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All Journal Research Report - Social Science Melintas An International Journal of Philosophy and Religion Jurnal Dekonstruksi Sapientia Humana : Jurnal Sosial Humaniora Mamangan Social Science Journal Jurnal Pembumian Pancasila : Mewujudkan TRISAKTI sebagai Pedoman Amanat Penderitaan Rakyat SUBAKTYA, Unpar Community Service Journal
Mardohar Batu Bornok, Mardohar Batu
Universitas Katolik Parahyangan
Religion Arts Humanities Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences Other

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Estetika Fotografi Rudi Setiawan; Mardohar Batu Bornok
Research Report - Humanities and Social Science Vol. 1 (2015)
Publisher : Research Report - Humanities and Social Science

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (972.171 KB)

Abstract

Fotografi adalah teknologi sekaligus seni yang dijumpai dalam berbagai bidang kehidupan manusia. Fotografi diaplikasikan untuk keperluan dokumentasi, misalnya dalam keluarga, jurnalistik, maupun pengarsipan dalam lembaga. Fotografi juga digunakan untuk keperluan relasi sosial, misalnya snapshot dan fotografi selebriti, maupun persuasi komersial, seperti halnya fotografi fashion. Disamping itu, fotografi juga dipakai untuk keperluan eksplorasi kreatif maupun reflektif, seperti halnya dalam fotografi seni.Fotografi berdimensi kultural. Kehadirannya sebagai teknologi dan seni, tidak hanya mengekspresikan atau mendeskripsikan peradaban, melainkan juga mengkonstruksi peradaban. Fotografi adalah produk kultural, sekaligus memberi bentuk pada kultur: menciptakan perilaku baru, membentuk cara pikir, membaharui keyakinan, menata sistem dan tatanan nilai, dan sebagainya.Perkembangan pemahaman teoritis tentang fotografi seiring dengan perkembangan teknologi fotografi sejak era pra-fotografi, fotografi analog, hingga fotografi digital. Paradigma pemikiran kritis tentang fotografi bergeser ke arah kultural, dengan fokus penelahaan pada makna fotografi bagi pengalaman hidup manusia.Pada titik ini estetika fotografi mengalami sebuah tantangan ke tingkat yang tidak pernah dipikirkan sebelumnya. Estetika fotografi dihadapkan pada sebuah situasi yang problematis dan kompleks ketika berhadapan dengan status seni fotografi. Perspektif pengalaman estetik Carrollian dapat digunakan sebagai jalan keluar untuk mengatasi kerumitan tersebut.
Verasitas Versus Viralitas: Refleksi Filosofis atas Karya-Karya Bandung Photography Triennale 2022 Mardohar Batu Bornok Simanjuntak; Henrycus Napitsunargo; Deden Hendan Durahman
Sapientia Humana: Jurnal Sosial Humaniora Vol 2 No 02 (2022)
Publisher : Universitas Katolik Parahyangan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (542.86 KB) | DOI: 10.26593/jsh.v2i02.6199

Abstract

The reality of our everyday life is now stifled by dense images taken by mobile phones. It is still acceptable to claim that digital photographic images are currently invading the phone memory space and social media communication platforms used for working and daily activities like Whatsapp, Instagram, or Telegram. The sheer production and distribution of such images give rise to the virality of malicious digital photographs. This unfortunate circumstance can lead to the negative spread of hoaxes, misinformation, and disinformation. Virality then undermines veracity. Digital photographic records fabricated exponentially are then thinning the line between the truth and the viral. Such image manipulation is indeed a serious problem because public scamming is now orchestrated and conducted through digitally reconstructed images which are aggressively invading chatrooms. To cope with this surge, the authors propose philosophical analyses through examining all possible ways to manipulate photographic images conceived by 35 artists participating in Bandung Photography Triennale 2022. As analytical instruments to probe the prospect of veracity to distance itself from virality, the authors employed three triangulated categories extracted from philosophical discourses on photography, that is, the Eye, the time signature, and the ideology.
Nishida Kitaro’s Expressive Activity in Katana Sword Making as a Way to Achieve Pure Experience Mardohar Batu Bornok Simanjuntak
Dekonstruksi Vol. 9 No. 04 (2023): Jurnal Dekonstruksi Vol 9.4
Publisher : Gerakan Indonesia Kita

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54154/dekonstruksi.v9i04.197

Abstract

Western craft and craftmanship have long been taken as complementary or even supplementary – in contrast with high art and artistic explorations. This pejorative approach is quite common from western industrial perspective. An artisan’s work is then taken less seriously than an artist’s oeuvre d’art. Contrary to this, Asian countries have long recognised the mastery of these master craftsmen and gave no different treatment to artists and artisans. This paper examines the concept of expressive activity from Japanese philosopher Nishida Kitaro in his essay “Expressive Activity” written in 1925. In this Nishida proposes that the fulfilment of a state of mind that he called pure experience can only be achieved through an action that is independent from external urges. The author then pursued this line of thought by taking Nishida’s idea to see how this kind of acting – as Nishida addresses it – is present in the ancient craft of katana (Japanese Sword) making performed by veteran swordsmiths. By analysing Nishida’s texts including An Inquiry into the Good and Ontology of Production, the author explains that the old wisdom of “giving life to the steel” can be justified by taking Nishida’s pure experience as the telos of an artisan’s expressive activity.
Upaya Vita Activa dan Vita Contemplativa Hannah Arendt sebagai sebuah Tawaran atas Relativisme Nilai Karya medan Seni: Studi Kasus Pameran Indonesia Painting I: Vita Mardohar Batu Bornok Simanjuntak
Dekonstruksi Vol. 10 No. 01 (2024): Jurnal Dekonstruksi Volume 10.1
Publisher : Gerakan Indonesia Kita

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54154/dekonstruksi.v10i01.218

Abstract

Relativisme karya dalam medan seni sudah selalu menjadi persoalan yang tidak mudah bagi agensi manapun yang terlibat, termasuk seniman, kolektor, dan galeris. Persoalan mendasarnya terletak pada mekanisme penciptaan yang menempatkan seniman dalam peran-peran fabrikasi barang mewah. Disposisi semacam ini menjadikan perupa sebagai satu titik dalam ban berjalan geliat pasar. Hannah Arendt mengingatkan bahwa transisi dari masyarakat rural ke masyarakat urban dapat menyebabkan distorsi dari agensi yang terlibat langsung dengan dunianya secara utuh (“manusia”), dan agensi yang hanya bersentuhan dengan berbagai fungsi yang diberikan oleh mekanisme eksternal-impersonal (“orang”). Situasi ini justru menegasi hakikat seniman sebagai pihak yang dapat bergerak bebas mengasumsikan peran manapun. Arendt menawarkan sebuah pendekatan biner yang bersifat komplementer – vita activa dan vita contemplativa. Pameran Indonesia Painting I: Vita Activa menjadi sebuah studi kasus untuk melihat sejauh mana gagasan Arendt tentang upaya yang mewujud dalam vita activa relevan dalam arus diskursif pewacanaan seni rupa, dan bagaimana kajian filosofis semacam ini dapat menjadi sebuah titik argumentasi yang solid untuk menilai karya.
The Ethics of Transhumanism from the Perspective of Gilbert Ryle Monist Ethics: Ambiguities and Prospects Simanjuntak, Mardohar Batu Bornok; Doweng Bolo, Andreas; Loho, Ambrosius Markus
Sapientia Humana: Jurnal Sosial Humaniora Vol 3 No 02 (2023): Vol 3 No 02 (2023)
Publisher : Universitas Katolik Parahyangan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/jsh.v3i02.6940

Abstract

Transhumanism attempts to overcome human limitations through the use of technology, such as nanotechnology, artificial intelligence, and genetic modifications. In the monist ethical perspective, humans are considered complex material entities, and consciousness is understood as a product of the physical and chemical interactions in the brain with various other parts of the body. The problem is that with such artificial revolutions, ethical foundations based on corporeal limitations become irrelevant. Gilbert Ryle questions Platonistic dispositions that overly rely on reduction with the consequence of extractive knowledge rather than abstract knowledge. Plato's line of thought is then strengthened by Cartesian dualism, which, when applied in a monist perspective, can be reduced to an extraction of brain performance. Ryle proposes an abstraction that allows for the interaction between elements to form a unified understanding of the complex. Based on Ryle's thinking, a study of monist ethics can offer a thoughtful approach to constructing an ethical framework that aligns with the transhumanist era's revolution.
Memikirkan Ulang Fondasi Definitif Filosofis dari Fotografi Doweng Bolo, Andreas; Simanjuntak, Mardohar Batu Bornok
Sapientia Humana: Jurnal Sosial Humaniora Vol 4 No 01 (2024): Vol 4 No 01 (2024)
Publisher : Universitas Katolik Parahyangan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/jsh.v4i01.7542

Abstract

This text discusses the problematic nature of photography since its inception. This disposition arises because photography is a manifestation of the dualistic thinking pattern matured by René Descartes and radicalized by Immanuel Kant. Photography, which began in the 19th century, was analog and relied on the permanent traces of time caused by chemical reactions. The strong claim of photography against the singularity of artistic work positions it as a threat to the value of art on one hand, while on the other, photography opens up various new approaches to artistic expression. Around 150 years after its birth, photography faced a serious challenge: even with digital technology, which eliminates the permanence of time traces, photography was considered "dead." This perceived death of photography led to ideological approaches viewing the existence of photography as post-medium discourse. By examining the development of major literature during the transition from analog to digital photography, this ideological approach further guides the discourse on photography as a metatheoretical and paradigmatic area. By shedding temporal elements, the discourse on photography moves more agilely within the framework of complex material monism—becoming a way of existing in a non-dualistic knowledge structure.
The Impact of Philosophy on Religious Education for High School Students Bolo, Andreas Doweng; Simanjuntak, Mardohar Batu Bornok; Mahatma, Masmuni
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 38 No. 3 (2022)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/mel.v38i3.7405

Abstract

This article is a result of a research conducted to examine the interrelation between religion and philosophy and to measure how such interaction is embodied in religious subjects taught in middle-high schools in Indonesia. This is considered important because in Indonesian national education, the religious dimension is regarded fundamental and therefore must be emphasised. The classes are divided based on the students’ religion. In order to prevent such division becomes religious segregation that could lead to practices of intolerance, philosophy is proposed as a rational solution to bridge the discrepancy. This is considered imperative so that in school religion is not understood as an exclusive set of doctrines, but as a subject in education process that brings inclusive and pluralistic attitudes. Three basic and important characteristics are analysed in this article, that is, the breadth of perspective about God, the openness towards other religions, and the willingness to embrace science in general.
Mencari Bentuk Estetika Nusantara: Problematika dan Relevansi Estetika Kantian dari Perspektif Estetika Analitis Simanjuntak, Mardohar Batu Bornok
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 39 No. 1 (2023)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/mel.v39i1.7754

Abstract

Finding a common philosophical grounding for an Indonesian aesthetics seems to have been problematic. In another word, for a string of archipelagos consisting diverse customs and cultures partially constructed through colonial invasions dating from the 17th century, defining its existential beauty is never a simple argumentative task. The author attempts to elaborate Immanuel Kant’s ideas from his seminal work Critique of Judgment, although Kant’s central position in aesthetics studies does not imply that his disposition is free from ambiguity. The author employs analytical philosophy approaches to elaborate Kant’s ambiguous position and weakness. These are intended as preliminary step towards implementing Kant’s argument in building a fundamental Indonesian aesthetics theory with sufficient explanatory power to describe the variety of Indonesian traditional arts. Further step is to form a strong theoretical foundation for the development of artistic practices in the modern Indonesia. This article concludes that Kant’s implied position of the sublime could be a viable alternative in resolving this conundrum.
Dialektika Ruang dan Identitas dalam Heterotopia Foucault dan Profilisitas Moeller-D’Ambrosio Kairupan, Melvyn Zaafir; Simanjuntak, Mardohar Batu Bornok
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 39 No. 2 (2023)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/mel.v39i2.7779

Abstract

This study aims to explore the interplay between space and the construction of identity. It employs descriptive library research methodology to elucidate the elements and aspects of both space and identity. It draws upon Michel Foucault’s concept of heterotopia for the understanding of space and the theory of profile formulated by Hans-Georg Moeller and Paul J. D’Ambrosio. The analysis delves into these theories and their interrelation concerning identity formation. The authors conclude that from Foucault's perspective, space can be seen as having distinctive characteristics, tied to axio-ontological components that need to be fulfilled before entering a heterotopic space. This position is then intersected with Luhmann’s second-order observation, resulting in a dynamically linked profilic identity to a particular space. This paper finds that in Foucault’s thinking, heterotopia emphasises the impossibility of space being separated into a label. Space as a site (“cultural framework”) may still be enforced by designing it to fulfill certain functions. As a consequence, it becomes increasingly difficult for these spaces to be seen as relevant to society’s way of being today. In the light of Foucault and Moeller-D’Ambrosio, the space now needs to be seen as a form of space (espace–a referential frame) that is profilic.
The Concept of Emergence in Non-Temporal Photography: A Non-Dualistic Approach Simanjuntak, Mardohar Batu Bornok
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 39 No. 3 (2023)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/mel.v39i3.7823

Abstract

The problem of temporality in photography has invoked a continuous debate concerning the artistic nature of this medium. Previously taken as a different way of seeing, the time signature in a photograph became debatable along with the development of digital photography. Photography’s status as the undisputed evidence of the truth is then no longer relevant. This changes the flow of discourse to a more philosophical one. However, the debate does not provide adequate defence concerning the role of photography in the digital era. The Platonic dualistic approach, especially the Cartesian one, is responsible for this regress. Immanuel Kant introduces transcendental causality to re-examine the Cartesian legacy. This Kantian approach needs to be developed further. Stephen Hawking’s cosmological model of Quantum Field Theory (QFT) working in anti-de Sitter space (ADs) offers a better explanation on this Kantian transcendentalism. The research shows that the non-temporality of photographic images is irrelevant with the development of the medium because Hawking’s approach fits the transcendental interaction proposed by Kant. This article concludes that photography is independent from temporal demands, and that the advancement of photography lies in its potential to pursue non-duality interactions.
Co-Authors Ambrosius Markus Loho Andreas Doweng Bolo Deden Hendan Durahman F. X. Rudi Setiawan Henrycus Napitsunargo Kairupan, Melvyn Zaafir Loho, Ambrosius Markus Masmuni Mahatma Nugraheni, Ester Oka Seva, Kristining sirait, asnita Tristam P Moeliono Tristam P. Moeliono Tristam P. Moeliono