☰ | KR
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sojin
kwak
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gyeol ko
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gesyada
siregar
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bob
edrian
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eugene
hannah
park
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hybridhope
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notoracl3
This work seems to be a projection of individual perceptions in experiencing screens and isolating digital objects. notoracl3 also triggers the imagination of the dissolution of time and space in the game world. Games on screens, however, always have the potential to make people think that their bodies have moved into the reality of the screen. Therefore, changes in behavior and ways of thinking cannot be stopped when entering the digital era in the growth and development of internet culture. notoracl3 is an intermediate space that bridges questions related to what changes in people's daily lives when interacting with the virtual world.
Sound credit: Liquid Entertainment
Shamanic Practice in the Arts:
A Study of Lintang Radittya and Monica Hapsari Artistic Trajectory
By Bob Edrian
Comprising 38 provinces spread across more than 17,000 islands, Indonesia is an archipelago rich in diverse traditions and local cultures. Among these are traditions and cultures closely tied to shamanism, mysticism, occultism, and esoteric knowledge. In exploring the diversity of shamanistic culture in the Nusantara (read: Indonesia), artistic practices often intersect with or intentionally incorporate various beliefs, rituals, and local traditions into many artistic expressions, introducing new ways of perceiving Nusantara culture. This intersection serves as the focal point for delving into the relationship between shamanism and technology within the framework of art, particularly in media art.
In a 2018 exhibition titled Soemardja Sound Art Project held at Galeri Soemardja, Institut Teknologi Bandung, Lintang Radittya presented a work entitled PROPHECY-PREDICTION: PRO-DICTION, inspired by the prophecies of Jayabaya, a 12th-century king of the Kediri Kingdom in Central Java. Through this piece, Lintang utilized sound elements, particularly noise, to highlight prophecies that would come true based on audience interaction. Jayabaya is renowned as a king who prophesied an era of calamities that would eventually lead to the golden age of the Nusantara, heralded by the arrival of the Ratu Adil or the "Hidden Knight" (Satria Piningit).
During this period of his artistic career, Lintang was developing his concept of Java-Futurism, which seeks to examine the past through sound experimentation and activism to uncover visions of the future. Lintang Radittya is a multidisciplinary artist and instrument builder based in Yogyakarta. His works often explore the relationship between metaphysics, noise/sound, and speculative ideas about the future.
A year later, Lintang was unexpectedly reached out to by an artist named Monica Hapsari. Monica, who was involved in the second edition of the international media art festival Instrumenta #2: Machine/Magic, planned to be held at the National Gallery of Indonesia, sought Lintang's assistance in creating an installation based on cymatics—a study of wave and frequency phenomena that can influence the mental, emotional, and spiritual states of human beings. This sudden and swift collaboration between Monica Hapsari and Lintang Radittya resulted in a work titled Kechari, which was exhibited in 2019.
The Kechari installation is a work that not only explores sound through specific frequencies but also incorporates chants recited or sung by Monica. Monica Hapsari is an artist based in Tangerang, Banten. Her artistic practice and research focus on various spiritual traditions and local wisdom of the Nusantara, presented through visual and sound installation formats. In a performance held in 2021 at NuArt Sculpture Park in Bandung, West Java, Monica presented a series of compositions that combined vocal breathing techniques with sounds based on local traditional and digital instrumentation. The performance emphasized the concept of purification and offering for those who had passed away (the work was showcased during the early stages of the COVID-19 pandemic) by merging spiritual and technological ideas.
Monica Hapsari Performance in 2021
Monica revisited her artistic practice in performance format, emphasizing offerings for departed souls and ancestors, during the 2023 artina.Sarinah: Matrajiva event at the Sarinah Thamrin Building, Central Jakarta. This time, the performance accompanied her installation piece titled Pitarah (Ancestors). Through this work, Monica explored the historical legacy of the Megalithic period at the Watu Kelir site in the Dieng Temple Complex and Batu Goong in Cigadung Village, Pandeglang, Banten.
In the historical narrative of the Megalithic era, humans were said to have mastered working with large stones and hard soil. This period left cultural traces in the form of the placement of large stones in circular formations, known as the temu gelang or concentric stone circles. Monica studied how sound traditions and rituals conducted within these megalithic formations were believed to function as a metaphysical bridge connecting the living with ancestors or loved ones who had passed away. Monica dedicated this work specifically to her late mother, Sapartinah Abdurrachman.
In the same exhibition, Lintang Radittya presented his work titled Theorama Pedophony: Meru Swara. This piece featured two sound installations utilizing soil samples from two mountains in Central Java, particularly around Yogyakarta: Mount Merapi and Nglanggeran (Semilir). These two mountains embody numerous narratives about the coexistence of humanity and nature. This connection is also linked to the soil as a material, which, in Islamic belief, is considered the primary element in the creation of humans. Another layer of storytelling within this installation is the cosmological axis involving Mount Merapi, the Yogyakarta Palace (Keraton Yogyakarta), and the Southern Sea (Laut Selatan), illustrating the interconnectedness of these sacred sites.
The concept of cosmological axis shaping the spiritual values of Yogyakarta’s society became a further area of exploration in the Hybrid Hope research initiative, which invited Lintang Radittya as one of the speakers for an online workshop. This workshop explored how natural architecture and objects can evoke ideas related to spirituality and belief in metaphysical forces. Drawing from his work Theorama Pedophony: Meru Swara, Lintang discussed how specific sites and geographical locations have the potential to inspire practices of shamanism, which eventually grow into traditions and rituals.
Intersecting with Lintang Radittya’s workshop, which was rooted in his artistic trajectory, Hybrid Hope also invited Monica Hapsari to host a workshop located at Namarina Dance Academy in South Jakarta. Monica’s workshop focused on the involvement of the body in generating spiritual imagery and energy. In her session, she introduced a breathing method designed to create energy capable of activating physical objects. This activity aligned with her artwork Pitarah (Leluhur), which incorporates meditation as a form of bodily practice and an effort to communicate with ancestors.
In both Monica Hapsari and Lintang Radittya workshops, they explored historical legacies, rituals, and traditions that have been preserved and revitalized by artists and creative practitioners. This demonstrates how artistic practices evolve in tandem with the development of tradition and technology. Media art serves as a bridge to reexamine how local traditions and beliefs can collaborate with technological advancements.
Prior to these workshops, Lintang and Monica collaborated on an artwork for the Media Art Community Festival (Festival Komunitas Seni Media) held at Fort Rotterdam, Makassar, South Sulawesi. Both artists participated in a residency in Sinrijala village to explore the myth of the white crocodile named Sinrijala. This research and residency resulted in an installation and performance created in collaboration with the residents of Manggarabombang at the Tallo River estuary, titled TENGARA. Together with the local community, Lintang Radittya and Monica Hapsari delved into the myth of the white crocodile in relation to environmental imbalances. This myth is regarded as a sign or Early Warning System (EWS) developed in the past to ensure the survival of the communities living along the Tallo River.
The concepts of shamanism and technology are reflected to some extent in the artistic practices of Lintang Radittya and Monica Hapsari. Both share an interest in exploring history and myths within the framework of contemporary technological advancements. History, myths, folklore, as well as ideas of occultism, shamanism, and mystical objects need to be understood further by examining their geographical context and societal conditions.
Lintang and Monica approach their artistic practices not merely by extracting the attractive appeal of a myth or historical narrative but by comprehending these myths and histories as learning points for understanding the context of humanity and spirituality in the present day.
Collecting Future Stories with Chen Yanxiang
Embark on a Journey Through Time with Chen Yanxiang
"Greetings, esteemed traveler.
I am Chen Yan Xiang, a traveler of seas and skies, a seeker of knowledge, and a bridge between distant lands. Born in the flourishing Majapahit Kingdom, I have ventured far from Java’s shores to lands beyond my ancestors’ imagining. In Korea, I served as a diplomat and Assistant-Director in the Office of Astronomy and Geomancy, guiding their understanding of the heavens and their connection to the earth.
In my time, I am known not only as a merchant and diplomat but also as a seeker of the unseen—one who divines the patterns of the stars and the whispers of the earth. My journeys are not merely voyages of trade or diplomacy but quests to uncover the deeper truths that bind us across lands and ages. Through my talent for geomancy and divination, I have learned that objects, like the talismans of my homeland or the sacred trees of Joseon, hold within them stories of the past and signs of the future. These objects are not merely possessions but symbols of hope, power, and connection.
In Java, we speak of jiwa kethok, the belief that every object possesses a visible soul, a spirit that reveals itself to those attuned to its essence. A talisman may carry the blessing of ancestors, a carved statue may hold the wisdom of its craftsman, and even a humble rice bowl can embody the gratitude of the harvest. In the Joseon, this intertwining of the physical and the spiritual is called docham: the search for the signs (do) and the prophecy (cham) of what is to come. This wisdom has guided kings, navigators, and sages through times of uncertainty, offering both clarity and purpose. It is a reflection of our need to find meaning amid upheaval, to transform anxiety into action and mystery into understanding. Rituals of honoring ancestors, invoking spirits through offerings, and carrying talismans embody this tradition, connecting the tangible with the intangible.
Yet I marvel at your era, where objects no longer exist solely in the material world. You now hold creations that dwell in the realm of the invisible—artifacts of light and thought, encoded within the vast expanse you call the 'internet.' These non-physical objects, though intangible, possess a presence akin to the spiritual essence of talismans. They are vessels of memory and intention, revealing that humanity, even in its most advanced state, remains tethered to the desire to own, to create, and to preserve.
The exchange of ideas fascinates me most. In every land I visit, I study their tools, arts, and objects of power—each a fragment of their culture’s soul. A fragrant sapanwood carving speaks of its origin in the tropics, while a polished jade mirror reflects the balance of the Chinese Dao. From the spices of Java to the ornate silks of Korea, every object tells a tale of its maker, its purpose, and its dreams.
Now, I stand before you—a traveler not only of seas but of time. I have glimpsed your era through the lens of destiny, and I marvel at the objects of your age. You hold artifacts that surpass even the wildest imaginings of my time. I ask of you: show me one object that embodies your world, something you cherish deeply—be it a talisman of tradition or a marvel of technology.
As I listen, I shall draw upon the guidance of the Nanyang seas, the teachings of Javanese Primbon, and the cosmic knowledge of Joseon to weave this artifact into my tales. I will return to my time and share its story as a symbol of a future where objects—whether material or virtual—continue to shape the destiny of humanity. Through this, I hope to inspire my people to imagine a future of endless possibilities, where the magic of objects transcends time and space.
Your Name:
Your Astrology Sign:
Name of Your Choosen Object:
The Object Magical Power:
Why is this object important to you?
Why do people from Joseon and Majapahit era might find it interesting?
***
**Chen Yan Xiang bows gracefully to you, his hands clasped in a gesture of deep respect. His voice is steady, carrying the weight of gratitude and wonder.**
"My sincerest thanks to you, wise storytellers of the future. Through your words and the treasures you have shared, I have glimpsed a world far beyond the horizon of my time—a world where the spirit of humanity continues to thrive, shaping objects of wonder and meaning.
I shall carry these stories back to my people, weaving them into tales of inspiration and hope. You have shown me that even across the vast expanse of time, we are bound by our shared curiosity, our reverence for the unseen, and our unyielding quest to make sense of the cosmos.
May your world continue to create, to dream, and to leave its mark on the stars. From the depths of my heart, I thank you, and I bid you farewell, until our paths cross once more in the eternal dance of time.
Chen Yan Xiang
Merchant, Diplomat, and Seeker of Truth
Envoy of the Majapahit Kingdom
Assistant-Director of the Office of Astronomy and Geomancy, Joseon Dynasty
—
Appendix:
**Disclaimer:**
This content is inspired by the historical narrative of Chen Yanxiang, a Java-based Chinese merchant and Assistant-Director in the Office of Astronomy and Geomancy during the Joseon Dynasty. This text and accompanying content, including the painting, are generated by an AI and are intended for creative and illustrative purposes. The depiction of Chen Yan Xiang is a fictional representation created for storytelling and artistic exploration, not a factual historical account. The text is also inspired by research and workshop materials done in the Hybrid Hope field trip research, which explores cultural exchange, objects, and spiritual beliefs across different times and regions. Additionally, this is a creative approach using AI as a tool for pseudo-retrocognition, imagining and exploring what may have happened in the past through the lens of modern technology and artistic interpretation.
Citation:
Cho, H.-G. (2006). *Siamese-Korean Relations in the Late Fourteenth Century*. *Journal of the Siam Society, 94*, 9-25.
Santoso, C. J. (2023). *Existence of Chen Yan Xiang: Merchant, Diplomat, and Diaspora*. *Patrawidya, 24*(2), December 2023.
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