Article Per Year (5 Year)
p-Index From 2020 - 2025
0.23
P-Index
This Author published in this journals
All Journal Melintas An International Journal of Philosophy and Religion Extension Course Filsafat ( ECF ) Panggung
Yasraf A. Piliang
Fakultas Seni Rupa dan Desain, Institut Teknologi Bandung, Bandung
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

Published : 7 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 7 Documents
Search

 1 
Uang dan Hiper-realitas: Sirkulasi Modal dan Jagad Raya Moneter Piliang, Yasraf A.
Extension Course Filsafat ( ECF ) No 1 (2015): ECF Filsafat Uang
Publisher : Extension Course Filsafat ( ECF )

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Baudrillard melihat ‘hiper-realitas uang’ hanya dalam konteks sirkulasi uang, di mana uangsebagai sebuah ‘satelit’ beredar melalui model sirkulasi murni di dalam orbit moneter,sehingga terputus sama sekali dari sektor riil ekonomi, yaitu investasi dalam sektor produksi.Di dalam orbit sirkulasi murni ini, uang tidak lagi berfungsi sebagai alat tukar dalampertukaran komoditas, melainkan ‘komoditas murni’, yaitu komoditas yang dipertukarkandari dan untuk dirinya sendiri. Dalam kondisi inilah uang menjadi semacam ‘hiperkomoditas’,yaitu komoditas yang melampaui baik fungsi sebagai alat tukar maupun nilaitukar, akan tetapi meleburkan keduanya.Meskipun demikian, pada kenyataannya, tidak saja ada hiper-realitas dalamfungsi uang, akan tetapi ‘hiper-realitas uang’ dalam pengertian uang telah ‘melampaui’ wujudmaterial-fisiknya sendiri. Bila sebelumnya uang ‘nyata’ dalam pengertian ia memiliki wujudfisik-material (benda, logam, kertas, plastik), sehingga mampu memberikan efek psikologisberupa rasa ‘memiliki uang’ dan efek fenomenologis berupa kesadaran ‘memegang uang’atau berhadapan dengan realitas uang (menyimpan, membawa, mengirim, mencuri,memalsukan, merobek, menghancurkan, membakar), kini baik efek psikologis maupunfenomenologis itu tak lagi bekerja, karena ‘uang’ kini tak lebih dari bit-bit komputer berupagrafis angka-angka yang ada di layar komputer atau wujud holografisnya.Dengan demikian, ‘hiper-realitas uang’ dapat dipahami sebagai kondisi dimana uang telah ‘melampaui’ baik wujud maupun fungsinya, yang keduanya telah berubahdari ‘nyata’ (real) menjadi ‘virtual’. ‘Bentuk uang virtual’ adalah uang dalam berbagai wujuduang elektronik (cybercash, bitcoin, cek digital), yang tak lagi memberikan sensasi‘memegang uang’. Fungsi uang virtual’ adalah fungsi uang yang tak lagi sebagai alat tukardalam sistem pertukaran komoditas, akan tetapi fungsi ‘tanda mengapung’ di mana uangdipertukarkan dengan uang itu sendiri dalam skema hiper-komoditas. ‘Hiper-realitas uang’adalah kondisi di mana uang yang ‘tak-nyata’ disirkulasikan dan dipertukarkan di dalamsebuah sistem ‘ekonomi tak-nyata’, yaitu gerak-gerik uang dalam orbit moneter, yangterputus sama sekali dari sektor ekonomi riil [ ]
Perbandingan Kode Visual Pertunjukan Golek Sunda Tradisional dan Pertunjukan Golek Sunda dalam Media TV -, Irfansyah; Piliang, Yasraf A.
PANGGUNG Vol 23, No 2 (2013): Eksplorasi Gagasan, Identitas, dam Keberdayaan Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v23i2.97

Abstract

ABSTRACT Wayang Golek is a Sundanese typical performing art that has grown on generations by the grip. The grip becomes a kind of rule or code in Wayang Golek show which govern all the constituent elements. Since the presence of Television, Wayang Golek is then performed through this media. However, since Wayang Golek is performed through Television, it represents significant differences with Wayang Golek traditional show. The differences are shown by the creation of stage design com- bined with digital technology and its various effects, such as zoom in/out, opening title, and even the broadcast interactive model. To understand the differences between Wayang Golek traditional show and on Television, the method which is used is the study of cause and effect or comparison (caus- al-comparative studies). The purpose of the study is to determine the changes of the visual elements in Wayang Golek show on Television. The result of the research shows that there are significant differences between Wayang Golek traditional show and on Television. Keywords: Visual Code, Sundanese Golek Show  ABSTRAK Kesenian Wayang Golek merupakan pertunjukan khas masyarakat Sunda yang telah ter­ bangun secara turun temurun berdasarkan pakem. Pakem menjadi semacam aturan main (kode) yang mengatur pertunjukan dan pembuatan Golek. Sejak munculnya media televisi, pertunjukan Wayang Golek pun kemudian dipentaskan melalui media ini. Akan tetapi, semenjak pertunjukan Wayang Golek dipentaskan dalam media televisi nyatanya mere­ presentasikan perbedaan yang signifikan dengan pertunjukan Wayang Golek tradisional. Perbedaan itu ditunjukkan dengan kreasi tata panggung yang dipadu dengan teknologi digital dan berbagai efeknya, seperti efek zoom in/out, munculnya opening title, hingga model interaktif siaran. Untuk memahami perbedaan antara pertunjukan Wayang Golek tradisional dengan pertunjukan Wayang Golek dalam media televisi, maka metode yang digunakan adalah metode studi perbandingan (comparative studies). Adapun tujuan dari penelitian ini adalah untuk memperoleh pemahaman terkait adanya perubahan unsur yang muncul pada pertunjukan Wayang Golek dalam media televisi. Hasil penelitian menun­ jukkan adanya perbedaan yang signifikan antara pertunjukan Wayang Golek tradisional dengan pertunjukan Wayang Golek dalam media Televisi. Kata Kunci: Kode Visual, Pertunjukan Golek Sunda
Utopia, Heterotopia, and Mediatopia: Rethinking Foucault and Performativity in Krisna Murti’s Video Artworks Allo, Katherina; Piliang, Yasraf A.
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 26 No. 1 (2010)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (164.606 KB) | DOI: 10.26593/mel.v26i1.910.53-62

Abstract

As the epoch of space confronts us with its multiplicity of networks, a new architectonics of space has begun to raise its own construction. Foucault’s terminology of utopia and heterotopia has covered the delineation of the other spaces, spaces which invert, mirror, suspend, and neutralize the real spaces of society. With the propagation of moving images into the space of our daily life, every space at any given moment can turn into an image of utopia as well as a construction of heterotopia. As Foucault says, now is the epoch of space, now is the time to re-value and re-define the contemporary space we live in.
Retakan-retakan Kebudayaan: Antara Keterbatasan dan Ketakberhinggaan Piliang, Yasraf A.
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 25 No. 1 (2009)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (174.465 KB) | DOI: 10.26593/mel.v25i1.935.75-92

Abstract

Globalization brings about not only amazing changes but threateningleakages and ruptures to the local cultures. The flush of virtualization mayhave blurred the borders founded by the cultures and in turn confused theviews of cultural identities. The identity of 'being Indonesia'(“keindonesiaan”) is in the middle of a crisis. All the processes ofglobalisation, streams of information through the media andpostmodernity have brought great impacts on this identity. This crisis isworsened by the cultural leakages and ruptures in the whole building of theculture. There are chances of mix, amalgamation and hybridisation.Multidimensional rupture brings in external influences that should beresolved by strengthening the substance of local identity. Some localcultural principles seem to have been defoundationalised. Trans-culturalphenomena appear simultaneously with the rise of hybrid identities andways of life. All this can end up in a cultural schizophrenic showing itself inthe fluidity of identity that doesn't care about the cultural foundationsanymore.
TRADITION, REPETITION, TRANSFORMATION : The Dynamic of Cultural Globalization Piliang, Yasraf A.
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 24 No. 2 (2008)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (198.668 KB) | DOI: 10.26593/mel.v24i2.950.221-239

Abstract

'Tradition' is a contradictory concept with strong ideological burdens. On the one hand, the concept strongly connotes 'repetition', 'fixity' and 'changelessness'; on the other hand, it is diametrically opposed to the concept of 'change', 'dynamism' and 'transformation'. As a form of repetition, tradition is seen as an opposite of change, because it only repeats what 'has been'. However, through a comprehensive interpretation of the concept, it can be argued that the concept of tradition can connote both 'repetition' and 'change'. As a form of repetition, tradition is not totally separated from and immune to a particular pace of change,  innovation or even transformation. This is because there is not only a  'static repetition', but also a 'dynamic repetition' that produces change and difference. Here, I want to stress a 'transformation of tradition'. There are several ways through which a tradition can be  transformed: 1)  reinterpretation of particular forms of tradition; 2) transaesthetics discourse as a dialogues between tradition and other cultures; 3) cultural exchange as a complex process of exchange and selection; 4) critical openness as an inclusive attitude to external cultures; and 5) knowledge differentiation as the enhancement of knowledge of a tradition.
Redefining Ethics and Culture in the Virtual World Piliang, Yasraf A.
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 31 No. 3 (2015)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (281.581 KB) | DOI: 10.26593/mel.v31i3.1917.236-251

Abstract

Ethics, and its articulation in moral conducts, is not existed in a vacuum, sterile or fixed human world, but a subject of ‘reformulation’ or even ‘redefinition’, as the result of a certain socio-cultural transformation. The development of a global information-digital culture has in a certain intensity affected the perception, understanding and practice of ethics itself as a moral standard. One of the main character of this culture is its ‘artificiality’, through which human communication and interaction is no longer performed on a ‘face-to-face basis, but on a technological mediated one. The consequence is a ‘cultural distanciation’, in which perception is separated from experience, body is separated from message. Another consequence is the ‘transparency’ at an ethical level, in which several ethical boundaries are deconstructed: good/bad, proper/improper. A community ethics is one of today’s ethical problem, in which a ‘commonality’ is no longer constructed based on conventional social bonds, but on more artificial bonds: solitude, rejection, helplessness. Friendship in the digital world is another ‘strange’ development of moral conduct, in which a great numbers of friends is just an affirmation of one’s solitude. As the result, connection—as main pilar in the architecture of our contemporary life—has taken us along a cultural contradiction: it mediates, but at the same time dissociates our cultural experience.
The Disruptive Fluidity and Ubiquity: Creativity in the World of In-betweenness Piliang, Yasraf A.
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 40 No. 2 (2024)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/mel.v40i2.8646

Abstract

Fluidity and ubiquity are two fundamental principles of our contemporary world, representing new ways of perceiving, thinking, experiencing, organising, and creating various aspects of our present world. These principles have radically transformed models of economic exchanges, industrial production, social relations, cultural representations, and aesthetic expressions. Fluidity serves as a philosophical antithesis to the modern rigid, stratified, and binary worldview, celebrating a fluid, non-stratified, and non-binary perspective driven by dynamic flow, flux, and connectivity. On the other hand, ubiquity defines our present world of objects, which are created through augmented and mixed reality, giving them the property of being present anywhere and everywhere. Both fluidity and ubiquity serve as contemporary models for generating disruptive ideas, forms, styles, products, organisations, and systems. Fluidity represents the fluid-creative organisation of physical, social, cultural, and aesthetic elements, independent of binary structures, while ubiquity represents the transformation of objects from the virtual to the trans-material.
Co-Authors Irfansyah Irfansyah Katherina Allo