Less than a year after the end of authoritarian rule in 1998, huge images of Jesus Christ and other Christian scenes proliferated on walls and billboards around a provincial town in eastern Indonesia where conflict had arisen between Muslims and Christians. A manifestation of the extreme perception that emerged amid uncertainty and the challenge to seeing brought on by urban warfare, the street paintings erected by Protestant motorbike-taxi drivers signaled a radical departure from the aniconic tradition of the old colonial church, a desire to be seen and recognized by political authorities from Jakarta to the UN and European Union, an aim to reinstate the Christian look of a city in the face of the country’s widespread islamicization, and an opening to a more intimate relationship to the divine through the bringing-into-vision of the Christian god. Stridently assertive, these affectively charged mediations of religion, masculinity, Christian privilege and subjectivity are among the myriad ephemera of war, from rumors, graffiti, incendiary pamphlets, and Video CDs, to Peace Provocateur text-messages and children’s reconciliation drawings. Orphaned Landscapes theorizes the production of monumental street art and other visual media as part of a wider work on appearance in which ordinary people, wittingly or unwittingly, refigure the aesthetic forms and sensory environment of their urban surroundings. The book offers a rich, nuanced account of a place in crisis, while also showing how the work on appearance, far from epiphenomenal, is inherent to sociopolitical change. Whether considering the emergence and disappearance of street art or the atmospherics and fog of war, Spyer demonstrates the importance of an attunement to elusive, ephemeral phenomena for their palpable and varying effects in the world. Orphaned Landscapes: Violence, Visuality, and Appearance in Indonesia is available from the publisher on an open-access basis.
This book examines the proliferation of monumental Christian street art in a Muslim/Christian conflict to show how ephemeral phenomena are inherent to sociopolitical change.
And here, there is no doubt that we are faced with an orphaned animator. It has to be emphasised that all signs in a linguistic landscape have the potential to be orphaned. Certainly some signs may be more easily moved or dislodged than ...
One of the main instigators of the recent work, Mike Parker Pearson, working with a Madagascan colleague, Ramilisonina, has attempted to create some structure around interpretations of the broader Stonehenge landscape, taking initial ...
This is the general subject matter of my book in progress–Orphaned Landscapes: Violence, Visuality, and the Work of Appearances in Post-Authoritarian Indonesia. For an exploration of different aspects thereof see my articles 10. 11.
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The unfolding story is both revealing and touching. Over time slivers of buried history surfaced into the mainstream of my thinking. An orphan’s journey is revealed transforming the story into enlightened self-discovery.
11 Jennifer Jenkins, Provincial Modernity: Local Culture and Liberal Politics in Fin- de-Siècle Hamburg (Ithaca and London, 2003). 12 T.J. Clark, The Painting of Modern Life: Paris in the Art of Manet and His Followers (Princeton, ...
Orphaned space as a way to place solutions to reterritorialization In contrast to hegemonic systems of water ... We blindly accept that changes to the landscape benefit 'humans' when in actuality those changes do not benefit all humans.
However, McGilchrist suggests that the conclusion of McCarthy's Border Trilogy, upon which her arguments regarding McCarthy are largely based, offers a gleam of hope in its final conclusion of acceptance of the feminine.
Her plays spell # 7,55 A Photograph : Lovers In Motion , and Boogie Woogie Landscape , which have been published in Three Pieces ( 1981 ) ... Boogie Woogie Landscapes , the last of the three pieces , mixes surrealism and expressionism .