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Dominique Rio Adiwijaya
Bina Nusantara University
Humanities

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Perbandingan antara Etika Jürgen Habermas dan Richard Rorty sebagai Prinsip Dasar Bertindak Manusia Dominique Rio Adiwijaya
Humaniora Vol. 1 No. 2 (2010): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v1i2.2862

Abstract

Ethics without doubt is an issue in every scientific field. Questions on ethics are not merely questions on the responsibility of one or two specific individuals, but rather as what have been defined accurately by Immanuel Kant in Critique of Practical Reason – as question of all humanity as a thinking creature and the freedom of choice on, “what should I do”. From Kant’s definition, we may infer that if human can not think and not free in determining their choice, it would be almost impossible to hope for moral responsibility. However this article does not mean to give a full and historical description on ethics, but a sketch on discourse of contemporary ethics which is represented by two famous philosophers, Jürgen Habermas from the tradition of  Critical Theory from Frankfurt School, dan Richard Rorty with “Neo-Pragmatism”. Habermas proposes “discourse ethics” while Rorty proposes ethic concepts through his “liberal-ironists”. It is hoped that the assembly of readers may gain an insight of the unavoidable ethics problems since every ethical position must be theory laden and the theory itself has historical characteristics (the characteristics, origin and historical context of the schools behind it). Therefore ethics is a neverending reflection although it has been started from 2500 years ago. Ethics invites us from specific sciences to enter its general discourse which unavoidably all-encompassing in its nature. 
Semiologi, Strukturalisme, Post-Strukturalisme, dan Kajian Desain Komunikasi Visual? Dominique Rio Adiwijaya
Humaniora Vol. 2 No. 1 (2011): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v2i1.3099

Abstract

Some concepts from theoretical schools such as semiology, structuralism and post-structuralism are referenced in today’s discussions of design. Its language-ladeness which makes it appeals initially as pertinent to visual communication. Yet under the alleged reason of cross-disciplinary, design study often just wants to pick up one or two concepts without sufficient willingness to grasp their primer. It is very much contradictory since sheer picking up is an anti-intellectual attitude, whereas all forms of study are intellectual in character. Great scholar Alfred North Whitehead once complained those who quoted him in bits and pieces, as did not understand what is meant by his theory. It is true that design has a cross-disciplinary character. But since design is neither philosophy nor social science, it demands a study of their primer with respect (not oversimplifying), within the spirit of liberal arts. Hence this article does not intend to give 'structuralist' account of design; instead it is a brief study into primer of semiology, structuralism and post-structuralism. Its significance for design would be reflected afterwards. 
Seni Bicara Lewat Typeface Dekoratif dan Komposisi Anita Rahardja; Dominique Rio Adiwijaya
Humaniora Vol. 5 No. 2 (2014): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v5i2.3126

Abstract

On this essay, the main topic is related to one of the branch in visual communication design, typography. In the early days, typography derives from hand writing, but nowadays, it has been developed digitally by means of computer. The presence of computers facilitate in making digital typefaces, especially decorative ones. This contributes to its quantities and vast distribution. Literature studies conducted to further understand the definitions and characteristics of digital typefaces. A decorative typeface owns a certain visual characteristic which in the end limits its usage. Certain characters in decorative typefaces often associated with particular moods or impressions, which can be used to deliver a message. Next is the ideation and visualization by students and teaching staffs in typography class using both analog and digital media to produce typographic compositions using decorative typefaces. The final step is to analyze the compositions to capture its intended message. 
Practice as ‘Research’ Within The Context of Art and Design Academia: A Brief Excursion Into Its Philosophical Underpinnings Dominique Rio Adiwijaya; Anita Rahardja
Humaniora Vol. 6 No. 3 (2015): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v6i3.3357

Abstract

Integration of many fields of human endeavor including art and design into academic system is not at all surprising in our modern world that continues to modernize itself in the quest for ever increasing welfare of humanity. The backbone of modern welfare is unmistakably techno-scientific academic research, explaining current expansion of its ‘standardized’ paradigm, regulation and infrastructure without exception into the field of art and design. This is where the problem precisely arises, since their own nature, art and design as ‘creative’ fields, are incompatible with scientific paradigm which emphasizes a uniform reproducibility of research findings. ‘The heart of the arts’, in contrast, is its singularities. The industry actually has recognized the difference by assigning ‘patents’ to technological invention and ‘copyright’ to singular artworks. The question is then how to incorporate such creatively plural fields into uniform academic research system. Fortunately within the past 20 years, there were developments within international art and design academia that came up with a keystone principle called practice-based research. It relies upon philosophical underpinnings of phenomenology and hermeneutics which has been critically acclaimed in showing inadequacies of positivistic (natural science-based) paradigm in understanding cultural phenomena exemplified by art and design. It is the intention of this article to briefly explain this new principle and its philosophical underpinnings in order to let us appreciate its positive contribution for our understanding of art and design. This understanding in turn would allow us to cultivate those creative fields within academic context in a more appropriate way. 
Co-Authors Anita Rahardja