Curated by Tiago de Abreu Pinto

June 8 – July 1, 2021

Fyerool Darma

A Pantoum: Overwrite ‘A Famous Pantun’, 2020-2021

9:16 format, 4 minutes 7 seconds, high definition, in colour, with sound (Stereo), 2020 – 2021. Sound arranged by berukera with vocal support by bint*ang786. Avatar support by ToNewEntities

Chapter 5

Wonderstruck
2 months ago

am I seeing things or the carpet in 3:45 serves as background-stars?

calls inaudibly
2 months ago

oooow! I just saw that also. Did you see the infinite-uploading sign at 3:06?

Rudy !
2 months ago

I’m getting a little paranoid with the quantity of references. What’s up with those hand signs? What does that mean? And 1:23 with that path through the mountains with the “database of networks btw ancestors” I mean it’s probably a hint on the fact that J. A. Barnes, an anthropologist, was the one who used the concept of social networks for the first time. The social networks that everyone knows differ completely from what anthropologists from the Manchester School baptized with this name. The whole planet talks about it without even mentioning anthropologists.

e x p r e s s e d desire for some beverage
2 months ago

I think it is more about the fact that hypertexts and online experiments sometimes have a narrative as networks or social networking with numerous connections which is something common with Joyce’s FW. They are way between the linear or traditional plot. They all have this feeling of a “hidden center” or a “vast solar system of intangible structures” in Bolaño’s words about his own work.

holding her arms arched over her head
2 months ago

“social networking, online presence and digital ‘playbour’ (Trebor Scholz) are directly productive of surplus value”

Biddy the clap
2 months ago

Thanks for the upload! He is talking about capitalism realism yeah quite clear

MILLY
2 months ago

I think it has more to do with the little glimpse of poetry in the midst of all disaster

RUMBOLD
2 months ago

What is being sung here? I think I’ve heard this text somewhere but not sure where

MILLY
2 months ago

It’s like a proxy of a pantoum

RUMBOLD
2 months ago

A phantom you mean? What does it have to do with it?

Æ
2 months ago

I think he meant pantomime

MILLY
2 months ago

Pantoum! He is talking about it in the beginning. It’s a poetic variety of a Malay verse form. It’s like villanesque. It’s UNESCO Intangible Cultural Heritage and it’s embraced by several countries around the world into Pantun. I’m referring specifically about the Pantun in the video which is Kupu-kupu terbang melintang (Butterflies sport on the wing around) that was published in A Grammar of the Malayan Language with an Introduction and Praxis by William Marsden, London 1812, pp. 208-209.

RUMBOLD
2 months ago

There is something phantasmagoric in it so yeah it’s a kind of reference to hauntology

Æ
2 months ago

IoI why?

T H E C R O F T O N S H O W
2 months ago

Is it just me or he didn’t answer the question?

CHRIS CALLINAN
2 months ago

“What is the parallax of the subsolar ecliptic of Aldebaran?”

RUMBOLD
2 months ago

I’m seeing it here in Film Quarterly Vol. 66, No. 1 (Fall 2012), pp. 16-24 (9 pages): it’s because the work sounds “ghostly” but “the spectrality was not a mere question of atmospherics”. It’s the sensation of what Fisher’s says about “the failure of the future”. It’s like: can this really deliver us the sensation of “futuristic”? Even this future, that is alluded to here, can’t be really “strange or dissonant”, right? You know what I mean?

MILLY
2 months ago

I read it here!!! Maybe this video is a reference to the fact that “we are living after the future”. Maybe he is addressing the fact that we are incapable of creating a “world radically different from the one in which we currently live”. There are clear references to our mobile screens or communicative platforms on these same screens

Dr Punch Costello
2 months ago

Note to self: time is my witness

RUMBOLD
2 months ago

I see your point and reading about Pantun maybe the question to be raised is if Pantun is dynamic endurable, from pre-colonial to our postcolonial current contemporary moment. And maybe even to raise a question about whether the traditional rules of the Pantun can take upon a new symbolic structure not only to bring up different ethincal groups within this multi-ethical piece. I mean it connects with ideas of asian citizenship and recognizes the importance of ethinic difference within a region identity…

MILLY
2 months ago

I understand where you are coming from. It’s a way to address cosmopolitanism, right? And, the stars, if you pay attention, are like the ones in those cosmogonical textiles. So the leap is easy from cosmology to cosmopolitanism to cosmos

THE TORCHBEARERS
2 months ago

Doesn’t ‘Kupu-kupu terbang melintang’ also mean ‘when life meets the edge of the horizon’ ?

The man in the macintosh
2 months ago

From what I’ve been seeing here the Pantun is a set of coordinates of a writer’s movement from place to place. But one thing I found interesting is that nobody knew who the original authors were. It was only when colonial times took place that they started to write the Pantuns. Before they were transmitted orally. It’s a resource to the colonial archive in a way but it has its precedents also.

t h e m o b
2 months ago

I see this all as a clear remix using samples of visual archives. It’s like the clear influence of other cultures in different parts of the world and it’s definitely cosmopolitanism as in post-colonial internationalism that we are witnessing where individuals basically the non-white alignments despite their differences ⍩

Nurse Callan
2 months ago