The Aesthetic Usage Response of Baju Kurung in Palembang City Government Tourism Office in Emphasizing Regional Identity

BajuKurung is a traditional dress of the Malay community in several countries namely Malaysia, Indonesia, Brunei Darussalam, and southern Thailand. The traditional clothes worn by Palembang women including in the form of bajukurung. In the development era of bajukurung replaced by modern clothes. The modification of bajukurung is now made according to the tastes of customers with a variety of shapes and accessories. This study aims to analyze the aesthetic response to the rules of wearing Palembang's traditional clothing in service in the form of patterns, motifs, textures, and colors of clothes worn by employees. Through this interdisciplinary approach by using qualitative method. The data is presented in the descriptive form. The object of study was the employee's bajukurung in Palembang Government Tourism office. The research data sources are primary and secondary data. The data collection techniques are conducted by observation, interview, and document study. The analysis procedure is conducted by data reduction, data presentation, and data verification. The analysis was conducted with the aesthetic formalism theory, the validity of the data by triangulation of data sources. The results showed that the aesthetic response of the employees was expressed through patterns, motifs, colors, and textures of the bajukurung material that were modified with the addition of beads, sequins, and ribbons. The aesthetic response of the user to the style modification of the kurung displays the beauty of clothes but does not eliminate the original form. Modifications to the clothes do not interferethe activities of the employees while working.

Disenso, resistencia y dialogismo: sobre el ensayo de Juan Benet como puente entre la república y la democracia actual

El trabajo plantea la relevancia de la ensayística y la producción literaria de Juan Benet (1927-1993) como disenso y resistencia ante la pobreza intelectual en la España de la postguerra. Si bien hay autores que consideran su formalismo estetizante como elitista y alejada de la realidad social, pretendemos mostrar cómo esta postura constituye una ética de disenso y resistencia con respecto al poder fáctico y una continuidad con la riqueza y pluralidad cultural bajo la República. Se argumenta que el método primordial usado por el autor es el dialogismo, constituyendo el texto una especie de campo de batalla de ideas en oposición y en continua lucha. Finalmente, el pensamiento crítico de Benet sirve igualmente de puente en la construcción democrática del país en los años setenta, pero es vista también como de gran actualidad en la crisis de valores del mundo actual. The work raises the relevance of the essay and literary production of Juan Benet (1927-1993) as dissent and resistance to intellectual poverty in post-war Spain. Although there are authors who consider their aesthetic formalism as elitist and far from social reality, we intend to show how this position constitutes an ethic of dissensus and resistance with respect to the factual power and a continuity with the richness and cultural plurality under the previous Republic. It is argued that the primary method used by the author is dialogism, the text constituting a kind of battleground of ideas in opposition and in continuous struggle. Finally, Benet’s critical thinking also serves as a bridge in the democratic construction of the country in the 1970s, but it is also seen as very topical in the crisis of values ​​in today’s world.

Peter Eisenman and the possibility of an aesthetic formalism

Formal considerations constitute the core aspect of Peter Eisenman's work. Arguably, they are the only consistent theme of his work, and are based on the concept that architecture is a mediation between the embodied internal world of human beings and the external physical world which we inhabit. Eisenman thus gives form a 'conceptual' rather than perceptual basis, whereby universal formal relationships are more important than sensual aspects. This leaves architecture as a syntactic operation based on reason and logic, with apparent formal relationships as is its main justification. The understanding and development of an inherent formal language becomes the main goal in such an approach, and meaning is disregarded in its extrinsic character with a reference to social, historical or other representational traits. In this paper I am discussing Eisenman's views on architectural formalism through the scope of aesthetics. Since he disregarded aesthetic considerations throughout his career, especially beauty, it is fruitful to explore and examine his stance on the properties of architecture as a way to justify his claims of formal primacy. I am basing my analysis on Nick Zangwill's formalist theories, and thus giving primacy to the formal-spatial properties of the architectural object as being judged by the human subject. This could bring back the discussions of formalist aesthetics to architectural theory and makes the judgment of architectural quality a formal issue.

Kubrick, Stanley (1928–1999)

Stanley Kubrick (b. 26 July 1928, Bronx, New York, US; d. 7 March 1999, St Albans, England) was a key late-modernist American director renowned for his creative use of cinematic elements, a bold approach to the human subject’s existential dilemmas, and a controversial tendency towards grotesque subject matter. Even though the themes and cinematic styles vary greatly throughout Kubrick’s oeuvre, the human relationship with technology and government, the individual’s traumatic response to sexual and societal norms, and the mass conditions in the wake of war and violence capture the gist of his philosophical focus on the limitations of modernity. Kubrick’s films fall into the modernist tradition of aesthetic formalism. In the science fiction 2001: A Space Odyssey (1968), he effectively uses the Eisensteinian techniques of rhythmic, tonal and intellectual montage to comment on technological teleology, human enlightenment, and the origin of violence. Kubrick established his early reputation with the noir The Killing (1956), and the World War I drama Paths of Glory (1957). The adaptations Lolita (1962) and A Clockwork Orange (1971) brought him worldwide success and acclaim. Later in his career, the psychological thriller The Shining (1987) and the Vietnam film Full Metal Jacket (1987) cemented his status as a fierce yet highly controversial critic of modern society, human nature, and the capitalistic machines of war and patriarchy.