Seen on the scale of millenia, human fashion fuse. Time neither adds to nor removes anything from the loves and hates felt by people, their involvement. their struggles and their hopes. They remain the same today as they were in the past. Randomly removing ten or twenty centuries of history would not affect. in a meaningful way, our knowledge of human nature. 

Jakarta Kota Lama 2006

The only irreplaceable loss would be the works of art which these centuries gave rise to because humans only differ through their works, and even exist only through them. Just as a wooden statue attests to the prior existence of a tree, so waorks of art provide the proof that, throughout history, amongst people, something actually happened.

   from: Claude Levi-Strauss, Regarder, ecouter,l ire 

                                                        ".....everything can be visualized...."

Heavy hung the canopy of blue

Shade my eyes and I can see you

Contemplation @Sendang Sumberjaya Gondanglegi Malang East Java

White is the light that shines through the dress that you wore

She lay in the shadow of the wave

Hazy were the visions of her playing

Green grass and my fish farm (tambak) @Lamongan East Java

Sunlight on her eyes but moonshine beat her blind everytime

Green is the colour of her kind

Night before Kelud Eruption @Wates Kulon Progo Yogyakarta

 Quickness of the eye deceives the mind

Many is the bond between the hopefull and the damned 

My best friend, My Motor Cycle @Magelang

 (Courtesy of Pink Floyd's Song)

March 31, 2014 I visited tourism based forest (ecotourism) in Karanganyar Central Java. Grojogan Sewu Waterfall be an attraction visitors want traveled as well as sports. Any attraction another of tourism area is existence apes. Apes as if welcome the visitors and not get quite upset the inflow in the area of human life.

Be the keeper of parking lot...

 ...There is a story about what is called possession and privatization....

..moving...

..monkey with plastic bottle.

.."This is mine"...

Many tailless monkeys long (Macaca Fascicularis) coming and feeds on refuse their food that is not be their natural food. Diet changed make always relies with food waste are directly or indirectly given by visitors through the junk produced.

...from Coffe Culture Local Experience, Global Connections by Catherine M. Tucker. She explores coffe as: a major commodity thet shapes lives of millons of peoples; a product with a checkered and dramatic history; a beverage with mutliple meanings and uses (energizer, comfort food addiction, flavoring and confection); an inspiration for humor and cultural critique; an agricultur crop that can help protect biodiversity yet also threaten the environment; a health risk and a health food; and a focus alternative trade efforts (fair trade and environment certification programs) 

Coffe, Key of Communication

My Coffe weekly Gathering 

Reference: Catherine M. Tucker, Coffe Culture (Local Experience, Global Connections), 2011, Routledge

True friend on the journey when leaving or returning to teach to the island of salt (Madura). Delivery group Madura Java crackers (Paguyuban Delivery Roti dan Krupuk Jawa Madura/PDRKJM). Gather some coffee in coffee shop Mrs.Laili (near the t-junction suramadu-bangkalan) at noon (consolidated delivery area) and evening (gathering to return home along via suramadu bridge). After a year of observation, they are not simply an introduction to crackers but the introductory information (social issues until the latest mobile type). They connecting Java-madura (suramadu) bridge apart.

Crossing The Bridge of Suramadu

Aim of The Opportunities of The Market

This is my amatuer video with 2mp Camera's Nokia E51, towards Surabaya crossed Suramadu bridge at night. 

A number of important anthropological question were first posed in modern form during the European Enlightement: what defines the human species in the abstract, what distinguishes human from animals, and what the natural condition of humankind. Carolus Linnaeus with his contemporaries human as three kind of human (homo) Such as Homo sylvestris ('forest man'), Homo troglodytes ('cave man') and Homo nocturnus ('night man').

 1. Homo Sylvestris 

 

Having thus laid before you the general lines on which I propose to deal with problems relating to race and nationality, I propose now that we should make a lightning trip round the world and cull, as we go, samples which will illustrate the kind of friction which arises wherever races or nationalities come into close contact. As I have already said, every country can yield us material for our study, but none on such a vast experimental scale as the United States of North America; we shall therefore commence our hurried survey in that country. Within the frontiers of the States is massed a population of 110 millions. When we look closely we see that over ten millions of these inhabitants are marked off from the rest by a frontier, a colour line, as sharply defined and jealously guarded as the frontiers of a kingdom. Across that racial frontier all legitimate social traffic is barred, the custodians of the frontier being those who stand on the white side of the line. Any attempt to cross that racial frontier produces mob war. While these ten millions of segregated citizens abide within their racial fence, they see millions arrive from Europe and pass freely through the national and social gateways--which for them are barred. In the course of a generation they see these new arrivals, men, women, and children born and bred within the diverse nationalities of Europe, differing markedly in appearance and speech from the original colonial stock, become slowly stript of their alien outlook and gradually incorporated within a new national mass. In the States, then, we see a machinery at work which maintains racial frontiers but breaks down all national barriers. The nature of that machinery we shall have to inquire into later, but in the meantime I will briefly define the essential difference between a racial and a national frontier. A marriage across a racial frontier gives rise to an offspring so different from both parent races that it cannot be naturally grouped with either the one or the other. A marriage across a national frontier gives rise to a progeny which may pass as a member of either parent nationality. Further, as I shall attempt to prove later, nationality is the incipient stage in the process which leads on to racial differentiation 

 

When we pass from the United States to Mexico we cross the boundary line which separates the two most immense experiments in human breeding the world has ever seen. North of this experimental Rubicon, as we have just seen, the basal stock, which is north-west European or Nordic in origin, has been ruled by a sense of race-caste and has consequently maintained its racial characters. But south of our Rubicon the result of racial contact has been absolutely different. The south-west European or Iberian stock broke down the natural barrier which Nature had set up between them and the natives of Mexico and South America and solved their racial antagonisms by the fusion of blood.

 I now enter the third stage of my argument. In the first I cited and discussed the various forms in which racial and national feelings are manifested by various peoples abroad; in my second I dealt with the nature of the various national movements at home. We now set out in search of the root from which the flower of our complex modern civilization has sprung. In the world of to-day we see many peoples exhibiting every phase in the evolution of that organization which permits mankind to live in massed populations. Fortunately for us there yet survive, in outlandish parts of the earth, remnants of native races retaining the primitive organization which guided mankind through that great hinterland of time lying between the emergence from apedom and the dawn of the modern world.

For the student of sociology the immense primitive first stage of man's history is by far the more important. In his _Voyage of the Beagle_, Darwin draws a picture of the Fuegians which gives us a real insight into the ancient state of social organization. Spencer and Gillan supply us with complementary pictures representing the conditions of life among native tribes of Central Australia. These primitive peoples live on the natural produce of the territory which they inhabit and claim as their own. Their social organization represents for us the conditions in which the modern races of mankind were evolved. It is in such primitive societies that there must have existed the machinery which differentiated mankind into races and racial breeds. It is in the long first phase that we must search for the origin of the social impulses and tendencies which have come down to modern man by inheritance.

While many anthropologists in the early postwar years, especially in Britain, rejected attempts to turn anthropology into an accurate science, others went in the opposite direction. This was not only the case with the American cultural ecologists and the British methodological individualists, but also –perhaps surprisingly – with people working within the broad framework of American linguistic anthropology. Several of Sapir’s successors explored semantics and language structures in traditional societies in an accurate way. Some of these devised quantitative methods tailored to measure frequencies and connections between native terms, and worked closely with psychologists, linguists and others engaged in the emerging interdisciplinary field of cognitive science. Among the foremost of these were Harold Conklin, Charles Frake and Ward Goodenough, who all contributed to the development of ethnoscience in the 1950s.

Ethnoscience was concerned with describing ‘cultural grammars’, through identifying the building-blocks of semantic universes or systems of knowledge. They drew on both the culture and personality 100 A History of Anthropology school’s interest in socialisation, on formal linguistics and on the comparative study of classification, where both Sapir and Whorf (and, before them, Durkheim and Mauss) had done ground-breaking work. In its most technical form, ethnoscience appeared as componential analysis, which combined linguistic anthropology and quantitative methods with the general 1950s concern with kinship. In its original form, ethnoscience died out some time during the 1960s, but the general issues it raised have been pursued later in cognitive anthropology (see D’Andrade 1995; Shore 1996). Regardless of methodology, they largely concern the relationship between the universal and the culturally specific in human knowledge systems. Colour classification was an early,

and relatively simple field, which was explored in this way. There were also interesting parallels between the concerns of ethnoscience and the emerging rationality debate in Britain on the one hand, and the concerns of Lévi-Straussian structuralism on the other hand. However, unlike both Winch and Lévi-Strauss, the ethnoscientists worked inductively, amassing huge amounts of data which were processed by the massive, sluggish computers of the day.

Aming and Julia Peres

On 19 January 2012 a musician who was well liked by teens and music lovers: Kety Perry. Ketty Perry held a concert at the SICC Bogor West Java. Various backgrounds come to see the appearance of the Ketty Perry although must pay dearly. Celebrities are a pretty figure gets spotlight in concert. Two celebrity person who saw the appearance of Indonesia costumes are unique and kontrversial. Aming a comedy with costumes from a straw to drink water and Julia peres with a unique dispenser-style costumes.

Celebrity is a person who likes to find and create a sensation. Behavior and lifestyle celebrity somewhat different from other community members. Celebrities have much access to buy something he wants.

Aming with plastic cloth

Humans have a need for self-actualization. The need to express themselves and connect with your lifestyle. Lifestyle is about creativity and how does a person to be seen more striking and different. Aming is a celebrity as well as students in one school of art. He developed the installation art, an art that could put a lot of media. Even his own body for the sake of personal exhibition of the exploited.

1. Once We Were Warriors (1995)

This film, produced and set in modern New Zealand, follows the story of an urban Maori (native New Zealander) family struggling to overcome addictions and poverty, problems common to native people worldwide who have been moved from their ancestral lands to city environments. In the film, as in real life, one solution to these problems is a reconnection with traditional values and culture. The film’s scenes of grinding poverty and violence can be hard to watch, but they’re a reality. Directed by Lee Tamahori.

2. Gorillas in the Mist: The Story of Dian Fossey (1988)

This Hollywood film depicts part of the career of Dian Fossey, one of the three main women in living-ape studies. Fossey, played by Sigourney Weaver, diligently (or obsessively, depending on your perspective) studies gorillas in central Africa, eventually spending as much time trying to protect them from poachers as study them. Fossey was murdered in 1985, and the scene depicting this event in the film leaves the mystery open; to date, nobody has been charged with her death. Directed by Michael Apted.

3. Neanderthal (2005)

This BBC production for the television series Horizon presents some of the most interesting recent work on just what the Neanderthals were and how they may have become extinct. Of course, the documentary contains lots of theories, and each one will have some palaeoanthropologist or another shaking her head; however, this movie demonstrates how ingenious anthropologists are with the bits of archaeology used to reconstruct the past and both how much and how little they really know. Some of the most prominent Neanderthal researchers appear in the video, which includes many realistic reconstructions of Neanderthal life. Directed by Cameron Balbirnie.

As a study of folk literature of different races offers one way of understanding their mental attitude toward life and its problems, the folk literature of the Negro will reveal to us his inherent moral and intellectual bias and the natural trend of his philosophy. Let us therefore examine some phases of this subject, paying particular attention to that part which relates especially to the proverbs. The sources of such literature are abundant. A little research in a well-equipped library brings one into a curious and informing mass of knowledge, ever increasing in bulk, in the French, German and English languages, as well as in many strange and highly inflected African tongues.

A cursory reading of this literature discloses at once that our general knowledge of Africa has been based in the past mainly on those external facts that strike the sense of sight, such as the physical appearance of the population, native dress and handiwork, musical instruments, implements of warfare, and customs peculiar to the social and religious life of the people. Only through the folk literature, however, can we get a glimpse of the working of the mind of the African Negro. Professor Henry Drummond, although he had traveled in Africa and had written at length about it, still exhibited a longing for this insight when he observed: "I have often wished that I could get inside of an African for an afternoon and just see how he looked at things." At that time much of the folk literature of that continent was not as now available. A deeper and more extensive reading of it at present strengthens our belief in the ancient saying "Out of Africa there is always something new," a rather disquieting thought, if we have reached the conclusion that native culture on that continent has never risen above the zero point.

 

A critical examination of the content of this folk literature will result in a division somewhat similar to that found in the same type of literature of other races. Such a division discloses stories, poetry, riddles and proverbs. The African folk literature is especially rich in proverbs. So numerous are these proverbs that it has been said that there is scarcely an object presented to the eye, scarcely an idea excited in the mind, but it is accompanied by some sententious aphorism, founded on close observation of man and animals and in many cases of a decidedly moral tendency. Lord Bacon remarked many years ago that "the genius, wit and spirit of a nation are discovered in its proverbs." Cervantes in Don Quixote says "Methinks, Sancho, that there is no proverb that is not true, because they are all judgments drawn from the same experience which is the mother of all knowledge." If these sayings be true, then the proverbs of the African Negro should be examined in order to see if they approach these observations.

For convenience of the reader an effort has been made to arrange these sententious sayings under general subjects. These selected by no means exhaust the mine of African proverbial lore but are only a few nuggets that suggest the Negro's power to infer and generalize and to express himself in a graphic and concise way relative to life as he observed and experienced it.

The memory is the great storehouse of artistic material, the treasures of which the artist may know little about until a chance association lights up some of its dark recesses. From early years the mind of the young artist has been storing up impressions in these mysterious chambers, collected from nature's aspects, works of art, and anything that comes within the field of vision. It is from this store that the imagination draws its material, however fantastic and remote from natural appearances the forms it may assume.
How much our memory of pictures colours the impressions of nature we receive is probably not suspected by us, but who could say how a scene would appear to him, had he never looked at a picture? So sensitive is the vision to the influence of memory that, after seeing the pictures of some painter whose work has deeply impressed us, we are apt, while the memory of it is still fresh in our minds, to see things as he would paint them. On different occasions after leaving the National Gallery I can remember having seen Trafalgar Square as Paolo Veronese, Turner, or whatever painter may have impressed me in the Gallery, would have painted it, the memory of their work colouring the impression the scene produced.
But, putting aside the memory of pictures, let us consider the place of direct visual memory from nature in our work, pictures being indirect or second-hand impressions.
We have seen in an earlier chapter how certain painters in the nineteenth century, feeling how very second-hand and far removed from nature painting had become, started a movement to discard studio traditions and study nature with a single eye, taking their pictures out of doors, and endeavouring to wrest nature's secrets from her on the spot. The Pre-Raphaelite movement in England and the Impressionist movement in France were the results of this impulse. And it is interesting, by the way, to contrast the different manner in which this desire for more truth to nature affected the French and English temperaments. The intense individualism of the English sought out every detail, every leaf and flower for itself, painting them with a passion and intensity that made their painting a vivid medium for the expression of poetic ideas; while the more synthetic mind of the Frenchman approached this search for visual truth from the opposite point of view of the whole effect, finding in the large, generalised impression a new world of beauty. And his more logical mind led him to inquire into the nature of light, and so to invent a technique founded on scientific principles.
But now the first blush of freshness has worn off the new movement, painters have begun to see that if anything but very ordinary effects are to be attempted, this painting on the spot must give place to more reliance on the memory.
Memory has this great advantage over direct vision: it retains more vividly the essential things, and has a habit of losing what is unessential to the pictorial impression.
But what is the essential in a painting? What is it makes one want to paint at all? Ah! Here we approach very debatable and shadowy ground, and we can do little but ask questions, the answer to which will vary with each individual temperament. What is it that these rays of light striking our retina convey to our brain, and from our brain to whatever is ourselves, in the seat of consciousness above this? What is this mysterious correspondence set up between something within and something without, that at times sends such a clamour of harmony through our whole being? Why do certain combinations of sound in music and of form and colour in art affect us so profoundly? What are the laws governing harmony in the universe, and whence do they come? It is hardly trees and sky, earth, or flesh and blood, as such, that interest the artist; but rather that through these things in memorable moments he is permitted a consciousness of deeper things, and impelled to seek utterance for what is moving him. It is the record of these rare moments in which one apprehends truth in things seen that the artist wishes to convey to others. But these moments, these flashes of inspiration which are at the inception of every vital picture, occur but seldom. What the painter has to do is to fix them vividly in his memory, to snapshot them, as it were, so that they may stand by him during the toilsome procedure of the painting, and guide the work.

Motion path of struggle (Napak Tilas) Mojokerto - Surabaya is a tradition held to commemorate the heroes. Momentum of the day is a struggle hero of the people of Surabaya and East Java in the war against the allies in 1945. Battle in Surabaya, known as the event occurred 10 November 1945 when the Allies issued an ultimatum to the people of Surabaya surrender their weapons, put your hands above your head and forced to sign a declaration of unconditional surrender.This ultimatum came out after the assassination of Brigadier AWS Mallaby AFNEI squad leader from the 49th British Brigade. The ultimatum was not met by the people of Surabaya, then there is a battle between the people of Surabaya against the allied forces.
Battle from various fields have led to personal limitations to Surabaya, logistics and weapons. Finally, with a sense of brotherhood and nationalism are high, help came from the west than the city of Mojokerto. To honor the service and perjungan past this race is held on a regular basis.

Knows no age

Prepare to Battle

Camera is 'weapon' Visual Ethnography

Above I described our video tours of my informants’ sensory homes. I encouraged  my informants to discuss and show what most interested them. However, our interviews were structured by my research objectives and, unlike observational cinema, a checklist scripted each tour. We had just one hour of tape and rather than waiting for events to unfold we consciously used this technology within a constrained time period to explore and represent each informant’s home and to discuss human and material relationships, sensations, identities, emotions, memories, creativity and activity associated with this domestic space and its material and other agencies.

 Rope Game

 Game Stand

 water games should not be spilled

Game of Spider web

Affandi Koesoema (Cirebon, West Java, 1907 - May 23 1990) was a painter known as Maestro Painting Indonesia, probably Indonesia's most famous painters in the international world, thanks to a distinctive him style. In the 1950s he held many solo exhibitions in India, UK, Europe and the United States. A prolific painter, Affandi had painted more than two thousand artwork.

Biography
Affandi was born in Cirebon in 1907, the son of R. Koesoema, an orderly measuring the sugar factory in Tangerang, Cirebon. In terms of education, it includes a formal education is quite high. For people his generation, his education, MULO, and subsequently graduated from the AMS, including the education obtained only by a handful of country boy.

However, his art talent is very strong beat other disciplines in life, and indeed has made his name famous the same as the figures or leaders of other fields.

At the age of 26 years, in 1933, Affandi was married to Maryati, a girl born in Bogor. Affandi and Maryati blessed with a daughter who will inherit his father's talent as a painter, the Kartika Affandi.

Before starting to paint, Affandi had been a teacher and had also worked as a torn ticket and cinema billboard image maker in one of cinema in Bandung. This work is no longer cultivated because Affandi more interested in the field of painting.

Throughout his career, Barthes had an interest in photography and its potential to communicate actual events. Many of his monthly myth articles in the 50s had attempted to show how a photographic image could represent implied meanings and thus be used by bourgeois culture to infer ‘naturalistic truths’. But he still considered the photograph to have a unique potential for presenting a completely real representation of the world. When his mother, Henriette Barthes, died in 1977 he began writing Camera Lucida as an attempt to explain the unique significance a picture of her as a child carried for him. Reflecting on the relationship between the obvious symbolic meaning of a photograph (which he called the studium) and that which is purely personal and dependent on the individual, that which ‘pierces the viewer’ (which he called the punctum), Barthes was troubled by the fact that such distinctions collapse when personal significance is communicated to others and can have its symbolic logic rationalized. Barthes found the solution to this fine line of personal meaning in the form of his mother’s picture. Barthes explained that a picture creates a falseness in the illusion of ‘what is’, where ‘what was’ would be a more accurate description. As had been made physical through Henriette Barthes's death, her childhood photograph is evidence of ‘what has ceased to be’. Instead of making reality solid, it reminds us of the world’s ever changing nature. Because of this there is something uniquely personal contained in the photograph of Barthes’s mother that cannot be removed from his subjective state: the recurrent feeling of loss experienced whenever he looks at it. As one of his final works before his death, Camera Lucida was both an ongoing reflection on the complicated relations between subjectivity, meaning and cultural society as well as a touching dedication to his mother and description of the depth of his grief.

http://en.wikipedia.org/wiki/Roland_Barthes

Visual anthropology is a subfield of cultural anthropology that is concerned, in part, with the study and production of ethnographic photography, film and, since the mid-1990s, new media. While the term is sometimes used interchangeably with ethnographic film, visual anthropology also encompasses the anthropological study of visual representation, including areas such as performance, museums, art, and the production and reception of mass media. Visual representations from all cultures, such as sandpaintings, tattoos, sculptures and reliefs, cave paintings, scrimshaw, jewelry, hieroglyphics, paintings and photographs are included in the focus of visual anthropology. Human vision, its physiology, the properties of various media, the relationship of form to function, the evolution of visual representations within a culture are all within the province of visual anthropology. Since anthropology is a holistic science, the ways in which visual representation are connected to the rest of culture and society are central topics.

( http://en.wikipedia.org/wiki/Visual_anthropology)

Prepare to Start sign

Water Devil

cross age and gender

from very far place

Paralayang acrobatic

amitaba..

Balong bendo Street

Diponegoro Street - Surabaya

Bubutan Street with The Mask of Zorro, Ponorogo Warior dan Naruto's Figure

TP pagi then Finish Point