GDL

SCREEN IN THE MULTIPLICITY OF SPACE-TIME : AN ONTOLOGICAL STUDY OF DESIGN IN THE FRAMEWORK OF PHILOSOPHY OF DIFFERENCE

PhD Theses from JBPTITBPP / 2012-06-20 09:47:38
Oleh : Yasraf Amir Piliang (NIM 371 04 002), S3 - Art History, Theory, and Criticism
Dibuat : 2007-00-00, dengan 8 file

Keyword : ontology, being, space, time, difference, multiplicity, repetition
Kepala Subjek : Arts

Abstrak :



Layar (screen), khususnya layar elektronik (electronic screen) merupakan elemen tak-terpisahkan dari dunia kehidupan kontemporer, sebagai medium dalam aneka aktivitas melihat, menatap, menonton, mengobservasi, mengintip, memata-matai, dan mengawasi. Hampir tidak ada aktivitas masa kini yang tidak menggantungkan dirinya pada keberadaan layar: ekonomi, politik, pendidikan, industri, hiburan, kejahatan, seksual, bahkan spiritual. Beragam aktivitas yang melibatkan layar, membangun -multiplisitas layar-, yaitu anekaragam konsep, struktur, bentuk, bahasa, citra, fungsi dan kandungan isi layar. Multipilitas layar membangun pula anekaragam fungsi layar: layar televisi, layar komputer, layar filem, layar video game, layar telepon seluler, layar proyektor, layar automatic teller machine, dsb. Sebagai fenomena, layar menampakkan dirinya dalam dua cara penampakan, yaitu layar sebagai sebuah -obyek- atau -medium- dan layar dalam hal -isi-, -citra- atau -representasi dunia- (being image). Di samping itu, karena layar menampakkan dirinya dalam perbedaan dan multiplisitas, maka pemahaman ontologis terhadap layar harus ditempatkan dalam bingkai -ontologi perbedaan- (ontology of difference). Layar hadir dalam dua -medan perbedaan-, yaitu perbedaan di antara aneka layar di dalam ruang: layar ini, layar itu, layar di sana; dan, perbedaan di dalam waktu: layar yang telah ada, yang ada dan yang akan ada. Di sini, multiplisitas layar harus dipahami di dalam dua medan perbedaan, yaitu: 1) -perbedaan meruang- (difference within space), berupa perbedaan di antara layar-layar di dalam ruang, meliputi perbedaan aransemen, bingkai, relasi tatapan relasi sosial, citra, pesan dan informasi, dan 2) -perbedaan mewaktu- (difference within time), yaitu perbedaan di antara layar-layar di dalam garis waktu, yang meliputi perbedaan durasi, narasi, memori, kecepatan dan horizon masa depan. Pemahaman tentang multiplisitas layar dimulai dengan mengemukakan tiga pertanyaan ontologis, yang saling berkaitan satu sama lainnya. Pertama, bagaimana struktur perbedaan dan keberbedaan (differentiation) yang membangun -ontologi perbedaan layar- (ontology of difference), baik perbedaan meruang dan mewaktu? Kedua, bagaimana multiplisitas layar dan ontologi perbedaan membentangkan multiplisitas -kemungkinan dunia- (posibble world) bagi subyek yang berkesadaran? Ketiga, bagaimana implikasi multiplisitas layar itu terhadap cara kerja desain, sebagai sebuah wacana (discourse), yang melaluinya layar dirancang, diproduksi, dan digunakan; serta, bagaimana implikasi lebih jauh lagi terhadap manusia dan humanitas pada umumnya? Untuk memahami layar secara ontologis dalam perbedaan dan multiplisitasnya, pendekatan khusus -filsafat perbedaan-, sebagaimana yang dikembangkan oleh berbagai pemikir kontemporer, digunakan secara intensif. Pada tingkat metodologis, digunakan metode -fenomenologi-hermeneutika-, sebagaimana yang dikembangkan oleh beberapa pemikir, terutama yang mengaitkan metode ini dengan fenomena perbedaan, seperti Heidegger, Bergson dan Deleuze. -Fenomenologi- adalah metode filsafat yang digunakan untuk memahami layar pada tingkat -deskripsi-, yaitu penjelasan rinci tentang layar sebagaimana ia menampakkan dirinya sebagai -ada- dan -perbedaan- dalam relasinya dengan -perbedaan- pada tingkat subyek. -Hermeneutika- adalah metode filsafat yang digunakan untuk memahami layar pada tingkat -interpretasi-, yaitu memahami -makna- di balik multiplisitas layar itu, khususnya -makna ontologisnya-. -Deskripsi fenomenologis- dan -interpretasi hermeneutik- terhadap multiplisitas layar, menghasilkan beberapa prinsip perbedaan layar: 1) -perbedaan berlapis-, di mana di balik sebuah sistem perbedaan ada sub-sistem, sub-sub sistem, dst. 2) -perbedaan kontradiktif-, yaitu kehadiran dua sifat bertentangan dalam struktur perbedaan layar: perbedaan/ repetisi, hirarki/non-hirarki-, 3) -perbedaan ganda-, yaitu kehadiran dua karakter perbedaan secara simultan: perbedaan meruang/mewaktu, kuantitas/kualitas, konkrit/abstrak, 4) -perbedaan heterogenesis-, yaitu perbedaan layar yang selalu -memperbedakan- dirinya secara aktif, kreatif dan produktif, 5) -perbedaan terbuka-, di mana layar membuka diri bagi multiplisitas perbedaan itu sendiri, termasuk hibriditas, 6) -perbedaan morfogenetik (morphogenetic), di mana layar elektronik membentangkan struktur ruang kemungkinan bentuk, yang tanpa terikat ketat pada struktur baku, 7)-perbedaan repetitif-, yang menjelaskan kesimpulan paling kontradiktif dari perbedaan layar, di mana perbedaan layar justeru dib ngun oleh sifat



kebalikannya, yai u -repetisi- -contradictio in terminis Kontribusi ilmiah yang penting dari hasil penelitian, dalam kaitannya dengan perkembangan ilmu pengetahuan, berkaitan dengan tiga bidang temuan: Pertama, temuan pada tingkat logos, yaitu berupa seperangkat proposisi, definisi baru dan teori baru desain, sebagai koreksi terhadap epistemologi desain sebelumnya, yang terpaku pada konsep -kebaruan-. Kedua, penemuan pada tingkat ethos, berupa penjelasan baru tentang -ontologi desain- sebagai koreksi terhadap pandangan ontologi desain sebelumnya, yang terlalu percaya pada konsep -materi-. Ketiga, penemuan pada tingkat pathos, berupa penjelasan baru tentang aspek humanitas dari desain, sebagai koreksi terhadap konsep-konsep desain dan humanitas yang ada sebelumnya, yang terpaku pada konsep -fisik-.

Deskripsi Alternatif :

Abstract :



A screen, particularly an electronic screen, is an important and essential element of the contemporary life world, as a medium of various activities of seeing, gazing, watching, observing, spying, peeping and supervising. There is likely no any contemporary form of life, which is not dependent on the existence of a screen: economy, politics, education, industry, entertainment, criminality, sexuality and even spirituality. Various activities of screen use coincidently constitute -multiplicity of screen-, that is, multiplicity of concept, structure, function, form, language, image and content of screen. Multiplicity of screen use also generate various functions of screen: television screen, computer screen, cinemas screen, video game screen, hand phone screen, projector screen, automatic teller machine screen, etc. As a phenomenon, a screen shows itself in two models of appearance, that is, a screen as -an object- or -a medium- and a screen in terms of its contents, images or representations of the world. Moreover, as the screen shows itself in difference and multiplicity, the ontological understanding of the screen has to be located in a frame of -the ontology of difference-. Here, the screen coincidently presents itself in two -fields of difference- differences constructed within space: this screen, that screen, those screen; and, differences constructed within time: screens in the past, in the present, and in the future. Hence, multiplicity of screen should comprehensively be understood in these fields of difference. First, -difference within space-, as a difference among various screens within space, which encompasses difference in arrangement, frame, gaze, social structure, image, message, and information. Second, -difference with n time-, as a differenc among various screens within time, which encompasses difference in duration, narrative, memory, speed and horizon of expectation. As a starting point of the understanding of the multiplicity of screen, three ontological questions, which are related one and another, are primarily suggested. First, what are the structure of difference and differentiation, which build ontology of difference of the screen? Second, how multiplicity of screen and their ontology of difference broadly reveals the -possibilities of the world- for a conscious subject? Third, what are the implications of the multiplicity of the screen for the ontology and methodology of design, as a form of discourse, through which a screen is designed, produced and used; and, more broadly, what are the implications for human and humanity in general In the ontological understanding of the screen within its difference and multiplicity, a particular approach from the -philosophy of difference-, as developed by contemporary thinkers, is employed intensively. At the level of methodology, -phenomenology-hermeneutics- is used, particularly as it was developed by particular philosophers, who tried to relate this method to the problems of difference, like Heidegger, Bergson, and Deleuze. -Phenomenology- is intensively used in the understanding of screen at the level of -description-, that is, a detail explanation of the screen as it shows itself as -being- and -difference- in its relation to -difference- at the level of subject. -Hermeneutics- is deeply used in the understanding of screen at the level of -interpretation-, that is, the revealing of the -meaning- of the multiplicity of screen, particularly -ontological meaning-. -Phenomenological description- and -hermeneutic interpretation- of the multiplicity of screen reveals several principles of difference: 1) -stratified difference-, in which behind a system of difference, there are sub-systems, and sub-sub-systems, etc. 2) -contradictory difference-, that is, the presence of two opposite terms in the structures of screens: difference/repetition, hierarchy/nonhierarchy, 3) -double difference-, that is, the presence of two fields of difference coincidently: space/time, quantity/quality, co crete/ abstract, 4) -hetero-genetic difference-, as a difference that actively, creatively and productively -differentiate- itself, 5) -open difference-, through which a screen open itself for a multiplicity of difference itself, including hybridity, 6) -morpho-genetic difference-, through which a screen prospectively reveal the possibilities of the world of form, without dependence to any strict and established code, 7)-repetitive difference-, to designate the most contradictive conclusion about multiplicity of screen, through which the difference of screen is constituted just by its opposite term, namely, -repetition- --contradictio in terminis. Major scientific contribution of this philosophical research, in its relation to the recent development of design, technology and humanity, related to three major findings of the research. First, a finding at the level of logos, that is, a set of propositions, a new definition and a new theory of design, as a bravely correction to previous epistemology of design, which has been stuck to the concept of -newness-. Second, a finding at the level of ethos, that is, a new interpretation of -ontology of design-, as a correction to previous explanations of design ontology, which have strongly been faithful to the concept of -material-. Third, a finding at the level of pathos, that is, a new interpretation of the human dimension of design, as a correction to previous explanations of the humanity of design, which have not been capable of escaping from the prison concept of the -physical-.

Copyrights : Copyright (c) 2007 Faculty of Art and Design ITB.



Information Dissemination Right @ 2007 ITB Central Library Jl. Ganesha 10 Bandung 40132 Indonesia.



Verbatim copying and distribution of this entire article is permitted by author in any medium, provided this notice is preserved.

Beri Komentar ?#(0) | Bookmark

Properti	Nilai Properti
ID Publisher	JBPTITBPP
Organisasi	S3 - Art History, Theory, and Criticism
Nama Kontak	Drs. Mahmudin, SIP.
Alamat	Jl. Ganesha 10
Kota	Bandung
Daerah	Jawa Barat
Negara	Indonesia
Telepon	62-22-2509118, 2500089
Fax	62-22-2500089
E-mail Administrator	digilib@lib.itb.ac.id
E-mail CKO	digilib@lib.itb.ac.id