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Refleksi Pandangan Nietzsche terhadap Moralitas dan Kepentingan Diri Indrajaya, Ferdinand
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.v1i2.2863

This research is a reflection, a result from author’s contemplative process, in reading one of the texts written by one of the western philosopher at the end of modernity, Friedrich Nietzsche. The reading itself, mainly, was initially started from Nietzsche’s own writing in a form of excerpts collected in an anthology entitled Self-Interest. This research wishes to show how Nietzsche responds to existing understanding on traditional morality, which to him is no more than a kind of slave morality. Nietzsche, with his own view on morality is basically orbiting to one of his main theses, Will to Power (der Wille zur Macht); other morality related concerns like self and self-interest are also undetachable to this Will to Power. Within the context of traditional morality, thing like self-interest is considered taboo in contrast with altruistic behaviour (self-less behaviour by emphasizing concerns to others). For Nietzsche, this kind of morality is prevailed necessarily because we’re discourageous in facing the arrival of nihilism. From Nietzsche’s perspective, an immoralist, a person with self-interest (within the context of traditional morality) is a ‘moralist’ him/herself. The one who affirms to nihilism, the one who possesses master morality. At the end of this research, the author gives his own response regarding to his reading on Nietzsche and to aim pragmatic value from this research might be impossible. What might be possible is one can aim at achieving different perspectives on morality and self-interest through Nietzsche’s perspective.

Against (Design) Research Indrajaya, Ferdinand
Humaniora Vol 2, No 2 (2011): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v2i2.3167

The content of this article is an attempt to show that the word research in traditional sense (within the Cartesian scheme) is hostile to design activity. It will reduce the process of design into a merely fix mechanical process, burying the aspect of imagination, creativity, and more importantly proposing in it that is a crucial aspect to design. This imposition might indiscipline (in a formal academic sense) design as a discipline in human sciences. In order to achieve this, the article is divided in three sections. The first section will discuss what scientific research is and what traditionally presupposed in it: objective, neutral, and a-historical; simply the disinterestedness of research. As for the second, epistemological concerns on traditional scientific research from two philosophers of science will be discussed: Thomas S. Kuhn and Paul K. Feyerabend. As for the third, the closing section, an attempt to delineate design and what designers do in comparison to scientists’ will be discussed. It is how design and designers are different in their manners with traditional science and scientist.

Übermensch sebagai Radikalisasi Filsuf Alamiah (Krisis Pelampauan Diri Dalam Dunia Pendidikan Desain) Indrajaya, Ferdinand
Humaniora Vol 4, No 2 (2013): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v4i2.3558

This writing is not an inquiry to classical philosophy per se but is an attempt to propose a dialogue. The content of this writing is a dialogue between classic realm of philosophical thought which is represented by Plato and the realm of thought from the end of modernity, which is represented by Friedrich Nietzsche. The proposed dialogue presented through this writing is not for the sake of permeating or exposing the dialogue, also, per se but is contextualized with the recent contemporary condition of academic world in general and design education in university in specific. What this writing tries to show and reflect is, first, a found similarity in Plato’s concept of education on natural born philosopher with Nietzsche’s übermensch. Secondly, there’s a sense of urgency for the features of übermensch within nowadays nihilistic society to arise. Manifested Übermensch is to embrace nihilism within prevailing stubborn condition of comodifying design higher education through formal templatization of creativity. This concern is relevant to Plato’s concept of education: it is not a matter of privatization through commodification, but since it is now, this might prepare a way for übermensch to emerge. Structurally, this writing is divided into three parts. The introduction reflects on contemporary condition of higher education (on design). Second, this article shares writer’s reflection of the similarities between Plato’s concept and Nietzsche’s on education. Lastly, it is to show the potentiality of Platonic approach on education to give birth to übermensch.

Penelitian Atas Penelitian Seni dan Desain: Suatu Studi Kerangka Filosofis-Paradigmatis Bagi Penelitian Seni dan Desain Visual Mustaqim, Karna; Adiwijaya, D. Rio; Indrajaya, Ferdinand
Humaniora Vol 4, No 2 (2013): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v4i2.3541

This paper discusses philosophical framework of practice-based artistic research within the field of art and design in contrast with research in the natural and social science. It is stated that paradigm of artistic inquiry is ilustrated with the role of practicioner as researcher wherein subjectivity, involvement and reflexivity are acknowledged, while (k)nowledge is negotiated ? inter-subjective, context bound, and is a result of personal construction. Visual objects have been exhausting large amount of our physical and emotional energy in seeing it which certainly gives them a central role in contemporary ages. It is suggested that research could become part of the needs for experience, to inspire, or to collectively develop a profession. Recently, research as knowledge production has been increasing and gaining its interest within the creative art field. However, there is a foundation which underpins a research, at least some implicit philosophical assumptions of it, which serve as the basis of understanding of reality (ontology), and how to know and justify it (epistemology); and by explicating it, it is believed that scrupulous consideration of it may contribute practical benefits in conducting art and design research. In that regard, this paper presents ontological outlook of Heidegger and also epistemology of art of Merleau-Ponty ? which rises within phenomenological tradition ? as a philosophical framework which can serve as paradigmatic underpinning of artistic research, in contrast with objectivist approach already identical with research in general.

Homo Sacer sebagai Figur Politis dan Kaitannya dengan Dunia Pendidikan Tinggi Indrajaya, Ferdinand
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.v2i1.3021

Article is an outcome from writer?s reflection from his reading on Homo Sacer, Sovereign Power and Bare Life, a book by Giorgio Agamben, an Italian 20th century philosopher. The reading concerns with the three chapters which are Homo Sacer, The Ambivalence of The Sacred, and The Sacred Life, and also the preface of chapters. Generally, this article proposes two main things. First, Agamben?s description on Western modern political practice, developed from the Greek until today. Second, writer?s reflection on educational system in Indonesia, especially the higher education level in nowadays, through Agamben?s perspective. Structurally, article is divided into three parts. First, the Preface, is a general view to Agamben?s political thought which will stand as a background to the second part from this article, Homo Sacer. On the third part, Education as Bare Life, is writer?s reflection on higher education system in Indonesia borrowing the political perspectives from Agamben.

Art as the Manifestation of Embodiment in the Age of Modern technology Ferdinand Indrajaya
IJCAS (International Journal of Creative and Arts Studies) Vol 5, No 1 (2018): June 2018
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v5i1.2209

It is undeniable that modern technology has been penetrating our contemporary life in myriad aspects. From the water we drink, foods we eat, to the installed applications inour phone. Hence modern technology has become one dominating worldview on itsown which skips our reflection upon it. Its rapid growth stems from the dismissal oftradition and simultaneously with the tremendous scientific discoveries with its inherentinstrumental rationality. It actively participates in serving the irrational dimension ofour cybernetics-contemporary life. Thus it is not a neutral ensemble of devices, butnormatively-prescriptive directs our being in achieving our goals mechanically. AsHeidegger said, it enframes our being in the world in a disembodied fashion. Enframing,is the quintessence of modern technology. Merleau-Ponty, as another ardent critic, alsostated that modern technology is essentially manipulative. Under the heading of scientism(and or cybernetics), it anesthetizes humanity as its own manipulandum. Contrastingwith such view, art potentially re-attunes our relation with things. From Merleau-Ponty’sphenomenological perspective, art (especially painting) powerfully shows the prereflectiveand embodied contact with the world. This paper is an attempt to show the roleofart in a life that has been eclipsed by the modern technological worldview.

From Imagination to Compassion and Democracy: Martha Nussbaum on the Role of Art Ferdinand Indrajaya
IJCAS (International Journal of Creative and Arts Studies) Vol 6, No 2 (2019): December 2019
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v6i2.3426

ABSTRACTIt is undeniable that most of our modern universities are portraying themselves as factory-like institutions which manufacture useful knowledge. The term “useful knowledge” refers to a type of knowledge which directly has immediate payoff and practically commodifiable. Most modern universities are no longer spotlighted as the generator of new knowledge, the influential bodies in civic life and nation-state, the greatest critics of public policies, but reduced to and figuring as a major agent of economic growth. Posting economic growth as the model for universities is a form of corporatism in higher education level. Art disciplines, as a part of humanities, are inevitably framed by such a model. In which, art is understood as a mere aesthetic commodity and the artist is seen as a mechanical subject to be manipulated by profit motifs. This view has been well prevailing, but it is not incontestable. This paper is written as an attempt to critically respond towards such prevailing corporatist view. To do that, the author borrows some philosophical perspectives from an American philosopher, Martha C. Nussbaum (1947–now). Her philosophical accounts on art, imagination, and compassion as a form of distinctive moral emotion are considerably an adversary to the current perspective of art education which has been colonized by corporatism. From her perspective, more than just a mere commodity, art has a significant role in upholding democracy. Art has the power to nurture compassion, in which respect and concern for others are inherent. Respect and concern are the vital-ethical ingredients for democracy. One particular art form which, according to Nussbaum, can nurture compassion, intensively, is a tragedy. Through which, we shall see other people as human beings, not as objects of manipulation. Such philosophical views of hers may re-attune our current perspective on art education. ABSTRAK Sulit dipungkiri bahwa kebanyakan dari universitas modern/masa kini kerap menampilkan wajahnya sebagai institusi yang serupa dengan pabrik manufaktur pengetahuan yang berguna. Istilah “pengetahuan yang berguna” merujuk kepada pengetahuan yang berdampak langsung dan secara praktis dapat dikomodifikasi. Kebanyakan dari universitas masa kini tidak lagi disorot sebagai sebuah generator bagi kebaruan pengetahuan, lembaga yang berpengaruh bagi kehidupan civic dan negara bangsa, kritikus terbesar bagi kebijakan-kebijakan publik, akan tetapi terreduksi sebagai agen utama dari pertumbuhan ekonomi. Penempatan pertumbuhan ekonomi sebagai model yang diacu oleh universitas sesungguhnya adalah sebuah wujud korporatisme pada aras perguruan tinggi. Disiplin keilimuan seni, sebagai sebuah bagian dari humaniora, turut terbingkai oleh model tersebut. Dari perspektif korporatisme, seni dipahami sekadar komoditas estetis dan sang seniman dipandang sebagai subjek mekanistik yang dapat dimanipulasi oleh motif-motif profit. Pandangan ini masih bertahan dan populer sampai saat ini, akan tetapi tidak berarti tidak dapat dikontestasikan. Makalah ini ditulis sebagai sebuah upaya untuk menanggapi secara kritis pandangan korporatistik tersebut. Dalam rangka mencapai tujuan tersebut, penulis merujuk kepada beberapa pandangan filosofis dari salah satu filosof asal Amerika, yakni Martha Nussbaum (1947-sekarang). Pandangan filosofisnya tentang seni, imajinasi, dan bela rasa sebagai sebuah bentuk emosi moral distingtif adalah lawan dari perspektif tentang pendidikan seni yang telah dikolonisasi oleh korporatisme. Seni, melalui perspektifnya, memiliki peran yang signifikan dalam menegakkan demokrasi; keberadaannya lebih dari sekadar komoditas. Baginya seni berdaya untuk memelihara bela rasa, yang di dalamnya rasa hormat dan kepedulian terhadap yang lain inheren. Rasa hormat dan kepedulian, dalam hal ini, adalah unsur etis yang vital bagi demokrasi. Salah satu bentuk partikular dari seni yang menurut Nussbaum mampu secara intensif memelihara bela rasa, adalah tragedi. Melalui tragedi, kita akan memandang orang lain sebagai manusia, bukan sebagai objek untuk dimanipulasi. Pandangan-pandangan filosofis darinya merupakan ajakan bagi kita untuk menala kembali perspektif yang bertahan hingga kini tentang pendidikan seni.

Refleksi Pandangan Nietzsche terhadap Moralitas dan Kepentingan Diri Ferdinand Indrajaya
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.v1i2.2863

This research is a reflection, a result from author’s contemplative process, in reading one of the texts written by one of the western philosopher at the end of modernity, Friedrich Nietzsche. The reading itself, mainly, was initially started from Nietzsche’s own writing in a form of excerpts collected in an anthology entitled Self-Interest. This research wishes to show how Nietzsche responds to existing understanding on traditional morality, which to him is no more than a kind of slave morality. Nietzsche, with his own view on morality is basically orbiting to one of his main theses, Will to Power (der Wille zur Macht); other morality related concerns like self and self-interest are also undetachable to this Will to Power. Within the context of traditional morality, thing like self-interest is considered taboo in contrast with altruistic behaviour (self-less behaviour by emphasizing concerns to others). For Nietzsche, this kind of morality is prevailed necessarily because we’re discourageous in facing the arrival of nihilism. From Nietzsche’s perspective, an immoralist, a person with self-interest (within the context of traditional morality) is a ‘moralist’ him/herself. The one who affirms to nihilism, the one who possesses master morality. At the end of this research, the author gives his own response regarding to his reading on Nietzsche and to aim pragmatic value from this research might be impossible. What might be possible is one can aim at achieving different perspectives on morality and self-interest through Nietzsche’s perspective.

Homo Sacer sebagai Figur Politis dan Kaitannya dengan Dunia Pendidikan Tinggi Ferdinand Indrajaya
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.v2i1.3021

Article is an outcome from writer’s reflection from his reading on Homo Sacer, Sovereign Power and Bare Life, a book by Giorgio Agamben, an Italian 20th century philosopher. The reading concerns with the three chapters which are Homo Sacer, The Ambivalence of The Sacred, and The Sacred Life, and also the preface of chapters. Generally, this article proposes two main things. First, Agamben’s description on Western modern political practice, developed from the Greek until today. Second, writer’s reflection on educational system in Indonesia, especially the higher education level in nowadays, through Agamben’s perspective. Structurally, article is divided into three parts. First, the Preface, is a general view to Agamben’s political thought which will stand as a background to the second part from this article, Homo Sacer. On the third part, Education as Bare Life, is writer’s reflection on higher education system in Indonesia borrowing the political perspectives from Agamben.

Against (Design) Research Ferdinand Indrajaya
Humaniora Vol. 2 No. 2 (2011): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v2i2.3167

The content of this article is an attempt to show that the word research in traditional sense (within the Cartesian scheme) is hostile to design activity. It will reduce the process of design into a merely fix mechanical process, burying the aspect of imagination, creativity, and more importantly proposing in it that is a crucial aspect to design. This imposition might indiscipline (in a formal academic sense) design as a discipline in human sciences. In order to achieve this, the article is divided in three sections. The first section will discuss what scientific research is and what traditionally presupposed in it: objective, neutral, and a-historical; simply the disinterestedness of research. As for the second, epistemological concerns on traditional scientific research from two philosophers of science will be discussed: Thomas S. Kuhn and Paul K. Feyerabend. As for the third, the closing section, an attempt to delineate design and what designers do in comparison to scientists’ will be discussed. It is how design and designers are different in their manners with traditional science and scientist.

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