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Creativity as the Conceptual and Pragmatic Framing of Mind Amir Piliang, Yasraf
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 2 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

As a philosophical concept, creativity is generally understood as a mental capacity of generating something new that has never existed before: ideas, compositions, arrangements, concepts, systems, forms, styles or products. As a mental capacity, it is widely believed that the end product of creativity is ‘new idea’, as an absolute creation of ‘individual genius’. This general claim about ‘newness’ as a genuine product of creativity obscures the fact that an idea can only be generated based on previous ideas, through a mechanism of ‘repetition’. The disavowal of repetition as an integral part of the concept of creativity leads to certain form of framing, namely a ‘conceptual framing’, through which newness as a relevant concept is celebrated in discourse, while the concept of repetition is concealed as irrelevant. This framing distorts the true meaning of creativity. In addition, there is another form of framing, which is more pragmatic, namely an ‘economic framing’, through which the profit motive of creativity is exposed, whereas social, cultural, educational, and spiritual motives are concealed. Both forms of concealment have fundamentally distorted the true functions, motives and aims of creativity. Keywords:*art, *creativity, *newness, *difference, *repetition, *borrowing, *field, *framing , *mental capacity, *social product, *capital, *power, *total expression

Insight - Kebalian dalam Ruang Kosmopolitan Wijaya, Putu
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 2 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Kebalian punya kans besar untuk menjadi kelengkapan yang mempesona ruang kosmopolitan. Eksotisme di dalam kebalian itu, bukan hanya pada keanehan karena keasliannya. Tetapi keindahan gerak batin, moralnya yang lentur dalam menyikapi berbagai keadaan yang kadang sudah kewalahan diantisipasi oleh masyarakat yang cenderung individualistik dan meninggalkan azas kekeluargaan. Bukan untuk mengatakan itulah yang lebih betul. Hanya sekedar menyuguhkan kemungkinan, yang akan membuat manusia kosmopolitan lebih kaya jurus, dalam menghadapi keserbanekaan dalam segala perubahan zaman yang semakin lama semakin deras ini.

A Sense of (Non)Place: Rethinking the ‘Generic City’ in terms of the Habit-body Budhyarto, Mitha
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 2 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

A ‘nonplace’, in Marc Augé’s view, may be defined in contrast to what he refers to as ‘anthropological place’. It is a space which cannot be defined as relational, or historical or concerned with identity. This article explores the sense of (non)place by answering these questions: if it is true that ‘who’ we are is defined by ‘where’ we are, insinuating that places do have an important role in shaping our identities, then what do these nonplaces tell us about us? In places that lack any defining features and reflects little of the unique local geography in which they are in, can we still develop a sense of place? What is needed now is a shift from the initial prioritising of ‘cultural contexts’, to the ‘context of the embodied’, emplaced, individual subject, a context that precedes any cognitive framework. Bearing in mind this shift in focus to the body, a phenomenological analysis of nonplaces then becomes necessary. The experiential value of a place must be assessed according to a lived, embodied engagement with it. Rem Koolhas’ view of a kind of ‘generic city’ in which urban dwellers now live has worldwide reverberations. This paper argues that a phenomenological analysis that puts emphasis on the subjective, embodied lived experience is a necessary step to make. By focusing on the body, the strict categorisations that have led to the negative connotations to nonplaces begin to lose their rigidity. Keywords:*Nonplace, *space, *identity, *geography, *a sense of place, *experience, *environment, *context of the embodied, *habit-body, *flesh of the world, *generic city, *interaction, *surrounding

Film Reviews - "Manusia, Ilusi, dan Waktu" Bawono, Haryo Tejo
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 2 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Pertama, ini bukan sebuah film. Kedua, ini bukan sebuah film cerita. Ketiga, sinematografi dan mise-en-scéne karya ini seperti berdiri sendiri. Keempat, karya ini berada di luar wilayah emosi. Kelima, apapun nama untuk karya ini, teknik dan peralatan yang digunakan tidaklah up to date. Keenam, karya ini masuk dalam nominasi empat festival film internasional yang berbeda, dan diganjar Best Foreign Film di Toronto Film Critics Association Award dan “Palm D’Or” di Cannes (sutradara pertama asia tenggara yang pertama menerima piala prestigious ini). Benar, karya ini berada di dua pilihan ekstrem yang berbeda: atau sangat bagus atau sejenis sampah, atau sangat teramat disukai atau sangat teramat dibenci. Tidak ada dasar untuk berdiri ditengah.

A Balthasarian ‘Ecclesiology’: Apprehending the Church with an Ecclesial Aesthetics Kristiatmo, Thomas
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 2 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Ecclesiology might have put the center of its gravity on the modern rationality. As a result, this kind of ecclesiology might overlook the mystical yet beautiful side of the church, which seem to have a more unifying character to the already divided church. This article wants to explore with Hans Urs von Balthasar’s theology of aesthetics the origin and the characteristics of the church from the people around Jesus, the event of the cross, the form of revelation, the Eucharist, the sacrament, and the way of love. This sort of an ecclesial aesthetics is one of the different ways of apprehending the church. This way might contribute to the traditional understanding of the church that has been characterized with modern logical concepts. Balthasar is offering the way of apprehending the church through the pulchrum toward the more unifying engagement with the mystery of God, the revelation of God through Jesus Christ. Keywords:*Ecclesiology, *rationality, *beauty, *mystical theology, *form of revelation, *the way of love, *ecclesial aesthetics, *bonumet verum

Chronicles - August 2011 Tedjoworo, Hadrianus
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 2 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

'Chronicles' is a journal column of "MELINTAS" which contains information about the various events, congresses, conferences, symposia, necrologies, publications, and periodicals in the fields of philosophy and theology.

Negara dan Pasar: Globalisasi dan Dua Dasawarsa Seni Rupa Kontemporer Indonesia Hujatnika, Agung
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 2 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

This paper analyses the changes in production’s pattens, distributions and consumptions of Indonesian contemporary art by way of comparing the regional and international art exhibitions participated by Indonesia during the last two decades (1990-2010). There were two dominant and different patterns in each decade. The development during the 90s showed the dominance of the state's role, notably Japan and Australia, through large-scale exhibitions with the support of government funding and infrastructure. However, Indonesian contemporary art later became more prominent among the non-government initiatives, especially through the market activities at the auction houses and art fair in Asia. By referring to cultural theories and globalisation process, this paper wants to show how the development of Indonesian contemporary art might have been related to the changes in the constellation of geo-political and geo-economic developments in Asia Pacific which lead to the triumph of neoliberalism. The growing popularity of international art fair involving commodities and capital in large quantities can be seen as an evidence of how the fine arts are increasingly following the pattern of trade and free markets. As an institution that previously was doing the 'validation' of art, public museum now 'competes' with the free market fundamentalism loaded with some elite’s interests. Keywords:*globalisation, *Indonesian contemporary art, *postmodernism, *geopolitics, *geo-economics, *artmarket, *neoliberalism, *regionalism, *art fair, *sociopolitical art

Pancasila sebagai Karya Estetis Bangsa Indonesia: Sebuah Refleksi Filosofis Doweng Bolo, Andreas
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 2 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Pancasila is the nation's art in Indonesia, that is, a masterpiece rooted in the values that have been grown in the society. Since it has been embedded in the society, the values it gives rise should be returned to the society. It is worthy to say that Pancasila is the substantial values of this nation, without which Indonesia will disperse. This value tracing is in fact not a finished work, but an ongoing process. Thus the language used to translate the values ought to be unique, communicative, and contextual. To the end that the language contextual, the learning of local cultural values is an important orientation since only with it Pancasila has a future in this nation. When Pancasila deters the values emerging from the local wisdom then something is definitely wrong there, for these values are the root of Pancasila. Pancasila enriches the local virtues and vice versa. Because Pancasila was formulated from the local virtues then it must also be returned using the local, contextual and hospitabe language. Dogmatic and unsocial language based on the Cartesian patterns that is used to put this ideology into practice needs to be recolored. In this paper, an aesthetic paradigm is reconsidered to make room for experiences. Pancasila should be approached in a language that grew out of the sense of awe. When we talk about awe, we talk about how to talk aesthetically. Being amazed by this spirit is a start to walk through the journey towards being Indonesia. Departing from this aesthetic paradigm, the author examines the spirits that already exist and grow in the societies. Keywords:*Aesthetics, *Pancasila, *experience, *aesthetic experience, *awe, *diversity, *local values, *contextual language, *aesthetic masterpiece, *familial and common experiences, *culturization

Creativity as the Conceptual and Pragmatic Framing of Mind Amir Piliang, Yasraf
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 2 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/mel.v27i2.301.127-146

As a philosophical concept, creativity is generally understood as a mental capacity of generating something new that has never existed before: ideas, compositions, arrangements, concepts, systems, forms, styles or products. As a mental capacity, it is widely believed that the end product of creativity is ‘new idea’, as an absolute creation of ‘individual genius’. This general claim about ‘newness’ as a genuine product of creativity obscures the fact that an idea can only be generated based on previous ideas, through a mechanism of ‘repetition’. The disavowal of repetition as an integral part of the concept of creativity leads to certain form of framing, namely a ‘conceptual framing’, through which newness as a relevant concept is celebrated in discourse, while the concept of repetition is concealed as irrelevant. This framing distorts the true meaning of creativity. In addition, there is another form of framing, which is more pragmatic, namely an ‘economic framing’, through which the profit motive of creativity is exposed, whereas social, cultural, educational, and spiritual motives are concealed. Both forms of concealment have fundamentally distorted the true functions, motives and aims of creativity. Keywords:*art, *creativity, *newness, *difference, *repetition, *borrowing, *field, *framing , *mental capacity, *social product, *capital, *power, *total expression

A Sense of (Non)Place: Rethinking the ‘Generic City’ in terms of the Habit-body Budhyarto, Mitha
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 2 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/mel.v27i2.302.147-160

A ‘nonplace’, in Marc Augé’s view, may be defined in contrast to what he refers to as ‘anthropological place’. It is a space which cannot be defined as relational, or historical or concerned with identity. This article explores the sense of (non)place by answering these questions: if it is true that ‘who’ we are is defined by ‘where’ we are, insinuating that places do have an important role in shaping our identities, then what do these nonplaces tell us about us? In places that lack any defining features and reflects little of the unique local geography in which they are in, can we still develop a sense of place? What is needed now is a shift from the initial prioritising of ‘cultural contexts’, to the ‘context of the embodied’, emplaced, individual subject, a context that precedes any cognitive framework. Bearing in mind this shift in focus to the body, a phenomenological analysis of nonplaces then becomes necessary. The experiential value of a place must be assessed according to a lived, embodied engagement with it. Rem Koolhas’ view of a kind of ‘generic city’ in which urban dwellers now live has worldwide reverberations. This paper argues that a phenomenological analysis that puts emphasis on the subjective, embodied lived experience is a necessary step to make. By focusing on the body, the strict categorisations that have led to the negative connotations to nonplaces begin to lose their rigidity. Keywords:*Nonplace, *space, *identity, *geography, *a sense of place, *experience, *environment, *context of the embodied, *habit-body, *flesh of the world, *generic city, *interaction, *surrounding

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name
Hadrianus Tedjoworo

Contact Email
htedjo@unpar.ac.id

Phone
+6222420476

Journal Mail Official
melintas@unpar.ac.id

Editorial Address
Department of Philosophy, Parahyangan Catholic University, Jl. Nias 2, Bandung 40117, Indonesia

Location
Kota bandung,

Jawa barat

INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Hadrianus Tedjoworo

Contact Email htedjo@unpar.ac.id

Phone +6222420476

Journal Mail Official melintas@unpar.ac.id

Editorial Address Department of Philosophy, Parahyangan Catholic University, Jl. Nias 2, Bandung 40117, Indonesia

Location Kota bandung, Jawa barat INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Hadrianus Tedjoworo

Contact Email
htedjo@unpar.ac.id

Phone
+6222420476

Journal Mail Official
melintas@unpar.ac.id

Editorial Address
Department of Philosophy, Parahyangan Catholic University, Jl. Nias 2, Bandung 40117, Indonesia

Location
Kota bandung,

Jawa barat

INDONESIA