Fiksi Tanggung

September 21, 2009

Labirin Berujung Tunggal

Kelak ketika ia sepenuhnya sadar, bahwa nanti akan lahir seorang manusia dari tubuhnya, ia tercekam lagi oleh sebuah rasa longsor yang menggigilkan, yang diperparah oleh penalaran dan dibikin kekal oleh ingatan.

Terakhir kali rasa longsor itu menyeretnya, adalah saat ia melalui puncak dari percintaannya yang sudah berlangsung bertahun-tahun dengan hujan; hujan yang dengan lembut mengunjungi senja dan mengubahnya dari merah lembayung menjadi kelabu, dan akhirnya melulur batas antara langit dan bumi. Gerimis yang gugur bersama angin yang mendengkur, adalah ketulusan langit pada hijau daratan dan biru lautan. Ia ingat rasa sakit itu bermula sebagai rasa cinta diam-diam, dan tumbuh dengan kerinduan langit yang memeluk seluruh bintang; rasa sakit yang konon mencintai mereka yang banyak tidur dan bermimpi.

Spies Iseh im Morgenlicht (1938)

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Sastra

August 30, 2009

“Surga Kecil” Jokpin

Di sepanjang jaman, puisi adalah salah satu di antara barang yang tak pernah surut produksinya, paling tidak di Indonesia. Di era krisis, pasokan puisi bukannya ikut kendur, tapi malah kian kencang. Yang pasti, redaktur rubrik puisi di media cetak, setidaknya di Bentara KOMPAS, selalu kewalahan menerima kiriman sajak yang melimpah ruah. Kendati nyaris semua penduduk negeri ini sepertinya bisa membuat puisi (cukup dengan modal terharu doang), namun puisi yang benar-benar bisa meninggalkan torehan yang dalam, parut yang tak gampang hilang, adalah barang yang sungguh  langka ditemui.

Jokpin2

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Seni Rupa

July 30, 2009

Konser Imaji

Dari luar, gedung Museum Nasional Jogja di Gampingan itu tampak sungguh tak istimewa. Selain selembar poster lebar tentang pameran tunggal Agus Suwage (Still Crazy After All These Years: 05 – 31 July 2009) dengan kurator Enin Supriyanto yang membentang di dinding pojok depan, gedung itu seperti tak bergairah untuk menawarkan sesuatu yang layak kenang.Tapi setelah berada sekian menit di dalam, ruang-ruang gedung itu terasa memuai dan saya seakan melangkah perlahan di tempat lain yang kebetulan pernah saya datangi: Tate Modern Gallery dan Mori Art Museum.

After-Marina-Abramovic-a

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Epistemology

June 26, 2009

Imaginary Time,

11 Dimensional Space, etc.

Of fictive Knowledge & fictious Reality


Abstract


Science, according to Ernst Cassirer, “is the last step in man’s mental development and may be regarded as the highest and the most characteristic attainment of human culture …” In modern world there is no other power equals to scientific thinking. Science is held to be “the summit and consummation of all our human activities, the last chapter in the history of mankind and the most important subject of a philosophy of man.”

This essay, to some extent, is about the state of the art of scientific knowledge, especially natural sciences, at the cross of the 2nd and the 3rd millennium. It is also a reflection on the nature of science and the nature of natural cosmos whose temptation will make science more than just the summit and consummation of all our human activities and the most important subject of a philosophy of man; scientific knowledge will be the most important subject of philosophy of universe, if one does exist. Through the dialectic between fictive knowledge and fictious reality, science will force humanity eventually to create, or at least to replicate, a physical universe.

I deliberately choose an old and almost forgotten word “fictious” to be juxtaposed with “fictive” not merely for literary reason (syllable and alliteration) but mainly for epistemological one: to persistently remember something easily sink into oblivion that scientific knowledge, from a certain point of view, is essentially a kind of fiction, a poem to be more precise, a mighty one lives its life in the grandest poem imaginable, the Great Universe.


****


The scientific theorist is not to be envied. For Nature, or more precisely experiment, is an exorable and not very friendly judge of his work. It never says “Yes” to a theory. In the most favorable cases it says “Maybe,” and in the great majority of cases simply “No.””


— Entry into memory book for Professor Kammerling-Onnes, November 11, 1922; quoted in Dukas and Hoffmann, Albert Einstein, the Human Side, p.18.


An incomprehensible nature is an unbearable and therefore an inhabitable nature. Older than any era long lost from human memory, this law has been governing the evolution down to the sustainability of living beings in their interactions with the harsh and ever randomly changing nature. The first contemplating human, must had understood that even in its most tranquil state, the magnificent nature spread itself out in immensely complex phenomenon. The first information to human experience must have been really complex, even largely chaotic.

blakenewton

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Memoar

May 10, 2009

Kisah “Besar” Keluarga Toer

Sebagai karangan yang banyak bertumpu pada ingatan, memoar adalah ragam karya yang bergerak di antara dua kutub: sejarah dan sastra. Jika ingatan itu ditopang sekaligus dijaga ketat oleh catatan kejadian nyata, disusun mengikuti arus waktu yang bergerak kronologis, karangan itu akan menjadi (auto)-biografi penting. Jika ingatan tak harus tunduk sepenuhnya pada catatan ketat peristiwa sejarah, dan narasi disusun tak harus mengikuti alur waktu yang lurus, tak jarang bahkan membiarkan diri terseret oleh arus kesadaran yang berkelak-kelok, karangan itu bisa menjadi novel besar.

Bersama Mas Pram Cover-1

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Seni Rupa

April 27, 2009

Anemon Baja

Tahun lalu, seusai pembukaan pameran tunggalnya bertajuk NEO Painting di Galeri Koong, Teguh Ostenrik (TO) memberi saya selembar poster berisi foto patung mutakhirnya. Karya yang disusun dari rongsokan logam itu diberinya judul “Give Me a Big Hug” (88 x 153 x 145 cm3). Dengan 11 tentakel baja yang menjulur-julur ke angkasa, patung logam itu, buat saya, cukup kuat menyarankan harapan yang menggapai. Terpacak di tanah dengan landasan yang pejal, dengan bongkahan logam besar yang hatinya bolong seakan meleleh jadi juluran tentakel, karya ini memang bisa terasa seperti kerinduan bumi pada langit. Itu juga bisa berarti kerinduan tanah pada air, kerinduan manusia pada sesama manusia dan juga pada yang bukan manusia.

teguh_02

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Photography

March 28, 2009

Susan Sontag, et al.:

Image ─ Time

If fine art were literature, and painting were poetry, then photography were language. Because of, among others, its unprecedented power to immortalize and multiply any image, not only the one that can be spontaneously perceived by human naked eyes, photography is definitely not a mere form of art; it extends beyond art. “Photography is a medium with which art is created.” Susan Sontag elaborated this idea in her book, On Photography (OP, 1976). The assertion that photography—and, of course, cinema—is a language had occurred previously in, for example, Andre Bazin’s work. By focusing her attention mainly on photography and suspending its connection with cinema, Sontag strengthened the assertion and developed it further. In OP, a slim book that stands as one of “the most original and important works on photography,” Sontag even calls photography as a meta-art: a medium to create art and at the same time the highest aspiration of art. In the 19th century Walter Pater dictated that all art constantly aspires towards the condition of music; that is to achieve a match between form and content, to entirely dissolve the distinction between the two. Sontag, in the 20th century, revised Pater’s dictum and emphasized that all art aspires to the condition of photography instead. Along with its capability to live like music that is to make its medium as its very content, photography is also essentially democratic in terms that practically anyone can make it—in the same breath it offers revolutionary energy annihilating the discrimination between ugly art and beautiful one.

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