my first video poem : Jalan Tak Ada Ujung -(The Endlees Step)

Ketika arah dan alamat tidak lagi pasti, ketika petunjuk dan arahan mengajak anda berfantasi akan lokasi. Tidak ada patokan pasti, berjalan dalam sebuah labirin kota.

Video pertama Maulana M. Pasha ini merupakan salah satu video yang cukup fenomenal dalam ranah filem pendek dan seni video di Indonesia. Video yang merupakan hasil dari proyek Videopoem yang digagas oleh Forum Lenteng pada tahun 2004-2006 ini menampilkan fenomena kota dengan pendekatan mata kamera video yang berbeda dari bayangan visual naratif. Pada tahun 2007, Jalan Tak Ada Ujung menerima penghargaan Grand Prize pada kompetisi Asean New Media Art 2007 di Galeri Nasional yang diikuti oleh seniman-seniman dari negara-negara Asia Tenggara. Pada tahun 2008, video ini juga menerima Karya Terbaik Indonesian Art Award 2008, menjadikannya sebagai karya seni video pertama yang menerima penghargaan Yayasan Seni Rupa Indonesia ini (sebelumnya penghargaan selalu didominasi oleh karya seni lukis, patung, objek, dan multi-media). Beberapa presentasi penting yang diikuti oleh Jalan Tak Ada Ujung adalah; OK.Video Militia 3rd Jakarta International Video Festival 2007, The 37th Tampere International Short Film Festival 2007—Finlandia, 5ÈME Festival Signes de Nuit 2007—Swiss, Life in Jakarta 2007 Cultural House Kanneltalo Helsinki—Finlandia, The 55th International Short Film Festival Oberhausen 2009—Jerman. Karya video ini juga dipresentasi di berbagai pameran seni media di Indonesia dan internasional, seperti; Jakarta, Surabaya, Medan, Rotterdam (Belanda), Paris (Perancis), Berlin (Jerman), Kuala Lumpur (Malaysia), Sidney (Australia), Singapura, Bangkok (Thailand) dan lain-lain.
--------------------------------------------------------------------------------­-------------------------------
When directions and addresses are no longer certain. When clues and courses took you to fantasize on location. There are no certain measures, walking in a path of a labyrinth in the city. Welcome to the endless step of Jakarta! Please find your way around in our dense and warm neighborhood.

This are the first works of Maulana M. Pasha, and quite phenomenal in the realm of short film and video art in Indonesia. The video are the result of a project initiated by Forum Lenteng called Videopoem in 2004-2006. Based on city phenomenon sees with a video camera eye that differs from the shadow of visual narrative. In 2007, Endless Steps had the Grand Prize in the ASEAN New Media Art 2007 Competition at the National Gallery, followed by artists from Southeast Asian countries. In 2008, this video also received the Best Work of Indonesian Art Award 2008, making it the first video art that received awards from Yayasan Seni Rupa Indonesia (Indonesia Art Foundation) --formerly the award is always dominated by the works of painting, sculpture, objects, and multi-media. Several important presentations by Endless Steps are; OK.Video 3rd Militia Jakarta International Video Festival 2007, The 37th Tampere International Short Film Festival 2007-Finland, 5ÈME Festival Signes de Nuit 2007-France, Life in Jakarta 2007 at Cultural House Kanneltalo Helsinki-Finland, The 55th International Short Film Festival Oberhausen 2009-Germany. This video also presented in various media art exhibitions in Indonesia and international, such as Jakarta, Surabaya, Medan, Rotterdam (Netherlands), Paris (France), Berlin (Germany), Kuala Lumpur (Malaysia), Sydney (Australia), Singapore , Bangkok (Thailand) and others.
--------------------------------------------------------------------------------­-------------------------------
Kamera [Camera] Maulana M. Pasha; Editor Maulana M. Pasha, Hafiz; Subteks Inggris [english subtitles] Hafiz, Maulana M. Pasha; Menampilkan [conversation with] Fajar Bibir Gambit; Produksi [Production] Forum Lenteng; salah satu karya dalam Videopoem Project [one of the works of Videopoem Project] (2004-2006)
project video poem ini pada tahun 2007 di forumlenteng.

berdasarkan pengalaman individual maka terbentuk pola komunikasi yang sehari-hari saya gunakan...
berbasis ini video ini menggunakan analogi media masa kini... yaitu visual dan handphone..

look and drawing

kemampuan menghafal visual

Berlin: Symphony of a Great City 2

visual yang bermain pada persepsi mata yang selintas biasa saja namun pada penerapannya di gambar menghasilkan relasi gambar yang menabjubkan

Berlin: Symphony of a Great City

viva le video

Reifikasi..

Tema Pameran:
Jakarta merupakan masyarakat yang penuh mobilitas. Mobilisasi orang-orang dalam masyarakat, juga diiringi oleh mobilisasi benda-benda konsumsi yang melingkupinya. Namun apakah kaidah mobilisasi ini bisa sebaliknya, berasal dari mobilisasi benda-benda yang melatari mobilisasi orang-orang dalam masyarakat kita saat ini.
Asumsi hubungan antar benda inilah yang kemunian mengandaikan hubungan antar orang-orang dalam masyarakat yang mengiringinya, sehingga entitas manusia tidak lagi mengandaikan humanism nya, tapi lebih mengandaikan hubungan antar benda yang disejajarinya. Semacam ‘objektifikasi khayali’ hubungan antara orang-orang yang mengambil hubungan antar benda-benda. Inilah yang kemudian masyarakat sampai pada fase komoditas yang tidak lagi melekat pada benda-benda tapi sudah sampai pada entitas manusia dalam masyarakat.
Manusia sebagai komoditas begitu jelas nampak pada perilaku mobilisasi masyarakat Jakarta sebagai kota industri hari ini. Produktifitas sebagai pakem dalam masyarakat industri menyisakan sebuah pergeseran tentang makna hubungan antar manusia dalam masyarakat yang tidak lagi berbasis pada hubungan yang manusia, tapi satuan manusia kini dihitung berdasarkan nominal-nominal. Mulai dari kesibukan sehari karena jam kerja yang terlihat pada lalu lalang masyarakat serta kemacetan di jalan raya kota sepanjang waktu. Begitu pula, sebagai sebuah kota, jakarta merupakan mobilisasi masyarakat yang dipenuhi oleh kegiatan berbelanja sebagai gaya hidup, serta identitas.
Mobilisasi perputaran dari produktifitas sampai dengan konsumsi sebagai sirkulasi terakhir dari mata rantai masyarakat industri, benar-benar memobilisasi masyarakat yang sejajar dengan benda-benda. Kesadaran manusia di era industri inilah yang kemudian melahirkan ‘reifikasi’ atau keterasingan masyarakat karena direduksi oleh hukum ekonomi industri. Kondisi keterasingan diperkuat lagi dengan budaya media massa yang sebagai acuan kesadaran, yang sirkulasinya ujung-ujungnya adalah konsumsi.


Jakarta is a society with intense mobility. The mobility of the citizens inside this community goes along with the mobility of the enclosed consumer goods. But what if the principle of this mobilization is the other way around, it derives from the mobilization of items that caused the mobilization of the people in today’s society.
The supposition of the relationship between these items then assumes the relation between people in the society that goes along with it, so the entity of human being is no longer assuming the humanism, but more to the interrelation of the items paralel to it. A kind of “imaginary objectification” of the interrelation of people who takes interrelation of items. This is why then the society gets to a commodity phase which doesn’t stick to items anymore, but it has reached the entity of human beings in a society.
Human beings as commodities can be seen clearly in the mobilization behaviour of Jakarta’s citizen as today’s industrial city. Productivity as a guideline in industrial society leaves a displacement of the meaning of relationships between human beings in a society, which no longer based on inter-human relationship. Human beings are being measured based on nominal. Starting from a busy day on working hours reflected on the traffic and traffic jams on the city’s main road all day long. And so, as a city, Jakarta is the citizen’s mobilization full of shopping activities as a lifestyle, and as an identity.
Circulative mobilization of productivity until consumption as the last circulation of the industrial citizen’s chain-link, really mobilizes the society wich is paralel to the items. Human being’s awareness in the industrial era then creates “reification” or society’s alienation due to reductions of industrial economics law. This state of alienation is strengthen by the culture of mass media as the consciousness’ reference, which its circulation ends at consumption.

house of card

copy paste singkat hari ini

filem dokumenter menunjukan kehidupan sebenar-benarnya diluar dari makna propaganda, pendidikan atau sebuah gaya/tren dan produksi hiburan yang menandakan genre selama awal dari abad ke-20. Paling tidak jalan ini lah yang banyak diakui filem dokumenter modern, dan mereka berkembang dibawah pengaruh dari kritik televisi jurnalis yang sama hal seperti Cinema langsung di Amerika dan sinema verite di Perancis selama tahun 60-an dan 70-an terutama di Amerika utara, Eropa barat dan FRG, tetapi untuk jangkauannya juga di Eropa timur dan GDR (german). Dibawah pengaruh protes perlawanan dan mereka yang memeluk gaya hdup alternatif/ berlainan, sejumlah pembuat filem mengambil sisi ketidakberuntungan sosial dan minoritas seperti halnya mereka yang ikut telibat dalam gerakan perlawanan dan pembebasan. Sebagai tambahan, mereka menahan diri dari kehadiran komentar yang maha tahu sang pencipta/pembuat, yang mana lazimnya bergantung pada waktu itu, dan mengizinkan bagi mereka yang berpengaruh untuk berbicara bagi diri mereka sendiri dalam pembicaraan, diskusi, dan pernyataan. Menggunakan kamera sebagai sebuah instrumen pengamatan yang mereka eksplorasi/jelajahi dunia pekerjaan dan kehidupan keseharian dari populasi dan pembagian yang besar dengan sikap adegan dan penjadwalan urutan adegan (sequences) yang menjadi praktek lazim sebelumnya. Tokoh jahat mereka bukan siapa yang terkenal atau penting, tetapi lebih pada orang-orang biasa. Tujuannya adalah untuk men-set kritik kebenaran dari ……………….

Itu adalah segala sesuatu yang ada di masa lalu. Dengan penolakan dari Gerakan Protes pada tahun 80an yang juga merupakan klaim pendidikan keyakinan diri dari sedikitnya filem dokumenter di Barat yang memasuki masa krisis, yang selama itu dipengaruhi oleh perestroika dan glasnost

Explosions in the sky - First breath after coma

wiki say about opensource...

Open source describes practices in production and development that promote access to the end product's source materials—typically, their source code. Some consider it as a philosophy, and others consider it as a pragmatic methodology. Before open source became widely adopted, developers and producers used a variety of phrases to describe the concept; the term open source gained popularity with the rise of the Internet and its enabling of diverse production models, communication paths, and interactive communities.[1] Subsequently, open source software became the most prominent face of open source practices.

The open source model can allow for the concurrent use of different agendas and approaches in production, in contrast with more centralized models of development such as those typically used in commercial software companies.[2] The principles and practices are commonly applied to the peer production development of the source that is made available for public collaboration. The result of this peer-based collaboration is usually released as open-source, open source methods are increasingly being applied in other fields of endeavor, such as biotechnology.

The History of Video Art

The History of Video Art:
Video art is often said to have begun when Nam June Paik used his new Sony Portapak to shoot footage of Pope Paul VI's procession through New York City in the autumn of 1965. That same day, across town in a Greenwich Village cafe, Paik played the tapes and video art was born. This fact is sometimes disputed, however, due to the fact that the first Sony Portapak, the Videorover did not become commercially available until 1967. In 1959 Wolf Vostell incorporated a television set into one of his works, "Deutscher Ausblick" 1959, which is part of the collection of the Museum Berlinische Galerie possibly the first work of art with television. In 1963 Vostell exhibited his art environment "6 TV de-coll/age" at the Smolin Gallery in New York. This work is part of the Museo Reina Sofia collection in Madrid.

Prior to the introduction of the Sony Portapak, "moving image" technology was only available to the consumer (or the artist for that matter) by way of eight or sixteen millimeter film, but did not provide the instant playback that video tape technologies offered. Consequently, many artists found video more appealing than film, even more so when the greater accessibility was coupled with technologies which could edit or modify the video image.

The two examples mentioned above both made use of "low tech tricks" to produce seminal video art works. Peter Campus' Double Vision combined the video signals from two Sony Portapaks through an electronic mixer, resulting in a distorted and radically dissonant image. Jonas' Organic Honey's Vertical Roll involved recording previously recorded material as it was played back on a television — with the vertical hold setting intentionally in error.

The first multi-channel video art (using several monitors or screens) was Wipe Cycle by Ira Schneider and Frank Gillette. An installation of nine television screens, Wipe Cycle for the first time combined live images of gallery visitors, found footage from commercial television, and shots from pre-recorded tapes. The material was alternated from one monitor to the next in an elaborate choreography.

At the San Jose State TV studios in 1970, Willoughby Sharp began the “Videoviews” series of videotaped dialogues with artists. The “Videoviews” series consists of Sharps’ dialogues with Bruce Nauman (1970), Joseph Beuys (1972), Vito Acconci (1973), Chris Burden (1973), Lowell Darling (1974), and Dennis Oppenheim (1974). Also in 1970, Sharp curated “Body Works,” an exhibition of video works by Vito Acconci, Terry Fox, Richard Serra, Keith Sonnier, Dennis Oppenheim and William Wegman which was presented at Tom Marioni's Museum of Conceptual Art, San Francisco, California.

Many of the early prominent video artists were those involved with concurrent movements in conceptual art, performance, and experimental film. These include Americans Vito Acconci, John Baldessari, Joan Jonas, Dan Graham, Bruce Nauman, Peter Campus, William Wegman, Martha Rosler and many others. There were also those such as Steina and Woody Vasulka [1] who were interested in the formal qualities of video and employed video synthesizers to create abstract works.

Notable pioneering video artists also emerged more or less simultaneously in Europe and elsewhere with work by Wolf Vostell (Germany), Dieter Froese (Germany), Wojciech Bruszewski (Poland), Wolf Kahlen (Germany), Peter Weibel (Austria), David Hall (UK), Lisa Steele (Canada), Colin Campbell (Canada) and others.

Although it continues to be produced, it is represented by two varieties: single-channel and installation. Single-channel works are much closer to the conventional idea of television: a video is screened, projected or shown as a single image; Installation works involve either an environment, several distinct pieces of video presented separately, or any combination of video with traditional media such as sculpture. Installation video is the most common form of video art today. Sometimes it is combined with other media and is often subsumed by the greater whole of an installation or performance. Contemporary contributions are being produced at the crossroads of other disciplines such as installation, architecture, design, sculpture, electronic art, and digital art or other documentative aspects of artistic practice.

The digital video "revolution" of the 1990s has given wide access to sophisticated editing and control technology, allowing many artists to work with video, and create interactive installations based on video. Some examples of recent trend in work include entirely digitally rendered environments created with no camera, and video that responds to the movements of the viewer or other elements of the environment. The internet has also been used to allow control of video in installations from the world wide web or from remote locations.

Emerging in the 1970s, Bill Viola (USA) continues as one of the world's most celebrated video artists. Matthew Barney is another well-known American video artist, creator of the Cremaster Cycle. Other contemporary video artists of note include Americans Gary Hill and Sadie Benning, Pipilotti Rist (Switzerland), Shaun Wilson (Australia), Stan Douglas (Canada), Douglas Gordon (Scotland), Martin Arnold (Austria) and Gillian Wearing (UK).