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MENGINTERPRETASI SECARA PRODUKTIF Dwi Marianto, M.
Nirmana Vol 4, No 1 (2002): JANUARY 2002
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (36.404 KB) | DOI: 10.9744/nirmana.4.1.

Abstract

This article composes of adaptations of%2C and quotations of%2C several writings on meaning and text of Ferdinand de Saussure%2C Stuart Hall%2C Paul Ricoeur%2C and a number of practical ways of interpreting as written by Terry Barrett%2C as well as on physical characteristics of creatures for survival by Peter Forbes. Nevertheless%2C the core subject of this article is about a text which is autonomous. A text can be a work of art / design / craft and any work of art. The meaning of a text never be static%2C fixed and frozen%2C it always changes%2C depends on the way it is seen. Therefore%2C it can be said that interpreting is not merely reproductive%2C more than it is productive. The purpose of this article is to emphasize the significant points in interpreting and giving meaning onto a work of art/ design / craft as suggested by the aforementioned scholars. The practical intention is to enlighten and empower readers%2C especially those who want to interpret work of art / design / craft productively%2C creatively and imaginatively. Abstract in Bahasa Indonesia : Artikel ini disusun dari beberapa tulisan saduran atas%2C dan petikan dari%2C beberapa tulisan tentang makna dan teks dari Ferdinand de Saussure%2C Stuart Hall%2C Paul Ricoeur%2C beberapa cara praktis menginterpretasi yang ditulis oleh Terry Barrett%2C serta tentang karakterristik fisikal dari makhluk hidup yang berfungsi untuk survival dari Peter Forbes. Namun pokok pembicaraan utama adalah mengenai teks itu sifatnya otonom. Teks itu bisa karya seni/desain/kriya dan lain-lain. Makna sebuah teks tidak pernah baku dan beku%2C selalu bergerak%2C dan sangat bergantung pada bagaimana ia dipandang. Makanya%2C dapat dikatakan%2C bahwa dalam menginterpretasi si pembaca/pemirsa tidak cuma mereproduksi%2C melainkan juga dapat memproduksi makna. Menginterpretasi oleh karenanya sama dengan merepresentasi%2C bisa dilakukan secara kreatif dan produktif. Maksud tulisan ini adalah menggarisbawahi butir-butir untuk menginterpretasi dan memaknai karya seni / desain / kriya dari penulis-penulis tersebut. Tujuan praktisnya adalah untuk mencerahkan dan memberdayakan pembaca-pembaca%2C khususnya bagi mereka yang ingin menginterpretasi karya seni / desain / kriya secara lebih produktif%2C kreatif%2C dan imaginatif. interpretation%2C interpreting productively.
THEORETICAL EXPLORATION OF ART THERAPY AND EDUCATION FOR AUTISTIC CHILDREN Sampurno, Muchammad Bayu Tejo; Prabandari, Yayi Suryo; Marianto, Martinus Dwi
International Journal of Indonesian Education and Teaching (IJIET) Vol 4, No 2 (2020): July 2020
Publisher : Sanata Dharma University Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (321.453 KB) | DOI: 10.24071/ijiet.v4i2.2535

Abstract

This paper aims to explore art therapy methods that are able to become one of the complementary media to improve the communication skills of children with autism; explain concretely the contribution of art flexibility as a complementary media in communication therapy for autistic children; and explain the integration of the principles of therapy. These three topics will be explored using a number of theories about art therapy that have developed, as research beginning on the development of methods of art therapy and art education for autistic children. The approach in this study uses the method of content analysis of the phenomenon of art therapy, which is implemented as a perspective to see the phenomenon of art education for autism in Yogyakarta, Indonesia in 2019. This study begins with a study of the development and patterns of art therapy which has been going on in Indonesia. Afterward, the current foothold of art therapy will be known, and able to explain the reasons related to the development of art therapy in Indonesia. The results showed that the models of art therapy and art education for autistic children in Indonesia did not include the development of art therapy, learning methods through play, and did not understand the empathy space as a learning space for autistic children. Art exploration has good potential to be developed as a method of therapy and education for autistic children. That is because, art has the flexibility and natural nature of children, namely playing and making a sense of comfort so that autistic children feel in one frequency with the teacher so that the educational and therapeutic process runs smoothly and optimally. The emergence of the concept of 3B (being, becoming, and belonging) in the space of empathy, increasingly claims that art cannot be separated in the world of learning in autistic children.Corresponding author: Muchammad Bayu Tejo SampurnoDOI: 10.24071/ijiet.2020.040209
Sebuah Refleksi Dan Introspeksi Budaya Dalam Journey International Openair Expressions 2008 Hiki M. Dwi Marianto
Mudra Jurnal Seni Budaya Vol 24 No 1 (2009): Januari
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (528.335 KB) | DOI: 10.31091/mudra.v24i1.1556

Abstract

Technically speaking, the journey and experience during the IOE 2008 participation in Japan can be seen as a subject of aesthetic-cultural reflection. In this case, there is no boundary line between the art works that were exhibited in the event with the phenomena of the city which was very greatly attracted the artist. The way how to see and to perceive the phenomena of the nature and culture presented, such as the city center atmosphere, the open space, the spontaneous behaveor of the public, and the city sreets,directly and indirectly, were influenced by the content of the references.
THEORETICAL EXPLORATION OF ART THERAPY AND EDUCATION FOR AUTISTIC CHILDREN Muchammad Bayu Tejo Sampurno; Yayi Suryo Prabandari; Martinus Dwi Marianto
IJIET (International Journal of Indonesian Education and Teaching) Vol 4, No 2 (2020): July 2020
Publisher : Sanata Dharma University Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijiet.v4i2.2535

Abstract

This paper aims to explore art therapy methods that are able to become one of the complementary media to improve the communication skills of children with autism; explain concretely the contribution of art flexibility as a complementary media in communication therapy for autistic children; and explain the integration of the principles of therapy. These three topics will be explored using a number of theories about art therapy that have developed, as a research beginning on the development of methods of art therapy and art education for autistic children. The approach in this study uses the method of content analysis of the phenomenon of art therapy, which is implemented as a perspective to see the phenomenon of art education for autism in Yogyakarta, Indonesia in 2019. This study begins with a study of the development and patterns of art therapy which has been going on in Indonesia. Afterwards, the current foothold of art therapy will be known, and able to explain the reasons related to the development of art therapy in Indonesia. The results showed that the models of art therapy and art education for autistic children in Indonesia did not include the development of art therapy, learning methods through play, and did not understand the empathy space as a learning space for autistic children. Art exploration has good potential to be developed as a method of therapy and education for autistic children. That is because, art has the flexibility and natural nature of children, namely playing and making a sense of comfort, so that autistic children feel in one frequency with the teacher so that the educational and therapeutic process runs smoothly and optimally. The emergence of the concept of 3B (being, becoming, and belonging) in the space of empathy, increasingly claims that art cannot be separated in the world of learning in autistic children.
Memahami Peluang-peluang Quantum dalam Seni M. Dwi Marianto
Ars: Jurnal Seni Rupa dan Desain No.1 TH.1 April 2004
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i1.231

Abstract

Tulisan ini merupakan tindak lanjut pelengkap dari tulisan penulis “Kajian QuantumUntuk Bidang Seni Rupa” yang dimuat di jurnal Ekspresi yang diterbitkan oleh LembagaPenelitian ISI Yogyakarta. Dalam tulisan sebelumnya penulis masih sebatas menawarkansuatu kajian yang didasarkan pada cara pandang atas realitas yang diadopsi dari temuantemuaneksperimental fisika quantum. Untuk melengkapi tulisan itu penulis menghadirkansatu cara pendekataa yang lebih praktikal dan opcrasional untuk memahami dan merefleksiseni. Pertama kali akan penulis kemukakan terlebih dahulu paradigma Fisika Klasik yangtelah berabad-abad pemikiran dan cara pandang masyarakat modern, lalu akan disusul dengancara pandang quantum yang mematahkan determinisme Fisika Klasik. Lalu akan penulispaparkan beberapa poin prinsipal dari Fisika Quantum yang penulis pandang layakdicermati. Poin-poin prinsipal ini kemudian akan dijelaskan dengan ilustrasi-ilustrasi yangdipetik dari kehidupan seni yangnyata. Dengan pemahaman quantum kita akan lebih mampusecara imajiner membayangkan potensi-potensi virtual seni atau peluang-peluang dalam karyaseni apapun, untuk selanjutnya dikaji, dan dipilih mana yang yang paling masuk akal danrealistik, bila ingin diaktualkan, baik secara lisan, tertulis, maupun grafis.
Melihat Lomba Estetika Keris Nasional, MengIngat Kriya Seni M. Dwi Marianto
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 14: September-Desember 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i14.141

Abstract

This article is the result of a further research on the phenomenon of kris (Java traditional dagger),  a material presented in the discussion held in the Kris Aesthetics National Competition. It studied  this phenomenon appearing in daily life. Kris is very often misunderstood so that its potential to be the icon of Nusantara society remains uncovered. There are three points deliberated in this article, namely 1) Creative education, promotion, and socialization needed to endorse the kris industry  and its artistic value elevation; 2) An opportunity to set Kris in a new position not only as a mystical object but also as an aesthetic object; 3) The role of social institutions, higher education institutions on art-including ISI Yogyakarta (Indonesia Institute of the Arts Yogyakarta), and the public in developing the knowledge, the education and the practice of keris making with the spirit of innovation and contextuality. Those three things are important to be reviewed considering that UNESCO has announced kris as a world heritage.Keywords: kris, UNESCO, ISI Yogyakarta
TERRA INCOGNITO SURREALISME YOGYAKARTA Dr. M. Dwi Marianto, M.F.A.
Ars: Jurnal Seni Rupa dan Desain No. 4 / Januari - April 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i4.244

Abstract

Surrealism, which was coined in the First Manifesto o f Surrealism by Andre Breton in 1924,indeed begun and was centred in Paris, before spreading nut to a number o f countries beyond F.urop?,including the Pacific region. Interestingly, in the Surrealist international map published in 1929, Francewas not there, and it was as i f the USA never existed, whereas it was the Pacific Regioti which was regardedas the centre o f the world. The Parisian Surrealist highly appreciated art from the region. As a mutter offad,there were really artists in a number o f countries, including Indonesia, who were well-accepted andappropriated Surrealism according to their respected culture. In Yogyakarta, surrealists' works o f artemerged phenomenally in the 1970s and have been continuously produced until now. RegardingIndonesian surrealism, M. Dioi Marianto suggests that surrealism exists in any culture and society. TheParisian culture did not come to Yogyakarta directly but through reproductions o f Surrealists’ w o rkprinted in Modem Art books. Images o f surrealist works were then seen and adopted by many artists asuxiys o f producing surrealistic works o f art. In this resjyect it is more appropriate to regard the ParisianSurrealism as having triggered surrealist virtual potentials or tendencies that hud indeed been embedded inthe culture and sub-cultures streaming through Yogyakarta as a state o f mind.Keyu>ords: Surrealism, Parisian Surrealist, state o f mind
Continuity of resistance: indigenous participatory concepts in Purbalingga rural cinema culture Syamsul Barry; Pande Made Sukerta; Martinus Dwi Marianto; T Slamet Suparno
International Journal of Visual and Performing Arts Vol 4, No 1 (2022)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v4i1.658

Abstract

Purbalingga Regency, Central Java, is one area that has a unique and unique way of developing film-making. This article aims to find the concept of a participatory community approach in developing rural cinema through training/discussion programs, film production, and film screenings/Festivals from 2006 to the present. This study uses qualitative methods that include participatory, direct observation, and interviews with a data processing interactive analysis model. The results show that rural cinema encourages the empowerment of rural communities. Rural communities' high interest and participation in film activities are because the concept of cinema development comes from local cultural values (Banyumasan/Ngapak). This concept has succeeded in forming a unique, independent, and dynamic film ecosystem that can be a model for film development elsewhere
ECOART THROUGH VARIOUS APPROACHES Martinus Dwi Marianto; martinus dwi marianto
Journal of Urban Society's Arts Vol 7, No 1 (2020): April 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v7i1.4084

Abstract

This research was done as an effort to observe, write, and publicize  eco-activism and achievements by a number of eco-actors in the midst of an increasingly natural environmental crisis, to be used as stimuli and teaching materials for the course of  EcoArt. A number of artists practicing ecoartivism were purposively selected as a sample; their works and achievements are exposed. They are Endar Progresto, Widya Purwoko, Bernadeta Pudiasminarsih (Dyas Ecoprint), and Nasirun. These eco-activists not only work ecologically real, but also creatively communicate ecological values to surrounding communities to change. Nevertheless campaigning this environmental crisis for the better cannot be done partially, but must be jointly supported, organized and socialised continuously. For this reason, their works and achievements, as well as their individual ecoartivism need to be exposed, documented, and assembled as one unit as part of selected subjects of the EcoArt Course in the Fine Arts Department of the Indonesia Institute of the Arts Yogyakarta, to generate  enthusiasm in articulating or representing ecological concerns for ecosystem sustainability and preservation of natural environment through Art.
ECOART THROUGH VARIOUS APPROACHES Martinus Dwi Marianto; martinus dwi marianto
Journal of Urban Society's Arts Vol 7, No 1 (2020): April 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v7i1.4084

Abstract

This research was done as an effort to observe, write, and publicize  eco-activism and achievements by a number of eco-actors in the midst of an increasingly natural environmental crisis, to be used as stimuli and teaching materials for the course of  EcoArt. A number of artists practicing ecoartivism were purposively selected as a sample; their works and achievements are exposed. They are Endar Progresto, Widya Purwoko, Bernadeta Pudiasminarsih (Dyas Ecoprint), and Nasirun. These eco-activists not only work ecologically real, but also creatively communicate ecological values to surrounding communities to change. Nevertheless campaigning this environmental crisis for the better cannot be done partially, but must be jointly supported, organized and socialised continuously. For this reason, their works and achievements, as well as their individual ecoartivism need to be exposed, documented, and assembled as one unit as part of selected subjects of the EcoArt Course in the Fine Arts Department of the Indonesia Institute of the Arts Yogyakarta, to generate  enthusiasm in articulating or representing ecological concerns for ecosystem sustainability and preservation of natural environment through Art.