Lucid Memories

A representation of Hans Christoffel past stories and his ghostly memories
(2017)
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“Lucid Memories” is a series of Pepper’s Ghost Projection installations that built as part of the Lifepatch projects that exhibited in two different cities on Belgium. The first project is a Lifepatch solo exhibition titled “IN SITU: Lifepatch – The Tale Of Tiger And Lion” in Museum van Hedendaagse Kunst Antwerpen (M HKA) at 16 September 2017 until 7 January 2018, curated by Nav Haq and Alia Swastika. The second project is an exhibition titled “Tano Toba Saga” under the grand exhibition of “Europalia Art Festival Indonesia – 2017” with the main title called “Power and other things: Indonesia & Art (1835-now)” curated by Charles Esche and Riksa Afiaty in Palais des Beaux-Arts (BOZAR) Brussels at 18 October 2017 until 21 January 2018.

Both projects focused on presenting the two key figures and their relations within a small fragment of the North Sumatra long histories during the colonial era, which are Sisingamangaraja XII as the last king of Toba People and the Swiss-Dutch soldier Hans Christoffel who represents the Dutch empire with their colonization policies. It begins with an opportunity for Lifepatch to make brief research through various well-preserved Indonesian historical artefacts, narrations, and documents that well-preserved in the Museum Aan De Stroom at Antwerp and Bronbeek Museum at Arnhem, likewise the exploration through various places on North Sumatra that local histories mostly delivered orally and culturally as storytelling, theatre, song or even dance. Driven by the tendencies that history often articulated into several versions motivated by the perspective of ideology, politics, and even personal identity, instead of intending to summarize the long history of colonialism in North Sumatra and comparing each version to find the most proper version, through both projects, Lifepatch tried to present all the scattered historical fragments and its contrast attributes to emphasize its complexity through incorporating historical artwork and archival material, together with a major narration linking all the installations.

Those ideas brought me as part of Lifepatch have an interest in presenting a historical narration focused on Hans Christoffel’s figure whose existence is basically become an inseparable part of North Sumatra’s history during the colonial era. The tendencies of history that are strongly influenced by certain perspectives and identities brought the story of Hans Christoffel to have several slightly different version, not just the facts that he was a “Koninklijk Nederlands Indisch Leger” (KNIL) officer who succeeded in leading many military operations during the pacification of East Indische as the Dutch colony territory, including the obliteration of  Toba people guerrilla resistance in the Tapanoeli war by capturing their leader the Si Singamangaraja XII who eventually died on a battlefront. For some people, he would be defined as an evil person based on his bloodstained reputation who prefers to assault his prey and finish the kill without mercy. On the other side, some people would prefer to acknowledge him as a great soldier or a hero because of his achievements. Meanwhile, as we explore the archives during the research as part of a residency program fully supported by Museum van Hedendaagse Kunst Antwerpen (M HKA), AIR Antwerpen, each well-preserved artefacts and documents such as military log-book, pictures, telegrams, letters, postcards, newspaper clippings within the museum archives seems to hide a particular story with a specific context, time periods and space that can be interpreted as scattered fragments of a bigger story. Eventually, the linkage of each material weaves a fairly long story that can be divided into four main chapters, which were the chapter about Christoffel’s military career during his services as an officer in Royal Dutch East Indische Army, the chapter about his iconic military missions in North Sumatra when obliterating the Toba People resistance and captures their leader Si Singamangaraja XII, the chapter about his military achievement during the pacification of Dutch East Indische that brought him became one of the highly decorated soldiers and ended with his daily life after retired story as the final chapter.

However, while compiling Christoffel’s story, I met with a strange situation that sparked my curiosity. Although he was a person with a great military achievement, received a knight title, and awarded the Eresabel saber as one of the highest military awards for bravery in the Netherlands Kingdom, there are only a few artefacts or documents that could represent his story. Even in the Bronbeek Museum that prided itself as the central archive for preserving the Royal Dutch East Indische Army histories during the colonial era, its collection only presents Christoffel’s figure through several official military documents, old pictures, and his Eresabel.

Through the opportunities to have great discussions with Willy Durinx -Co-Curator “Collectie Christoffel” of Museum Aan De Stroom- who also allowed me to see some of his research, I learn many other interesting facts about Hans Christoffel based on information that preserved in a digital scan of several newspaper articles, few of Christoffel personal portrait picture, and buildings in around Antwerp and Kalmthout, Belgium.

The most interesting facts about Christoffel within his retirement days are well-preserved in an interview article within a newspaper called De Telegraaf that was published on 21 April 1940. It shows that he seems to try very hard changing his persona completely.

“I have done my duty in Indië, but nothing else. And it’s all so terribly long ago…”
…………
“Thirty years ago, I dropped a curtain about everything that had happened. I shook off all my time in the jungle, started a new life, thought about the past as little as possible, searched for and found peace.

(Christoffel, De Telegraaf, 21 April 1940)

 

“With the history where everybody else would be happy to boast about, Christoffel has completely broken with it. He has burned all things from his Indischen time, reports, letters, pictures….”

(Article Writer, De Telegraaf, 21 April 1940)

It appears that to cover his deeply rooted and emotionally related memories, he needs more effort than just alienating his past life by changing his daily activities with a totally different way of life. He also implants new thought that what he had done in the past was merely carrying out his duties as a soldier, no less and no more. Even though he has to complete the assignments using methods that considered to be vile and without mercy, he admits that “It was a messy job, but it has to be done”. Finally, to prevent his past life from being remembered, he burned all his personal notebooks, photographs, and various documents that could work as a  powerful stimulus to reenact the feelings and experiences of the past.

Compare to what Lifepatch learned from the Toba people in North Sumatra, they believe that memories of the past are very important things and must be always preserved as part of efforts to maintain their personal and community identities. Even though they no longer possess their own rightful heirloom and historical artefact because thousands of weapons, jewelry, textiles, and many other cultural objects had been taken from the battlefield, “donated under pressure” or just bought during the colonial era, the Toba people have their own way to preserve their history and delivering it to the next generations orally and culturally through storytelling, theatre, song or even dance.

Both of them appear to emphasize the fact that memory is an absolute necessity for the existence of history. At the same time, their memories manifested as a story that provides additional value to particular objects and makes them could be considered to be a treasure or a historical artefact. Even though memory constantly requires objects or maybe particular keywords to recalling it back in our mind, the past can still exist in people’s heads and nowhere else. Just like what I learn from Christoffel’s answers during the interview with De Telegraaf. His efforts to cover up the past and made it no longer able to be remembered might be considered successful. Can’t be denied, his action not only affecting him personally, but it also made his past very difficult to reunited and retold accurately by anyone else. At the same time, how the way he refused to answer the questions by changing the conversation subject into his current life story seems to have a tendency that actually Christoffel’s subconscious mind still stored some traces of his past even though it can’t be easy to remember. Those memories keep waiting as a non-figurative entity, haunting him with the possibility that it could reappear clearly in his mind when he encounters certain things or a particular object. It will be revealed in our mind as several major pieces of information in a form of illusory images, which are assembled sequentially by our thoughts into a story with its own reality as if a transparent ghostly figure.

The phantasmagoria values of memories brought me to have an interest in the idea of presenting Christoffel’s past story narrations in the form of a non-figurative entity instead of presenting various historical artefacts in their original physical form. All of the artefacts were scanned and processed digitally to generate a series of imaginary objects as materials to produce animated videos. Through those videos, I tried to anthropomorphize them as if they were alive and kept trying to tell Christoffel’s memories that still preserved until now.

The Hans Christoffel’s Historical Narration Videos on The Lucid Memories Installation
courtesy of Wisnu Wisdantio youtube.com channel

In the end, those animated videos will be presented with illusion techniques that were discovered around the 16th century and popularized by John Pepper around 1862 in the Phantasmagoria performances so-called “Pepper’s Ghost“ technique. It’s a version of visual effects using glass and light to produce a reflection of a person or an object to appear on-stage similar to a ghost or a hollow entity.

Besides bringing back Christoffel’s past in a form of memory as non-figurative entities, the installation of Lucid Memories is also used as a medium to raise several questions about the existence of historic artefacts that are usually taken from its original place and then will be valued, preserved, even presented as physical evidence to verify the truth of certain historical or cultural narratives within museums or other facilities. It’s closely related to the existence of various heritages and historical artefacts belong to the Toba people. Instead of being stored, cared for, and culturally became part of its rightful owner’s daily lives, many of these artefacts are stored and well-preserved in various museums abroad. Ironically, it becomes part of exhibitions to tell or represent historical narratives, which are actually just a small fragment of a bigger story.

Risen up by those questions, although many technological advances have been made in the field of visual technology, the Lucid Memories was built as a prototype of simple technology to convert a video became three-dimensional illusory images of particular artefacts to present historical or cultural narrations that can be shown in various places. Meanwhile, the artefacts in its physical form will always be protected and preserved in their original places.

 

Produced as part of “Power And Other Things: Indonesia & Art (1835 – Now)” Europalia Art Festival Indonesia 2017. Exhibited at the Palais des Beaux-Arts (BOZAR) in Brussels and Museum van Hedendaagse Kunst Antwerpen (M HKA) in Antwerp, Belgium.

Reference Site:
* Details of “Power And Other Things: Indonesia & Art (1835 – Now)” Europalia Art Festival Indonesia on Europalia Art Festival official website.
* Details of IN SITU: Lifepatch – The Tale Of Tiger And Lion Exhibition on M HKA (Antwerp) official website.
* Details of Tano Toba Saga Exhibition on Metropolism Magazine Online Feature official website.

Related Articles On Lifepatch Official Website:
* Detail of the first residency program of Lifepacth within the Europalia Art Festival 2017
* Detail of notes of Lifepatch research about Si Singamangaraja XII and other main figures that related to the Tapanoeli war 1907
* Detail of the second residency program of Lifepacth within the Europalia Art Festival 2017
* Detail of Lifepatch participation on the Europalia Art Festival 2017 Exhibition

Tano Toba Saga – “Power And Other Things: Indonesia And Art (1835-Now)” Europalia Art Festival Indonesia

The Design of Installation about the historical narrations complexity and contradiction of a small fragment within Toba Land long history during the colonial era that has been told or documented
(2017)
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The Tano Toba Saga installation or exhibition design was made for Lifepatch exhibition as part of the “Power And Other Things: Indonesia & Art (1835 – Now)” under the framework of Europalia Art Festival Indonesia in Palais des Beaux-Arts (BOZAR) – Brussels at 18 October 2017 until 21 January 2018, curated by Riksa Afiaty and Charles Esche. It’s a series of installations depicting the stories of two key figures and their relations within a small fragment of the North Sumatera long histories during the colonial era, which are the Swiss-Dutch soldier Hans Christoffel and the last king of Toba people called Sisingamangaraja XII.

The Tano Toba Saga project begins with an opportunity for Lifepatch to make brief research through various well-preserved Indonesian historical artefacts on the Museum Aan de Stroom (MAS) Antwerp. It possesses thousands of collections from the Nederlands Indisch colonization era to stretch out from weapons, jewelry, heirlooms, flags, documents and old photos that many of them were grants from Hans Christoffel private collection. since too many to show, some of them curated to presents the narrations about Sisingamangaraja XII and Toba people resistance towards the Dutch colonization in North Sumatra, along with the narration about Hans Christoffel who successfully ended the resistance during his services as the Koninklijk Nederlands Indisch Leger (KNIL) officer. At the same time, we also got an opportunity to learn about both of the two key figures from the artefacts collection on Bronbeek Museum at Arnhem, which is the Koninklijk Nederlands Indisch Leger (KNIL) main archive to keep their histories during the East Indies colonization era.

Witnessing thousands of artefacts include irreplaceable historical heirlooms that are directly related to the Sisingamangaraja XII and Toba People resistance being stored and valued to construct or verified historical narrations far from its origins, brought Lifepatch to conduct further research in various places at North Sumatra, such as Medan, Balige, Bakkara, Parlilitan, Pangururan, and many more places. During the exploration, we found that even though they didn’t possess their rightful historical heirlooms and being oppressed culturally and politically by the colonial government, the Toba people still believe and preserve their histories through generations. Slightly different from the structure of Western knowledge that history tends to conveyed in a linear fashion and facts are generally collected based on written sources and the existence of historical objects as physical proof, The history and knowledge in Indonesia is produce and delivered orally and culturally through storytelling, theatre, song or even dance. Sifting through those scattered materials in North Sumatra, we begin to gather fragments of stories based on the Toba people’s side of view about Sisingamangaraja XII, the people resistance against the Dutch, Hans Christoffel, the connection between colonialism and evangelism, and the myths that accompanied the Batak war stories.

Working with those artefacts, materials, and narrations, there are tendencies that the histories depicted and often articulated into several versions motivated by the perspective of ideology, politics, and even personal identity. It appears that the “truth” is slightly different between the conflict “winners” version and the Toba people version. However, instead of intending to summarize the long history of colonialism in North Sumatra and comparing each version to find the most proper version, Lifepatch presents the scattered historical fragments and its contrast attributes to bring up the complexity of history. Furthermore, driven by their pride as a collective-based community with collaboration and interdisciplinary between its members as their works’ core, The Tano Toba Saga presented by incorporating historical artwork installations and archival material, together with a major narration linking all the exhibits. As part of Lifepatch, I was given the challenge of designing an exhibition layout as a physical element to emphasize the Tano Toba Saga major narration. Besides that, I was also presenting the Hans Christoffel ghostly memories through an Installation called “The Lucid Memories“.

Drowning into the stream of history, I’ve been struggling to understand its complexity that seems always spinning and confusing similar to a maze or a labyrinth. Isn’t just motivated by its contradiction because of the “perspective of view”, the North Sumatra conflict is also a result of connectivity or causality between two or more linear progression line that each line has its own causality sequence, which is “this happened, and then that happened; that happened because this happened first”. Within this case, both Hans Christoffel and Sisingamangaraja XII as the two key figures have their own history line with totally different attributes, such as cultural background, political interest, and so on. Sisingamangaraja XII is the King and religious leader of Toba People who lived in North Sumatra. On the opposites, Hans Christoffel is a soldier who serves under the Koninklijk Nederlandsch-Indische Leger (Netherlands Royal Army) or KNIL. It’s a military force that formed to protect the Dutch interests when expanding their colonies territories and maintaining their colonial rule in the Dutch East Indies. However, driven by the Dutch Kingdom policies around the early 19th century to bring a conducive atmosphere for economical interest in the East Indische archipelago as their colonization region through unification and pacification, Hans Christoffel as part of the KNIL has to collide with Toba people resistance lead by Sisingamangaraja XII at a long-term war so-called the Tapanoeli War. It’s a conflict that occurred up to 29 years and ended after the death of Sisingamangaraja during his guerrilla resistance.

Talking about the key figures and their connections, there seems a tendency that the Causality as an orderly sequence of the “cause and effect” within a linear progression line plays a vital role in the Toba Saga exhibition layout design. Spatially, each key figure narrations described as like water stream that flows with opposite directions from a different entry point. The first stream focused on the narrations of Toba people before the Dutch arrival and afterward. The opposites stream presents the Hans Christoffel narrations as the Dutch and their policies colonization representation. Flows through the exhibition room edges, both of the narration streams collide and create swirling flows at the center that similar to the phenomenon of whirlpools as the conflict analogy. The whirlpool that continuously flows in circular direction flows seems to bring an effect that both of the cause and effect became overlapping each other and blurring the details of its individual narratives differences, make it easy to interpreted or defined differently from various perspectives.

Looking back on the entire research, it revealed that the Tapanoeli war and its complex attributes have a bigger contribution to work as an ambient background and affecting the whole process. Its complexity becomes the main reason for questioning the truth and brought us to learn every past narration before the conflict happens and what things that might be causing it. At the same time, it also drove our thought when trying to understand how the conflict plays its part either spiritually and physically forming the North Sumatra people’s way of life in the present. Through this, it reveals the idea that the Tapanoeli war has deeper values rather than only placed as physical historical archives to present stories about the great historical conflict in North Sumatra during the colonial era. It has an ability or function as a ghostly imagining that able to transcend time and space when describes the North Sumatra people’s identity and their way to talk about the past, present, and even the future.

Interested to represent the conflict unseen values as the ghostly imagining, I wanted to use the main vortex spatial design to carry the symbolism. The circular wall as the whirlpool accentuation engineered with a glass wall on the part that is directly facing the entrance, in order to bring the conflict vortex could be visually accessible from the entry door. The idea is to introduce the viewer to one of many conflicts during the colonial era in North Sumatra as the exhibition main issues and ignite their curiosity about it since they entered the exhibition room. Since it can’t be physically accessed directly, the viewer is forced to walk into the flow of the narration stream and learn the historical narration from a particular perspective before finally reach the inner vortex. Furthermore, when walking out from the vortex through the opposite stream, the viewer will get a chance to learn the other perspective as a comparison for the former knowledge they already earn or memorized.

Produced as part of “Power And Other Things: Indonesia & Art (1835 – Now)” Europalia Art Festival Indonesia.
Exhibited at the Palais des Beaux-Arts (BOZAR) of Brussels, Belgium.

Reference Site:
* Details of “Power And Other Things: Indonesia & Art (1835 – Now)” Europalia Art Festival Indonesia on Europalia Art Festival official website
* Details of Tano Toba Saga Exhibition on Metropolism Magazine Online Feature official website.
* Details of Tano Toba Saga Exhibition on Lifepatch official website.

Related Articles On Lifepatch Official Website:
* Detail of the first residency program of Lifepacth within the Europalia Art Festival 2017
* Detail of notes of Lifepatch research about Si Singamangaraja XII and other main figures that related to the Tapanoeli war 1907
* Detail of the second residency program of Lifepacth within the Europalia Art Festival 2017
* Detail of Lifepatch participation on the Europalia Art Festival 2017 Exhibition

The Climate Change And American Riad Projects

The Ghana Thinktank Residency Program On Climate Change And Environmental Issues Activism
(2017)
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Ghana Thinktank (GTT) is an international collective that “develops the first world” by flipping traditional power dynamics, allowing the “third world” to intervene in the lives of the people living in the so-called “developed” world. They collect problems from communities throughout the USA and European countries. After that, they send the problems to their collaborator the so-called Thinktanks group in “developing” communities to generate its solutions. Nowadays, in order to achieve their goal, The Ghana Thinktank made a cooperation network that spread from Ghana, Cuba, El Salvador, Meksiko, Iran, Serbia, Indonesia, Sudan, Maroko, until India.
The Ghana Thinktank residency program on 11 – 27 March 2017 as part of The GTT Climate Change Project, a long year project as a collaboration between Ghana Thinktank with Williams College Museum of Art (WCMA) in Williamstown – Massachusetts. Slightly different from the former GTT projects, this is the GTT’s first effort to develop their ongoing projects in different approaches. Within this project, GTT and WCMA forming a “Student Action Team” to collect questions and problems of Berkshire citizens as their responses towards the project’s main question, “How does Climate Change affect YOU?”. Those problems were then sent to Morocco and Indonesia Thinktanks group to generate its solutions, which were also being invited to the United States to help implement their solutions. Within the residency program, Lifepatch as the Indonesian Thinktank was represented by me, “Timbil” Agus Tri Budiarto and Agung “Geger” Firmanto. Meanwhile, the Moroccan ThinkTank was represented by Nadia Elaattar, Mariam Ait Oufkir, and Mehdi Ghinati.
The program itself divided became two main parts. The first half was located at the WCMA Rotunda as the site of Climate Change Project exhibition and the main workspace hub with the support of several Williams College facilities to conduct all activities focusing on the Thinktanks problem solution implementation in Williamstown.

Residency venues around Williams College – Williamstown


Problem Cards And The Thinktank Solutions

 

Implementation of the Thinktank solutions after being discussed thoroughly with Ghana Thinktank, WCMA, and Student Action Team was manifested in some form of activities, Such as B.Y.O.C (Bring Your Own Cup) and Drink From the same vessel in the GTT Reception at WCMA Rotunda, Workshops in Zhilkha Center For Environmental Initiatives and The Paresky Student Center at Williams College, “Labeling And Meal Of The Future” action, and Lifepatch – River and environmental monitoring project at Jogja River Project Presentation at WCMA Rotunda.

Residency activities at around Williamstown and Williams College

Besides that, there was a city public space intervention action as an implementation of the Thinktank solution about the driving habit in Williamstown.

To complete the solution from Morocco Thinktank group that suggested the Odometer intervention with a parking day (car-free day), I was promoted a cultural approach with “Mampir”, a Javanese culture habit that has tendencies to stop by, drift, come by, or pay a visit to a particular spot or doing a different activity on their way to reach their main destination. It’s a habit that makes the journey more meaningful rather than just reaching the destination in the fastest and most efficient way. Within this concept, there are several points so-called activities magnet that was chosen or made with different activities to attract people just to stop by and made different activities during their journey. The action that was held by the GTT, WCMA, and the student action team was made to intervene in the activities on Spring Street, the busiest commercial street in Williamstown.


Documentation of Parking Day/Odometer Freeze Action in Spring Street, Williamstown

Documentation of Parking Day/Odometer Freeze Action (Re-Capture from Facebook Live Video that was made by Nina Pelaez – Courtesy of Action Team, Ghana ThinkTank dan Williams College Museum Of Art)

The action itself also was documented and published in Berkshire local newspaper called Berkshire Eagle. The article itself also published on online news that could be accessed on www.berkshireeagle.com.
The last half of residency program was continued in Detroit city – Michigan and became part of the  “American Riad” Project, a collaboration project between Ghana ThinkTank with The North End Woodward Community Organization (NEWCO), Oakland Avenue Artist Coalition (OAAC), North End – Oakland Avenue citizens and many more groups or organizations. Within the project, GTT formed a partnership with a think tank in Morocco to rebuild this corner through arts and culture focusing to rebuild the tradition at Oakland Avenue that rich with cultural history and the Black Arts that was hit by a huge wave of gentrification. This collaboration is conducted to formulate and design an affordable residential community model based on the richness of local art and culture, namely by composing an open space as a binder between three separate buildings into one unified territory and each building has interrelated functions, namely settlement and small business units.
Site for the American Riad – the vacant lot will become a courtyard linking homes and businesses
Within the American Riad Project on the residency program, Lifepatch took a role to make a simple water filtration system as rainwater catchment system support.  Its one of the solutions for the water resources problem since the freshwater utility on the site had been cut off when the huge wave of gentrification happened at the North-End district. Besides of making the water filtration, Lifepatch also conducting small public workshops about how to make the simple water filtration with the citizens on around the American Riad neighborhood and also with people on the Affirming Love Ministries (ALM) Church.

Water Filtration Public Workshops


The making of Water Filtration System at American Riad community house

The other related links and news
The Climate Change Project on the Ghana Thinktank Oficial Website
– The American Riad Project on the Ghana Thinktank Oficial Website
The Collaboration of Ghana Thinktank and WCMA on the William College Museum of Art (WCMA) Official Website
The Presentasi ThinSlice Climate Change / River Project on Williams College Museum Of Art Official Website
– The PARKing Day with Ghana ThinkTank on the William College Museum of Art (WCMA) Official Website

Published On Local Newspaper:
– Artikel Williams College Museum of Art, students work to revive Detroit neighborhood with art Dalam The Berkshire Eagle
– Artikel Williams students turn parking spaces into ‘parks’ to call attention to climate change Dalam The Berkshire Eagle

 

Rumah Dan Halaman (House and courtyard)

The Design of Installation about the collective community organic space based on compromisation and collaboration activities
(2016)
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The Collaboration Projects “Media Conscious” in Asia: Lifepatch ‘Rumah and Halaman’ is activities and installation exhibition at the end 2016 until early 2017 organized by Japan Foundation Asia Center and NTT InterCommunication Center [ICC] and held at ICC Gallery B5, Tokyo Opera City Tower, Shinjuku-ku, Tokyo. Within this project, The ideas of the installation and exhibition design were to talk about The Lifepatch and all its works as a collective that formed in 2012 in Yogyakarta – Indonesia. The things that closely related to all my experiences as a member of The Lifepatch.

icc-panorama-v-02b
The Exhibition Installation of Collaboration Project ‘‘Media Conscious in Asia”: Lifepatch ‘Rumah dan Halaman’

The Lifepatch is a collective community-based that has members with diverse interests and educational backgrounds, such as scientists, programmers, designers, artists, and curators. Since formed in Yogyakarta in 2012, they established a small house as their main place for works, conducts collaborative activities, and develops socially engaged projects related to art, science, and technology based on Do-It-Yourself (DIY) and Do-It-With-Others (DIWO) ethos. The place itself became an important space as a hub for individuals and communities to interact cooperatively through mutual learning, discussion, and meeting.

“Rumah” is an Indonesian word for the house. However, most people in Indonesia include Lifepatch, and many collective communities or organizations who use House as their main space aren’t describing the house as just a type of permanent physical structure with a particular function as a shelter or a Residential Building. There are several attributes that defining it as a “home”, such as self-consciousness, sense of belonging, histories, and a place where the dwellers practicing various ideas of better living concepts through simple hacking as an effort to survive.

When examining thoroughly to presents the works and all activities of Lifepatch, there seems to be a tendency to put The Rumah as The main space to work and interact cooperatively with individuals and communities. As a space of collective community-based, Rumah of Lifepatch also represents its dweller’s strategy as a collective when practicing their methods of dwelling in a place where private and public as place values and function can be connected or separated. The first part that also being called “Rumah” is the main area with private value and protected by a particular structure of a building. Basically, Rumah is the representative of its dweller’s internal affairs, which is an organic space that always growing and slightly changing based on the dweller’s effort to organize, compromise, and collaborate with each other to meet all their basic needs, interests, and activities. The second part called the “Halaman” or the courtyard. This part is a transition space provided by the Rumah dwellers to make both of connector and barriers between the concept of private and public. As a connector, the Halaman Rumah is a place for the dweller to meet every external aspect of the Rumah. Contrary, Halaman also became barriers that provide by the Rumah dwellers to protect their private area and all of its internal aspect.

However, talking about The Rumah of Lifepatch as a space for collective community-based, there seems to be a tendency that the Rumah is not just a mere physical structure with a particular function, but as an organic space that lives and slightly changing when projecting the dweller lives and activities. Meanwhile, as a form of a dialogue, it provides a creative environment within its spaces for its dweller to conduct creative activities through the works and interaction between the collective member and other community.

The Rumah Dan Halaman (House and courtyard) installation were designed based on those concepts as the reimagination of Lifepatch space with all of its activities and brought it all into an art gallery space as part of The Collaboration Projects “Media Conscious” in Asia between Lifepatch, Japan Foundation Asia Center and NTT InterCommunication Center [ICC].

 

Reference Site:
* Details of Collaboration Project ‘‘Media Conscious in Asia”: Lifepatch ‘Rumah dan Halaman’ Exhibition on Lifepatch official website
* Details of Collaboration Project ‘‘Media Conscious in Asia”: Lifepatch ‘Rumah dan Halaman’ on NTT InterCommunication Center [ICC] official website
* Details of Collaboration Project ‘‘Media Conscious in Asia”: Lifepatch ‘Rumah dan Halaman’ on Japan Foundation Asia Center official website

Go-Circle

The 360-Degree Panohead Prototype as the Do-It-Yourself (DIY) Photography tool
(2016)
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Go-Circle is a prototype of The Do-It-Yourself (DIY) 360-Degree Panohead developed by “Wawies” Wisnu Wisdantio [Lifepatch] and Stefanus Kushartanto [St. Joseph – The Carpenter]. Produced limited as a kit for Workshop – GoCircle: How To Make DIY 360-Degree Picture in ICC Gallery, Tokyo, November 13rd, 2016. Also displayed in The Collaboration Project ‘‘Media Conscious in Asia” : Lifepatch ‘Rumah dan Halaman’, which is an exhibition organised by Japan Foundation Asia Center and NTT InterCommunication Center (ICC) at ICC Gallery B5, Tokyo Opera City Tower, Shinjuku-ku, Tokyo.

The 360-degree picture is a spherical image that recording the photographer surrounding areas in only one image. Nowadays, it’s become very popular and easy to create by everyone only with the help of a particular app on a Smartphone or PDA. Before it became very popular, The 360-degree picture is very hard to make and need complicated process, especially when using a Pocket camera, Digital Camera, or an analog camera. Basically, producing a 360-degree picture only need to make serial pictures about 45-50 pictures from each spot location and then stitching all together. However, the tricky part is maintaining the point of view in exact same spot. If not, there will be a parallax between each picture point of view and made the serial picture very hard to be stitched each other. In order to reduce the parallax point, there is a particular tool as camera’s tripod addition called The Panohead that have to attach between camera and tripod. More than that, the photography tools tends to be very expensive and made not many people could afford or use it.

The rivers in Jogjakarta have significant historical, economic, and social importance. However, not many people in this city aware of those rivers’ importance. It’s only known as the backyard of the city, neglected, and rarely touched.

Triggered by the curiosity of some people who never visited those rivers, a walking trip through the river banks became an embryo of a long-term river environmental monitoring project called Jogja River Project that conducted by Lifepatch.id since 2012, with the idea to share all the knowledge that they found from the river as an open-source knowledge which can be easily understood by everyone. Part of it is making interactive documentation through 360-degree pictures that took from the river center in order to make anyone who saw it can feel how it’s like when they are in the middle of the river.

Facing a situation when the photographic equipment is expensive objects, brought me as a member of Lifepatch to make an experiment of making our own Panohead Tool, which is much cheaper and affordable. From 2013, the research conducted on a “trial and error” process based on the development of my knowledge that influenced by various sources, which is made me collecting several designs as results of the research that still evolving. The most recent design is made with an adjustment mechanism so it can be used with different types of cameras and tripods.


Undeniable, most people still thinking of making a 360-degree Panohead and a 360-degree picture still remains an activity that is not easy to do. Basically, the essential idea of making the Do-It-Yourself (DIY) photography tool is trying to decrease the gap between technology and its users through examination, exploration, research, and development. Within the Do-It-Yourself (DIY) ethos is a practice in order to stimulate new systems and styles of living and working that develop out of the creative process of individuals.

Beside of becoming part of The river monitoring project, The DIY 360-degree Panohead are also introduced to various community and children in schools as an educational project. The design and schematic of the DIY 360-degree Panohead are open sources and available at the public online with a creative commons license. Within  The Collaboration Project ‘‘Media Conscious in Asia”: Lifepatch ‘Rumah dan Halaman’, The DIY 360-degree Panohead was produced as a workshop kit on Workshop – GoCircle: How To Make DIY 360-Degree Picture in ICC Gallery, Tokyo, November 13rd, 2016.

Reference Site:
* Detail of The DIY 360-degree Panohead Research Documentation
* Details of the workshop and The description of Collaboration Project ‘‘Media Conscious in Asia”: Lifepatch ‘Rumah dan Halaman’ on lifepatch.org
* Collaboration Project ‘‘Media Conscious in Asia”: Lifepatch ‘Rumah dan Halaman’ on NTT Inter Communication Center [ICC] official website

360-degree panorama pictures of Lifepatch: Jogja River Project [JRP]

Interdisciplinary collaboration of environment monitoring at Jogja River Project
(2013 – Present)
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Jogja River Project (JRP) is a serial interdisciplinary collaboration project between various communities in Yogyakarta. Sincerely, during the first project that was held on 2011, JRP was an exploration expedition on the Yogyakarta river bank that widely open for everyone who willingly to join and open share all the data during the exploration.

My first contribution to this project was on the third exploration trip on Gajahwong River, 20 May 2012, which was joined as the representative from The Landscape Indonesia community. From that exploration itself, I made a travel journal photo story and published as a short article on the www.landscapeindonesia.com with a title as “Menelusuri Sungai Gajahwong Yogyakarta dalam Jogja River Project #3” (Exploring the Yogyakarta Gajahwong river at Jogja River Project #3).

In 2013, Jogja River Project developed as a bigger project with 4 main activities, such as The development of Bio-Electronic Laboratorium at the house of Lifepatch, making serial workshops about water sampling and visual documentation of the river environment, research activities through documentation and water sampling of Code river, and collaboration activities with various communities in Yogyakarta on Gajahwong river. Besides that, JRP also becomes part of Bio Design for the Real World program. A collaboration project between Lifepatch, various communities in Yogyakarta, Microbiology Department of  Gadjah Mada Yogyakarta University (UGM), EPFL Switzerland and Shrishti School of Art, Design, and Technology, India. The main idea of The Jogja River Project and The documentation of Jogja River Project 2013 process itself had been described very detailed on Lifepatch Website.

Within this big collaboration, I joined as a member of the visual documentation team and working with Joan Prahara Bumi. In order to record The river environment condition as information that easy to understand, we made a 360-degree panoramic picture on every water sampling location. To support the process, we made a small research to build a simple extension tool for our tripod, which is a homemade panoramic head that only costs approximately $1. Although still need enhancement, the tool itself that we called as The DIY 360-Degree Panohead V.01 is already quite useful to support the process of environmental monitoring documentation.

The river environment condition documentation itself is conducted in about 20 locations that spread along the Code River, which are still in the administrative territory of Yogyakarta city.

Moreover, within the process, we produced raw pictures as material that usually about 45-50 pictures from each spot location. From this point, all of those pictures became part and stitching all together and made the 360-degree picture.

jrp_2016_360_proses_01
The serial photos as the environmental documentation in each location that was previewed with Adobe Photoshop CS6

Within the process of 360-degree panoramic picture-making, the documentation team also make a collaboration with Budi Prakosa, Lifepatch member who is a programmer. In his hand, all the material pictures stitch together with PTGui, a panoramic stitching software that originally developed as a Graphical User Interface for Panorama Tools.

After that, all the 360-degree panoramic photos combined with all the data of river monitoring became part of an interactive map of the Code River environmental monitoring. The map itself made as an online platform database with free and open-source software (LGPL) for information collection, visualization, and interactive mapping that is developed by a non-profit software company called Ushahidi, Inc.

Map Interactive

mapslifepatch.org from lifepatch on Youtube.com, a video that was made by Adhari Donora about user interaction with the Lifepatch Jogja River Project map.

In 2014, the project continues until nowadays. Within the process of the Jogja River Project 2014, the location of the water sampling and documentation process is increasing became 27 locations, which is conducted to make better documentation and wider data.

jrp-2014-spot

Meanwhile, to support the documentation process with better equipment that still cheap and affordable, we start to develop the second version of DIY Panohead that based on information from free source knowledge at PanoTools.org Wiki. With the DIY Panohead V.02 that only cost about 20$, the 360-degree documentation process conducts again at the same spot. Review of the DIY Panohead V.02 design process itself already documented on the 360-degree Panohead page.

The Lifepatch documentation of Jogja River Project 2016 by Adhari Donora

 

Related Article:
-“Menelusuri Sungai Gajahwong Yogyakarta dalam Jogja River Project #3
– 360-degree Panohead design process

Published On Local Newspaper:
TEKNIK FOTOGRAFI: TANTANGAN SERU PANORAMA 360 DERAJAT“.
The article that published in a daily local newspaper called Harian Jogja and Solopos on August 27, 2015. The article was written by Gilang Jiwana [Redaksi@jibinews.co]

Reference and Link External:
– Detail and description of Jogja River Project – lifepatch.org
– Detail and description of Jogja River Project 2013 – lifepatch.org
– Bio Design for the Real World  – EPFL + (Art)ScienceBLR +Lifepatch