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Curating Dissent: Indigenous Artistic Interventions as Counter-Narratives in Settler-Colonial Archives Mary-Jane Wood; Caelin Damayanti; Dian Rahayu; Sandro Louise Oliveirra; Muhammad Hasan
Enigma in Cultural Vol. 3 No. 1 (2025): Enigma in Cultural
Publisher : Enigma Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61996/cultural.v3i1.101

Settler-colonial archives have historically functioned as instruments of state power, perpetuating narratives that erase or marginalize Indigenous peoples' histories, knowledges, and sovereignties. This study investigated the growing phenomenon of contemporary Indigenous artistic interventions within these institutions, framing them as critical acts of "curating dissent" that challenge the archival claim to objective truth. This research employed a qualitative, comparative case study methodology to analyze three distinct, institutionally-sanctioned artistic interventions in major settler-colonial archives in Canada, Australia, and New Zealand between 2020 and 2024. A multi-modal data collection strategy included visual analysis of the artworks, textual analysis of archival records, and thematic analysis of 25 semi-structured interviews with artists, curators, and community members. The analysis revealed three primary strategies of intervention: (1) "Re-contextualization and Juxtaposition," which disrupts colonial classifications by placing Indigenous epistemologies alongside archival records; (2) "Embodied Knowledge and Affective Encounters," which uses performance and sensory elements to reanimate ancestral connections within the archive; and (3) "Digital Sovereignty and Archival Remixing," which leverages digital tools to reclaim and re-narrate colonial documents. Institutional responses ranged from enthusiastic collaboration to forms of negotiated resistance and containment. In conclusion, within the specific context of sanctioned projects, Indigenous artistic interventions function as potent decolonial practices that create new spaces for Indigenous knowledge and memory to flourish. This study proposes the concept of "Archival Acupuncture," a theoretical framework for understanding how these targeted, therapeutic interventions can systemically alter the narrative body of the archive to foster restorative justice. These acts signal a critical shift, demanding archives become active partners in a more just future.

Rhizomatic Resurgence: Multispecies Storytelling and Ecological Entanglement in Southeast Asian Bio-Art Jasmila Tanjung; Matilda Munoz; Sarah Armalia; Kevin Setiawan; Sudarto Sudarto
Enigma in Cultural Vol. 3 No. 1 (2025): Enigma in Cultural
Publisher : Enigma Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61996/cultural.v3i1.102

The Anthropocene epoch has catalyzed a profound shift in contemporary art, with Bio-Art emerging as a critical field for interrogating the complex relationships between humanity, technology, and the non-human world. While significant scholarship has explored Bio-Art in Western contexts, its unique manifestations within Southeast Asia remain underexamined. This study investigated the rise of a specific mode of Bio-Art in this region, characterized by rhizomatic structures, multispecies storytelling, and deep ecological entanglement, offering a vital counter-narrative to anthropocentric perspectives. This research employed a qualitative, multi-sited case study methodology. Four exemplary Bio-Art projects from Indonesia, Thailand, Philippines, and Singapore, created between 2020 and 2024, were purposively selected. A multi-modal analytical approach was utilized, combining formal visual analysis of the artworks, critical discourse analysis of artist statements and curatorial texts, and thematic analysis of semi-structured interviews with the artists and curators. The analysis was theoretically grounded in the concepts of the rhizome (and multispecies ethnography. The analysis revealed four dominant themes. First, artists consistently employed the rhizome as both method and metaphor, creating non-linear, decentralized works that mirrored ecological networks. Second, a significant pattern of weaving technoscience with traditional ecological knowledge (TEK) was identified, where advanced biotechnologies were syncretized with local cosmologies and indigenous practices. Third, the artworks actively engaged in more-than-human narration, displacing the human as the central protagonist and instead foregrounding the agency of fungi, plants, microbes, and other organisms. Finally, these projects cultivated affective ecologies, generating powerful emotional responses in viewers to foster critical engagement with pressing regional issues. In conclusion, Southeast Asian Bio-Art, as examined in this study, represents a significant "rhizomatic resurgence" that challenges and expands the global discourse on ecological art. By entangling advanced science with local heritage and centering non-human agencies, these practices foster a profound sense of ecological interdependence. This research concludes that the region's artists are pioneering unique aesthetic and ethical frameworks for navigating our shared planetary crisis, contributing vital perspectives rooted in the unique biocultural complexities of Southeast Asia.

Ephemeral Inscriptions: Graffiti, Gentrification, and the Struggle for Public Space in the Indonesian Metropolis Bimala Putri; Omar Alieva; Henny Kesuma; Ifah Shandy; Ni Made Nova Indriyani
Enigma in Cultural Vol. 3 No. 1 (2025): Enigma in Cultural
Publisher : Enigma Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61996/cultural.v3i1.105

The visual landscape of the contemporary city is a contested terrain where cultural expression and economic forces collide. This study investigates the complex relationship between graffiti practices and gentrification in Indonesia, moving beyond a simple resistance-versus-commodity binary to analyze graffiti as a dialectical force in urban transformation. It examines how graffiti functions as a mode of spatial inscription, a carrier of urban affect, and a critical barometer of the struggle for the right to the city in the Global South. This research employed a longitudinal, mixed-methods, comparative case study design, focusing on the Glok district in Jakarta and the Braga district in Bandung (2019-2025). The methodology integrated quantitative spatio-temporal GIS analysis of 1,250 graffiti pieces correlated with economic data, and a systematic content analysis of their form and themes. This was triangulated with deep qualitative data from 24 months of ethnographic fieldwork and 45 semi-structured interviews with artists, residents, and officials. A critical positionality statement reflects on the ethical praxis of the research. The findings reveal a clear trajectory where illicit, text-based graffiti, initially prevalent in peripheral spaces, created a subcultural "symbolic economy." This was followed by a spatial and formal shift towards large-scale, sanctioned murals in prime commercial zones. Quantitative analysis established a strong correlation (r = 0.78) between mural density and rising commercial rents, but this is interpreted cautiously to avoid assumptions of direct causality. Ethnographic vignettes and interview data reveal the affective dimensions of this transformation, highlighting how the changing streetscape is experienced as a loss of place by long-term residents and consumed as an aesthetic "vibe" by newcomers, while artists navigate complex issues of agency and co-optation. In conclusion, the evolution of graffiti from illicit inscription to curated aesthetic mirrors the process of gentrification. The study concludes that while the co-optation of street art is a powerful force in neoliberal place-branding, the practice remains a site of contested agency and meaning-making. The concept of "ephemeral inscriptions" is proposed to better capture the performative, transient, and deeply political nature of these markings as they chronicle the ongoing struggle for spatial justice.

The Algorithmic Gaze: Deconstructing Authorship and Aesthetics in Generative Artificial Intelligence (AI) Art Hesti Putri; Dais Susilo; Ervin Munandar; Hanifah Yasin; Idris Atmaja
Enigma in Cultural Vol. 3 No. 1 (2025): Enigma in Cultural
Publisher : Enigma Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61996/cultural.v3i1.106

The proliferation of advanced text-to-image generative AI represents a paradigmatic shift in visual culture. It instigates a profound crisis for established concepts of authorship and aesthetics while also raising critical questions about artistic labor and the political economy of cultural production. This study investigates the complex negotiations between human creators and algorithmic systems. This study employed a qualitative, multi-modal methodology. A visual semiotic analysis was conducted on a curated corpus of 300 artworks from Midjourney, DALL-E 3, and Stable Diffusion, sampled to mitigate platform-specific biases. This was triangulated with a thematic analysis of semi-structured interviews with a purposive sample of 15 artists and designers actively using these tools. The methodological limitations, specifically the sample's "adopter-centric" bias, are explicitly acknowledged. The visual analysis identified a distinct "algorithmic gaze" characterized by hyper-compositing, surreal corporeal logic, and stylistic convergence, reflecting both the system's non-human perspective and the biases of its training data. The thematic analysis of artist interviews revealed three dominant experiential themes: the artist's role being reframed as curatorial, the creative process as a form of dialogue, and the interaction as an exploration of the system's "latent space". These participant narratives often frame the interaction in terms of empowerment and collaboration. In conclusion, generative AI reconfigures authorship into a distributed network phenomenon. However, this study argues that this posthuman collaboration occurs within a system structured by significant power asymmetries. The aesthetics of the algorithmic gaze are not neutral but are shaped by the commercial and ideological imperatives of the platforms. The artist's experience of empowerment coexists with broader material processes of deskilling, alienation, and the centralization of cultural production. Understanding this new paradigm requires a critical synthesis of posthumanist theory and political economy.

Echoes of Empire: The Politics of Repatriation and Decolonial Praxis in 21st-Century European Museums Alex Putra Pratama; Christian Napitupulu; Aman Suparman; Omar Alieva
Enigma in Cultural Vol. 3 No. 2 (2025): Enigma in Cultural
Publisher : Enigma Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61996/cultural.v3i2.107

The universalist claims of major European museums are built upon collections inextricably linked to the history of colonial violence and asymmetrical power. In the 21st century, a global movement demanding the repatriation of cultural heritage has challenged the very ethical and political foundations of these institutions. This study investigates the complex dynamics governing repatriation and the significant gap between museums' stated decolonial ambitions and their institutional practices, treating this dysfunction as a form of structural pathology. This study employed a mixed-methods approach grounded in a decolonial methodological awareness. The first phase consisted of a systematic thematic analysis of 188 policy documents from 25 major European museums (2019-2025), identifying the core logic of institutional responses to repatriation claims. The second phase developed a heuristic framework—a qualitative analytical model—to explore the logical outcomes of this institutional logic across three archetypal scenarios: a high-profile plunder case, a contested acquisition, and the return of ancestral remains. This model is presented not as a predictive tool, but as a framework for making the power structures and pathogenic mechanisms of holding institutions more legible. The documentary analysis revealed four key symptoms of a systemic pathology: a pervasive "rhetoric-practice gap"; the use of provenance research as both a facilitator and a barrier to claims; the strategic invocation of legal inalienability as an institutional defense; and a clear hierarchy of "returnable" heritage. The heuristic framework demonstrated that claims were most successful when high diplomatic pressure and clear evidence of looting created an overwhelming political imperative, while claims with ambiguity were likely to result in a chronic stalemate or offers of long-term loans. In conclusion, repatriation is not a simple administrative process but a deeply political and affective struggle shaped by enduring colonial power asymmetries. Genuine decolonial praxis requires more than institutional rhetoric of "slow ethics"; it necessitates treating the issue as a structural pathology requiring fundamental legal and systemic reforms, a shift in the burden of proof, and an acknowledgment of repatriation as an act of epistemic and restorative justice for source communities.

Toxic Sublime: The Spectacle of Ecological Collapse in Contemporary Art Gladys Putri; Bimala Putri; Henrietta Noir; Jujuk Maryati
Enigma in Cultural Vol. 3 No. 2 (2025): Enigma in Cultural
Publisher : Enigma Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61996/cultural.v3i2.108

In the era of the Anthropocene, a significant genre of contemporary art has emerged that engages with ecological collapse by rendering environmental devastation visually captivating. This phenomenon, which this paper terms the "toxic sublime," presents a critical paradox: the aestheticization of catastrophe. This study investigates the visual and discursive strategies used by contemporary artists to represent ecological ruin and explores the complex ethical, political, and socio-economic implications of this practice. This study employed a qualitative, multi-modal critical approach. A purposively selected corpus of significant art projects created between 2015 and 2025 that address ecological degradation served as the primary data. The analytical methods included a visual semiotic analysis, operationalizing concepts from Barthes and Peirce to decode the aesthetic language of the artworks, and a Faircloughian critical discourse analysis of associated artist statements, interviews, and reviews. A heuristic modeling exercise, using a composite case study developed from real-world data, was also employed not to validate findings but to explore the generative logic of this aesthetic mode in a controlled, hypothetical context. The analysis identified a consistent taxonomy of aesthetic strategies central to the toxic sublime: 1) the strategic use of unnatural, hyper-saturated color to signify contamination; 2) the deployment of monumental scale to evoke awe and abstraction; and 3) the use of contaminated or synthetic materials as the artistic medium. The discourse analysis revealed a dominant framing of the artist as a "witness" or "alchemist" and the artwork as a "beautiful warning", which functions to legitimize the aestheticization process. In conclusion, the aestheticization of ecological collapse functions as a profoundly ambivalent cultural phenomenon. While it effectively captures attention, it risks neutralizing political urgency by transforming catastrophe into a consumable aesthetic object-a spectacle of decay. This study concludes that the toxic sublime is a defining aesthetic of the Anthropocene, but one that operates within the logic of the art market and the society of the spectacle. Its beautiful forms demand critical vigilance regarding art's complex role in an age of planetary crisis.

The Acoustic City: Sonorous Landscapes, Urban Memory, and the Politics of Noise Muhammad Hasan; Jovanka Andina; Matilda Munoz; Emir Abdullah; Ahmad Erza
Enigma in Cultural Vol. 3 No. 2 (2025): Enigma in Cultural
Publisher : Enigma Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61996/cultural.v3i2.110

The contemporary city is often conceived through a visual paradigm, yet its character is profoundly shaped by its acoustic environment. This study investigated the urban soundscape as a complex tapestry woven from sound, memory, and power. Focusing on the rapidly urbanizing context of Indonesia, this research explored how sonorous landscapes are produced, experienced, and contested, shaping collective urban memory and becoming arenas for political negotiation. A mixed-methods approach was employed, integrating qualitative ethnographic research with quantitative acoustic analysis. Fieldwork was conducted in two distinct Indonesian urban settings: the megacity of Jakarta and the historically significant city of Palembang. Methods included 60 semi-structured interviews with residents, urban planners, and community leaders; 30 researcher-led soundwalks using participant observation; and acoustic data collection using Class 1 sound level meters at 100 strategic locations. This data was used to create predictive acoustic models of selected neighborhoods using CadnaA sound prediction software to visualize and analyze sound pressure level (SPL) distribution. The findings revealed a rich acoustic lexicon unique to Indonesian cities, characterized by a dynamic interplay of religious sounds (the call to prayer or adzan), commercial vocalizations (street vendor calls), transportation noise, and sounds of community life (gotong royong). Ethnographic data demonstrated that these sounds are potent carriers of urban memory, evoking nostalgia and a sense of belonging, but are also sources of significant social friction. Acoustic models identified "sonorous hotspots" where SPLs consistently exceeded national health recommendations by up to 25 dBA, particularly around transport hubs and commercial districts. A significant disconnect was found between residents' subjective perception of noise and objective decibel measurements, highlighting the cultural mediation of sound. The "politics of noise" manifested in community-level disputes over the volume and timing of mosque loudspeakers and the perceived encroachment of commercial sounds into residential areas. In conclusion, the urban soundscape is not a neutral background but a contested social and political space where identities are asserted and power is negotiated. This study established that in Indonesian cities, sound acts as a crucial medium for constructing urban memory and a site for the subtle, everyday politics of cohabitation. Understanding these sonorous landscapes is essential for developing more inclusive and acoustically just urban planning policies that move beyond simple noise abatement to a more nuanced appreciation of the urban acoustic environment.

Virtual Veneration: A Critical Inquiry into the Sacralization and Valorization of Digital Heritage in the Metaverse Ifah Shandy; Kevin Setiawan; Khalil Jibran; Caelin Damayanti
Enigma in Cultural Vol. 3 No. 2 (2025): Enigma in Cultural
Publisher : Enigma Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61996/cultural.v3i2.111

The emergence of the metaverse presents a paradigm shift for how cultural heritage is experienced and valued. While technical digitization is well-studied, the socio-cultural processes by which digital objects acquire profound, quasi-sacred meaning remain critically underexplored. This study undertakes a critical inquiry into "virtual veneration," examining the mechanisms through which digital artifacts are sacralized and valorized within metaverse environments. A sequential explanatory mixed-methods design was employed. Phase one involved a qualitative thematic analysis of three leading metaverse platforms (Decentraland, The Sandbox, VRChat) to identify key features of value creation. Phase two was a large-scale quantitative analysis of behavioral data from a diverse cohort of 10,000 users within the Virtual Artifact Interaction Model (VAIM), a controlled experimental environment. Acknowledging the philosophical limits of measuring "sacredness," we developed a composite "Index of High-Value Collective Attention" (HVCA) based on metrics of dwell time, interaction frequency, and social signal amplification to operationalize the behavioral markers of veneration. The qualitative analysis revealed three core themes: "The Architecture of Awe," "Ritualized Communitas," and "The Aura of Scarcity." The quantitative analysis demonstrated that "Community Narrative" was the most powerful predictor of an artifact's HVCA score (), far exceeding the impact of authenticity or scarcity. A significant synergistic effect was found between environmental conditions of "Exclusive Access" and "Ritualistic Interaction" (), confirming that architectural framing and social protocols work in concert. Social proof directed 65.4% of user attention, indicating that valorization is a socially contingent and path-dependent process. In conclusion, the sacralization of digital heritage is a complex socio-technical process contingent on platform design, community ritual, and perceived authenticity. However, this study concludes that these mechanisms, particularly when mediated by speculative economies, create a "networked aura" that functions as a political inversion of Walter Benjamin's original concept, re-ritualizing art for markets. The findings suggest the emergence of a "hyper-sacred"—emotionally potent but ontologically unmoored—posing profound ethical and philosophical questions for the future of cultural value.

The Afterlife of Objects: A Material Culture Analysis of Contested Artifacts in Diasporic Communities Shasa Indriyani; Sonia Vernanda; Abdul Malik
Enigma in Cultural Vol. 3 No. 2 (2025): Enigma in Cultural
Publisher : Enigma Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61996/cultural.v3i2.112

This study investigated the complex "afterlife" of contested cultural artifacts, specifically focusing on the Indonesian keris (ceremonial dagger) held in Dutch museum collections and their significance within the Indonesian diaspora in the Netherlands. In an era of escalating repatriation debates, the profound and evolving role these objects play in the identity formation, collective memory, and cultural negotiation of diasporic communities remains a critical yet underexplored dimension. This research addressed this gap by examining how such artifacts, physically distant from their origin, continue to live vibrant, meaningful, and often contentious lives within the communities they represent. A mixed-methods approach was employed, grounded in ethnographic and material culture studies frameworks. The research was conducted between 2023 and 2024 in Amsterdam and The Hague. Data were collected through 45 in-depth, semi-structured interviews with first, second, and third-generation members of the Indonesian diaspora. This qualitative data was supplemented by a quantitative survey (n=250) to assess broader community attitudes towards the keris, museums, and cultural heritage. Thematic analysis was used for interview transcripts, while descriptive and inferential statistics were applied to survey data. The findings revealed a multifaceted and dynamic relationship with the keris. Four primary themes emerged from the qualitative data: 1) The artifact as a tangible anchor to an "imagined homeland" and ancestral lineage; 2) Significant generational shifts in meaning, moving from personal heirloom to a politicized symbol of post-colonial identity; 3) The museum as a dual site of connection and contestation; and 4) The emergence of a "digital afterlife," where online archives and social media create new forms of access and community engagement. Survey data corroborated these themes, with 88% of respondents viewing the keris as a vital symbol of their cultural identity, yet 65% expressing feelings of ambivalence or sadness regarding their location in Dutch museums. In conclusion, contested artifacts like the keris are not static relics but dynamic agents in the ongoing process of diasporic identity construction. Their afterlife is characterized by a continuous re-negotiation of meaning across generations and platforms. For diasporic communities, these objects serve as powerful conduits for memory, heritage, and political consciousness, complicating simplistic narratives of ownership and repatriation. The study concluded that understanding this diasporic dimension is essential for museums and policymakers engaging in ethical stewardship and decolonization efforts.

The Resilient Thread: Digital Archiving and the Semantic Revitalization of Palembang's Songket Weaving Traditions Dian Rahayu; Iqbal Anugerah; Henry Peter Paul
Enigma in Cultural Vol. 2 No. 2 (2024): Enigma in Cultural
Publisher : Enigma Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61996/cultural.v2i2.113

Palembang's Songket, a UNESCO-recognized Intangible Cultural Heritage, faces significant threats from modernization and the gradual erosion of its tacit knowledge, particularly the philosophical meanings embedded within its motifs. This study addressed the urgent need for a preservation model that transcends simple digitization by focusing on semantic revitalization. This research employed a multi-phase, mixed-methods approach conducted between 2023 and 2025. We developed a comprehensive digital archive through high-resolution photogrammetry of 150 heritage Songket textiles and ethnographic fieldwork, including in-depth interviews with 15 master weavers in Palembang. A bespoke semantic ontology was constructed using Web Ontology Language (OWL) to map the complex relationships between motifs, techniques, materials, and their socio-cultural meanings. This ontology formed the backbone of an interactive web-based platform, "The Songket Legacy," which was subsequently evaluated through a user engagement study with 50 participants from diverse backgrounds, including weavers, designers, and students. The project resulted in a robust digital archive containing over 50 gigabytes of data. The Songket Semantic Ontology successfully defi ned 75 distinct motifs and established over 400 relational assertions, linking visual patterns to their historical narratives and philosophical underpinnings. The user engagement study yielded a high System Usability Scale (SUS) score of 85.5. Qualitative feedback confirmed that the semantic framework significantly enhanced users' understanding and appreciation of Songket, with 92% of participants reporting an increased ability to interpret motif symbolism. In conclusion, this study demonstrated that a semantic-web approach offers a powerful methodology for the revitalization of intangible cultural heritage. By creating a "living" digital archive that makes tacit knowledge explicit and accessible, this project provides a scalable model for preserving and promoting the cultural legacy of Palembang's Songket for future generations, fostering both cultural continuity and creative innovation.

Home Page

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Editorial Team

Contact

Reviewer

Google Scholar

Contact Name
Abdullah Hanif

Contact Email
enigma.institute.center@gmail.com

Phone
+6285161620145

Journal Mail Official
editor.enigma.cultural@gmail.com

Editorial Address
Jl. Sirnaraga, 8 Ilir, Ilir Timur III, Palembang, South Sumatera, Indonesia

Location
Kota palembang,

Sumatera selatan

INDONESIA

Abstract

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Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Abdullah Hanif

Contact Email enigma.institute.center@gmail.com

Phone +6285161620145

Journal Mail Official editor.enigma.cultural@gmail.com

Editorial Address Jl. Sirnaraga, 8 Ilir, Ilir Timur III, Palembang, South Sumatera, Indonesia

Location Kota palembang, Sumatera selatan INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Abdullah Hanif

Contact Email
enigma.institute.center@gmail.com

Phone
+6285161620145

Journal Mail Official
editor.enigma.cultural@gmail.com

Editorial Address
Jl. Sirnaraga, 8 Ilir, Ilir Timur III, Palembang, South Sumatera, Indonesia

Location
Kota palembang,

Sumatera selatan

INDONESIA