue to shift rapidly and loose, in the definition of binary opposition Gender did not escape into something that continues to question, and even challenged in various studies, mainly based poststrukturalisme.

Poststrukturalisme known with one big argument that all things in this world is a sign (signs), takes us on an idea that gender, which includes the concept of femininity and masculinity, is a series of social construction. Conflicts that occur later are not just ranged between female and male domination, but on every subject
of social construction.

In this level, one of the most prominent study is about Subjectivity, a little more grounded in a combination of semiotics or the science of signs and psychoanalysis of Jacques Lacan's theory of stages formation of human identity (the mirror phase-symbolic-real). Body image and language becomes a big element in the theory of Lacan, who offers ideas of how the identity of a subject is formed in a controlled world of phallus (phallosentrisme). In this case, the phallus in the Western culture is not just a marker of male genitalia (penis), in a large scale it is symbol of power and subordinating the activities of his other considered ? not complete? (lacking), and serves as a passive recipient.

Subjectivity emphasized the rejection of the Cartesian concept of cogito will (human
mind) as a central control center where it terhasilkan meaning. In short, Subjectivity trying to see how humans are formed as a subject, a perspective to see how the identity formed by recognizing the role of discourse, knowledge, history and constructions others in it, which was controlled by the subject itself. Deep this perspective, the subject is stuck with the constructs that have been there but it also always open to transformation by increasing it merge with the outside world, and the process of transformation within the subject This endless which ultimately makes the difference of each subject. Just as the meaning of the sign is always shifting, as well as humans as subjects.

Study Subjectivity is often the difference dipersandingkan with analysis, which
related to the method of Derrida's deconstruction of the text style, and in the end often time is also used to lift a study gay / lesbian (Queer Theory). Gender and sexuality, in this case is the text, which should poststrukturalisme states that the world was built by the text that continues to flow crosses and the shift between signs and meaning. Gender is no longer a being, but becoming.

III. ? Women? as a sign: "Ecriture Feminine" and the "Subaltern"

Departure from these Subjectivity framework, some Western feminist theorists trying to develop a variety of arguments that attempt to deconstruct the discourse textual is considered to have been built by placing the phallus as the center phallogocentrism), especially in those who have feminine-masculine structure.

Hélène Cixous phallogocentrism forth his opposition to what he called? ecriture feminine?, which is seeking forms of writing from body? the feminine? (aka marginal), to release the linguistic system and labeling of the binary opposition during this trick, and offers new possibilities in articulating the difference. The main purpose
Cixous is an attempt to emphasize discourse and rewrite history which has been dominated by phallosentrisme. From other regions, Cixous's argument is somewhat parallel to the introduced by Gayatri Spivak in which he called? hegemonic Historiography?, which is widely criticized the dominance of Western texts in uilding
discourse construction history of the world. Hegemony of Western text is also utomatically influential in building the image and representation of the arginalized, especially Third World women are often the object orientalisasi. Based on this, he will sue the position of the subaltern (those who textually marginalized by history, such as women, minorities, skin color, and the Third World) to be included in the text.

Contradictions of such textual dichotomy of feminine-masculine and the central and marginal areas are set forth only in the analysis of differences, ie about hybridity and? that-there-between? or? the in-between?. Deep framework of gender as text, Cixous itself formulate a metaphor about ? Bisexuality? to which every human being, in which each subject has every element in a binary opposition that have been the difference boundary, as feminine / masculine, active / passive, positive / negative, etc.:

"What I Propose here leads directly to a reconsideration of bisexuality. To reassert the value of bisexuality. Hence to Snatch it from the fate classically reserved for it in which it is conceptualized as? neuter? because, as such, it would aim at warding off castration. Bisexuality that melts together and effaces (?) Writing is the passageway to open up the other in me, the feminine, the Masculine. "

Thus, each subject has the ability to switch antartanda (polymorphous), or are in between the layers of meaning between one and another, also between binary pposition. Writing is one way out potential ? Bisexuality? it. I perceive that writing (writing / ecriture) is termed by Cixous is to create a text or play with signs, so in this case was the practice of art is included.

IV. Reading back exploration "Subjectivity" in the work of art

For me, the study of gender deconstruction and Subjectivity in the draw as a reference to be applied as a reference for the practice of art criticism way, particularly those involving issues of identity, sexuality, and gender. Especially with more memaraknya contemporary art world today, together with the more erimbangnya position and the number of women artists and male artists, and various manufacturing processes theme in the works of art, in Where exploration game selfhood and visual signals become more intense.

Here I am trying to summon some of the work of artists that I value represents enough to offer signs of digging would sexuality, gender, identity of a subject and constructions surrounding it. Specifically and intentionally include a visual artist I am a man, Nindityo Adipurnomo, because interesting to see how he plays the signs
feminine as part of the creative process associated with formation of self as subject.

Women Writing the Body: Body Contemplation Tita Rubi

Works of Tita, as the dihadirkannya had solo exhibitions some time ago,? Se (Body)? most of the bodies show no complete with a background that suggests the context of space and a certain position, marked capacity of the woman who made dysfunctional by the room where he was.

Some of his works summon the removed parts of the body, not in the sense cut or eliminated, but more like a closed, blocked or concealed, which suggests the potential also silenced or veil defense. Body that complements other subjects in the surroundings, such as as women who become partners for a man, wife, mother, and part of society, but the construction of walls and screens that make incomplete body. The body was kept for a full position in the space becomes a prison and place sheltering.

Masturbation sublime IGAK Murniasih

Set forth in the adaptation technically Pengosekan Balinese style, the works of Pure
the antithesis of challenging stereotypical Balinese paintings, especially as generally known from the works of Rudolf Bonnet and others. The parts of the naked body of deformable, mixed in with the objects fantasy and absurdity, vagina, breast, mouth, tongue, sense of pain and enjoyment, which all presented actively and aggressively.

At Pure, painting as a means of masturbation. In an environment in where sex becomes an obsession as well as commodities, dialtarkan woman's body in such a a way to put women in a prison passive narcissism. Seeing the works to be reminded of Pure like the other side of sexuality women, a narcissistic desire to reclaim his own body
has too many terperkosa, submitted to enjoy the other. Deep intercourse with each organ itself, the body that finds itself you are welcome.

Finding Space? All-there-between?: Feminine-Masculine Jukstaposisi Sekar
Jatiningrum

In a world that was created Sekar Jati in his works, feminine signs mixed collide with images of Grotesque, rough, hard and dark-in short, a 'jukstaposisi' between femininity and masculinity. We can see that both elements appear with the full voltage in the works Sekar, 'keburukrupaan' interfere with such a beautiful, violence is so smooth, makes us question the return of all the signs are there in the dichotomous perceptions.

Sekar works offer an invitation to explore the other in Ourselves, another self untouched by the signs that build teak external self-perhaps an alter-ego, androgin space, or our potential bisexuality?

Linga-Yoni identity Nindityo Adipurnomo:? The Javanese Subject?

Apart from the absolute symbolic meaning representing ethnic Javanese (with feminine connotation), bun in the hands of the formalists Nindityo become an object full sexual sign, and open to metamorphosis, change shape into phallus, or yoni, or both. All the work in the series bun This presents a figure who haunted the formation of his anxiety will as the subject, in this case as a man of Java (Modern).

The image that many terepresentasikan Java is a construction value of hierarchical and patriarchal masculinity by association-like phallosentrisme West and Islam. However, seeing the work we carried Nindityo to consider another position in the formation of a figure phallus subjects Java, in which the phallus is reflected in his works is emasculated phallus, born not of Masculine activity, but of feminine passivity, longing for union with the yoni won back his strength.

The subject of Java was isolated in her throne in a society that expressed sexually, torn between the paradox of the shadows phallus and yoni are no longer united as before. In short, the works Nindityo offers a stimulus to explore gender re 'pewacanaan' Javanese culture, a conception of how meaning-yoni phallus that actual
developed in connection with the problem of hierarchical positions and values that later created.

Finally, when returning to the question at the beginning of this essay,? Whether actually the women of that?? and if he's there, that might be formulated within the framework of the above study are:? to-women-an? (or too ? the men's?) is there in that it comes as something created of tagging systems and social construction in the community, form representation of what is referred to as female, male or other definitive interpretation. These systems, however, continue to be in dialectical process that made him vulnerable to change.

On top of that, which can offer from here is a deeper exploration about the women of these, which can lead us to the various possibilities, suppose that a proof of women 'kehakikian' inherent, or whether women's liberation as well as entities which stand
itself, apart from the body of the woman's own. Identification process must be done even look into the existing context and also in development of signs of processing both visual and verbal walk. Fine art as a field meeting of the creative process is one means of which gives the channel an infinite reflection in processing analysis
these signs productively. The works of art that is created is both product and part of the process of shocks and phenomena existing in social construction, and conversely it also can also enrich the way formation that constructs itself.

Farah Wardani Graduates Goldsmith College, London. Active as a critic and Curator of Fine Arts. Chief Editor of Journal of Visual Art Carbon. Lecturer of History at
Direction Design Paramadina University, Jakarta

Design By KCM
Copyright © 2002 Harian KOMPAS

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Fashion and Identity

By Nuraini Juliastuti

In modern society, all humans are performers. Each person was asked to play and control their own role. Clothing style, hairstyle, all kinds of accessories attached, musical tastes, or the choices of activities carried out, is part of the show and the personality self-identity. We can choose the types of personality we want through the examples of many outstanding personalities around us-movie star, commercials, singers, models, various types of existing groups, or we can create your own unique personality style, different, even if it should never be used by others.

Anthony Synott (1993) managed to give a good explanation about the hair. In some cases, the hair does not just mean sex symbol marker men and women. He is also a symbol of a particular cultural political movements. According to him, a different hairstyle models indicate different ideologies. 50 years of bringing growth and prosperity of climate in the United States joined breathes new freedom of individual expression, including a new type of haircut. Hairdo shaped like ducks to be very popular at that time. The main characters of this type of hair is Elvis Presley and Tony Curtis. After that took place beatnik era hairstyle look pioneered by James Dean and Marlon Brando.
Long Hair vs Short Hair
The Hippies are popular in the '60s, not only known because of his protest movement against the sexual norms of the puritanical, Protestant ethic, student movements against the war, anti-nuclear weapons, anti-society fascist, militarist, bureaucratic, not inhuman and unnatural, but also worldwide via the symbols he wore. Beads, jeans, kaftans, long loose robe, the calf that was originally a traditional Turkish clothes, sandals, jackets and coats sewn and embroidered herself, to distinguish them with the group of people who wear formal suit and tie. Kaftan is widely used as a special dress hippie people because these kinds of clothes are usually cheap, so not memorable bourgeois, and frees the user from the confines of the collar, buttons and a tight belt. And the most conspicuous symbols is their hair long and straight. The hairs are natural, no paint, no curling, no decorated with trinkets of any kind, without a wig. Men hippies also maintain long hair, complete with beard and mustache are allowed to grow dense without any cut. This is what distinguishes them from their parent groups. Ten years later the hippie styles that was originally grown to oppose the establishment of this group came under attack from the Skinheads.
As with the hippies, the people also against the establishment Skinheads although for different reasons. Initially, Skinheads are slang term to refer to people who are bald and bare. The Skinheads are usually derived from the working class. Skinheads especially directed against the group of middle-class students with long hair, Asians and gays. Skinheads hated hippies people, especially men hippies. They often make fun of men as being hippies effeminate and strange: with a long hairstyle, clothing, floral, beads, and sandals, often handing out flowers to the police during the demonstration, passive, lazy , and weak. At the beginning of its appearance in 1968 and 1969 until the early 1970s, Skinheads are usually wearing faded jeans rolled up above his ankles, boover types of military boots or shoe boots leather boot brand Dr. Marten, t-shirts displaying the slogan of a political movement or affiliate organizations a particular football, a jacket that said 'skins' in the back, and the hair shaved very short. Some people Skinheads wearing boots shoes boover did join the military unit, while some other users who use the excuse to get a stronger kick. With the characteristics of this type of shoes they also earned the nickname boover boys. Skinheads women also wore the same outfit, only they usually leave little ponytail hair on the back and sides.
In 1975 comes the punk. The punk appearance is often confused with the Skinheads. Term punk itself is slang to refer to criminal or destructive. Just like its predecessor, the punk also expressed himself through his clothes and hair dressed differently. Punk people declared themselves as a group of anti-fashion, with the spirit and work ethic of 'do it all alone' (do-it-yourself) high. Characteristic of punk is the jeans torn, safety pin (safety pins) which dicantelkan or worn on the ear, cheek, other accessories such as swastikas, crosses, leashes, and model-top hair and spike mohican. Model of spike-top hair or hairdo shaped like a barbed nails are the standard model of the punk hair. While mohican haircut or called with the mohawk hairstyle that incorporates spike-top style with a razor in the back and side to produce the effect of feathers form a high or a set of cones, is only used by some adherents of punk. Sometimes they dyed her hair with bright colors like light green, pink, purple, and orange.
Fashion and Fun
Casuals style pioneered by groups of young people who have the top-level jobs and higher education as opposed to the Skinheads are usually located in less favorable social positions. They usually wear suits or casual wear brand-name clothes are expensive sports. Base of the women were dressed male clothing such as cardigans or trousers.
A new type of force or groups also play an important role in the culture of young children are rockers. These groups are usually known rockers as well as leather boys, wearing his trademark leather jacket, tight jeans, long hair, all-metal accessories, fanatical devotee of rock music, and at the beginning of his appearance often identified with the larger bikes. Their appearance was wild and hard this course is substantially different from the appearance of the teddy boy who is Dandy and flamboyant: shiny leather shoes and jackets and blazers of neat.
All the things that have been shown through the body: the style of clothing, hair styles, as well as complementary accessories, more than just a demonstration of performance, but a demonstration of ideology. At the same time shows us that globalization is a big role in spreading the style all over the world, although not at the same time. Globalization and its spread throughout the device, television, magazines, and other forms of other mass media, also causes the same style imitation, but with an entirely different sense of the original historical context. So, the young man who wore all-punk outfit in Indonesia is very likely inspired by something very different from their predecessors punk generation in the country of origin.
Until this point, we can see the complex relationship between body, fashion, style and appearance, personality and identity to be confirmed by someone. Identity formation is not a simple matter. He never moves autonomously or walking on the initiative themselves, but influenced by various factors operating together. These factors can be identified as creativity, that all men are obliged to be creative to make it look different and be different. Then there is the influence of ideological factors and group peer pressure teammates. Here, the issue of brand shoes or clothing can be a big problem because in determining whether a person is considered eligible for inclusion in a particular group or not. Other factors are social status, barrage of media ads, and the fun (pleasure and fun). This fun element can be used to explain and understand the group of youngsters who adopt, consume or mixing a variety of styles with no clear reference to the meaning of home. A collage-style collage. Only a mere appearance. Only fashion. But this does not mean reducing the force into something that is not meaningful. The end of authenticity does not mean the death of meaning. Collage, imitation, imitation, combination, take take here and there, helped shape the emergence of new meanings.


Newsletter KUNCI No. 6-7, May-June 2000
http://kunci.or.id/teks/0607fes.htm

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Commercialization of Religion in Press

Eroticism and sensuality are summarized in the commercialization of the body is something that is easily digested by everyone because of these icons easily attract attention, so he became icons of the most visible of mass culture. The most easily recognized is the controversy "Kiss Buruan I" had just passed. But with the rate of development of advanced capitalism (late capitalism) is not only sexuality that became a cultural icon dikomersialisasi mass, but also a more ironic is the religion! However, the problem is, that mass culture is a part that can not be separated from the culture industry has become the dominant discourse in contemporary culture. Industrialization, ekonomisasi - and complete with capitalism's role in it - requires that the process "of the masses" or the commercialization of all things that a culture industry can continue to take place.

In the midst of increasingly fierce market competition, and so production can continue, not only the eroticism of being the only cultural commercialization became the belle of the elite culture of the industry to make an engine for the production style capitalism that they have. Religion that had been considered a sacred area was not spared from their glances. Pilgrimage for example, in the past was not known the cost Naik Haji Plus (ONH Plus), but this time with ease before the hajj season, we meet a variety of pilgrims travel agency ads offering ONH Plus in various media, there are even really Plus. Plus really meant was the pilgrimage not only fulfill the five pillars of Islam, but continued walking tours to other places such as Jerusalem. There's even a travel agency that offers pilgrimage roads plus to Europe with the artists who made the pilgrimage! Similarly, the artists also busy-busy koko covered
or clad in Ramadan and speaking style or ustadzah ustadz (talking head) preached holy verses with fasihnya on the television screen. Eid Takbir when no longer reverberate too busy-busy they are dressed more sexy fashion and no longer royal preaching holy verses, but returned in a variety of impressions ngegosip infotainment, which mpok Hind said in "Ramadan Special Bajuri Bajaj" dated 19 October : "Gossip need not always right!".
Similarly, a variety of advertising products that appear with different colors in the month of Ramadan. "Berbukalah with a sweet", so tea Sosro bottle advertises on the first page of Post Java during Ramadan month, or "Drink Promag at dawn and sunset," said Deddy Mizwar in Promag ads that aired in the month of Ramadan, so fasting is not bothered by pain ulcer, so the implications of the adage advertising star.

Simulation of Mass Culture
Mahzab Frankfurt (Frankfurt School) introduced the critical communication studies combining various approaches, such as psychoanalysis, hermeneutics, political economy of media, the analysis of cultural texts and social effects as well as the ideology of mass communication and culture. Key terminology that they are expressing is the cultural industries (cultural industries), which marks the process of industrialization of culture that produced a massive and commercialization of control systems.
The thinkers of this critical theory analysis that all cultures produced in the context of industrial production, which they named as the culture industry, is displayed in the same character with other products in mass production, namely standardization, massifikasi and commodification. Standardization that occurs must be determined by a handful of owners of capital in the cultural industries with the legal parameters of the market, meaning that cultural products will be considered a standard if sold in the market. Industrial production and allows the production of cultural artifacts in massive quantities, and of course with the format and the standard form in accordance with the existing mold. All three are blended into the characteristics of the commercialization that plagued mankind civilization.
Semiotics is known as one of the seven traditions of communication science that helps us see how the signs of language (signs), including the sign language of religion, are used to interpret the events and can be a particularly good tool for analyzing the content of media messages. Most people agree that the sign language has a special role in the media, and the media in many ways shape how the sign language works for us. We will look more closely at the work of French social critic Jean Baudrillard.
Baudrillard believes that sign language has been increasingly separated from the objects they represent and that the media has pushed this process to the point where nothing is real. The media does not necessarily create these conditions, but aggravate a long trend that has lasted throughout modern history.
The use of sign language has been going through an evolution in society. At first, the sign language is a simple representation of an object or condition. sign language has a clear relationship with the symbolized. Baudrillard is called the stage of the symbolic order, a general in feudal society. In the second stage, falsehood, generally from the Renaissance to the Industrial Revolution, sign language is considered less correlated directly with the objects in life. sign language actually generate new meanings and not a natural part of the experience represented.
For example, status, wealth, and prestige connected to the body because the way they represented. The next stage, namely the Industrial Revolution, is from the production, in which the machines to take part in human labor, making the object is independent of human use of language as a sign maker.
Posmodernitas thinkers as Baudrilard firmly proclaimed that we now live in the era of simulation, where the language is no longer represented - but make - our reality. Simulations to determine who and what will be done.
There is no longer the means to represent our experience, do sign language.
Even religion region later this fate. Promag ads such as creating a "reality" that if you do not drink Promag then our stomachs would hurt, and fasting is no longer a meaningful! Our commodity culture is one aspect of the simulation in which we live. Environmental tersimulasi tell us what we want, he formed the tastes, preferences, likes, and our needs. Consumption takes values in and from it. The most important is that we consume, not that we want the real things that actually function. We think that we are different, but in reality the values of most people and their behavior was constrained by "reality" simulated by the media. We think that our personal needs met, but it just needs terhomogenisasi formed by sign language in the media.
The results of this simulation process, we make a distinction that less and less and less. Meanings fall and collect into a giant mass called Baudrilliard as hiperealitas. This is a process of exaggeration that we strive for propaganda. Instead of distinguishing between good and bad, beautiful and ugly, we dumped all together into a hiperealitas, bringing the excesses of life in which the degree is not important.

By: Fajar Junaedi
The writer is a faculty member Department of Communication Sciences University of Muhammadiyah Yogyakarta (UMY), lecture of Mass Communication courses. Paper presented to the routine discussion click (Scientific Study Group of Communication) 0 Wednesday, October 2004, in Courtroom FISIPOL UMY

posted by Fajar Junaedi @ 8:18 PM 0 comments
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