Prosiding Seminar Nasional Pusaran Urban

Jejak Deforestasi dalam Seni Visual Bima: Estetika Posthuman sebagai Narasi Alternatif

Abdul Haris Rustaman — 2026-09-28

The expansion of corn farming in Bima, West Nusa Tenggara, has created a dilemma between economic needs and environmental sustainability. Forest clearing for corn cultivation has contributed to landscape transformation, increased flood risks, habitat loss, and environmental degradation. Amid dominant narratives that often position farmers as the primary cause of environmental destruction, visual art provides a space for more complex and reflective perspectives. This study examines how the animation Penyelamat Tak Terselamatkan constructs an alternative visual narrative of deforestation in Bima through the lens of posthuman aesthetics. The research employs a Practice-Led Research (PLR) approach based on field observation, the author's experience as a flood volunteer, interviews with corn farmers, and the animation creation process itself. The analysis focuses on visual structures, symbols, characters, and narrative elements embedded within the artwork. The findings reveal that the animation presents a more balanced relationship between human and non-human entities through the hybrid character Dou Jago, representing the dilemma faced by corn farmers. The work shifts anthropocentric perspectives toward an understanding of humans as part of an interconnected ecological network. This study demonstrates that animation can function as an alternative visual narrative that not only represents environmental crises but also critiques dominant views regarding human–nature relationships in the Anthropocene era.

Membaca Kota Melalui Kain: Batik Lasem sebagai Arsip Visual Urban Hibriditas Budaya

Adityayoga Gardjito — 2026-09-28

Reading the City Through Cloth: Batik Lasem as an Urban Visual Archive of Cultural Hybridity Cities are documented not only through buildings, maps, photographs, or written archives, but also through cultural artifacts that preserve collective memory. This article examines Batik Lasem as an urban visual archive that records historical experiences, cultural encounters, and identity formation in the coastal town of Lasem, Central Java. Previous studies have primarily discussed Batik Lasem as a textile craft, a symbol of Javanese-Chinese acculturation, or a form of cultural heritage. However, its role as a medium for preserving urban narratives requires further exploration. Using a qualitative interpretative approach, this article analyses five major motifs (Latohan, Watu Kricak, Burung Hong, Lokcan, and Tiga Negeri) through visual analysis, interviews, observation, and literature review. The findings show that these motifs represent five layers of urban memory: coastal ecology, space and resilience, migration, trade, and intercity networks. This study argues that Batik Lasem functions not merely as textile ornamentation, but as a visual-material medium that preserves and transmits Lasem’s cultural hybridity across generations.

Malang City of Media Arts: Narasi Visual, Estetika Urban, dan Kontestasi Identitas Kota di Era Digital

Ahmad Rijal Al Hakim — 2026-09-28

The branding of Malang City of Media Arts introduces a new discourse on urban identity formation through visual narratives, urban aesthetics, and digital cultural practices. Malang is represented as a creative city through various forms of artistic expression, public space management, architectural characteristics, visual archives, and cultural memories that continue to be reproduced within social and digital media spaces. This study aims to examine how the concept of media arts contributes to the construction of city image through a visual archaeological approach focusing on symbols, representations, and collectively produced urban aesthetics. This research employs a descriptive qualitative method within the perspective of cultural studies, utilizing observation, visual documentation, and literature review related to the development of Malang’s visual culture. The analysis applies visual archaeology and genealogy approaches to identify the relationship between discourse production, power relations, and the transformation of urban identity within the context of digital culture. The findings reveal that the development of Malang City of Media Arts represents a negotiation process between the preservation of local cultural memory and the demands of global digital aesthetics. The continuous reproduction of visual culture, influenced by the logic of popular culture and the phenomenon of Fear of Missing Out (FoMO), potentially encourages identity homogenization through the emergence of universal aesthetic standards that may shift the city’s local character. Nevertheless, these visual dynamics do not completely eliminate Malang’s cultural identity but instead generate a form of visual hybridity that integrates historical heritage, creative community expressions, and new media technologies. Therefore, the evolution of Malang City of Media Arts can be understood as a genealogical process of urban identity formation that continuously operates within the contestation between collective memory, digital cultural transformation, and the political economy of urban space.

Desain Batik Rantau AG: Representasi Identitas Mahasiswa Tulungagung dalam Ruang Urban Kota Malang

Andi Irawan — 2026-09-28

This creative research stems from the experiences of migrant students from Tulungagung living, studying, and working in Malang City. Their local identity manifests through local dialects ("peh", "hooh ye", "cah"), culinary traditions (nyethe, Kopi Ijo, Ayam Lodho), social stereotypes ("medok tapi kalem"), and territorial symbols (AG vehicle plate). This study aims to create a batik design that represents the identity narrative of these migrant students in the urban space of Malang. The method used is experimental following the 4-D model (Define, Design, Develop, and Disseminate) combined with the theory of stylization. The motif development was executed digitally using CorelDRAW and Ibis Paint software. The result of this research is a contemporary batik motif titled Batik Rantau AG, which features a harmonious visualization of cultural elements against a deep blue background. This work serves as a visual communication medium to preserve the collective memory of migrants while contributing to the development of fine arts and design based on local wisdom.

Kajian Sosial Desain Tentang Mural Pada Flyover dan Underpass di Kota Bandar Lampung dalam Memperkuat Branding Tempat

Arif Budiman — 2026-09-28

City of Bandar Lampung has eleven flyovers and one underpass located across the city to reduce traffic congestion. The concrete beam and pillar structures have been transformed into public visual spaces through the application of large scale mural artworks that cover most of its visible surface. The murals are particularly significant because they were commissioned by the city government from local artist communities, reflecting an effort to integrate public arts into urban architectures. This initiative directly impacts Bandar Lampung's city branding, particularly at the areas surrounding the flyovers and underpasses. This study examines the design characteristics of these murals by focusing on their themes and visual concepts. A qualitative method with Thomas Munro's Aesthetics Morphology framework was used to analyze its visual impact. The finding from field observations reveal that the murals were not originally intended to serve as Bandar Lampung's city branding. However, over time, the decorated flyovers and underpass have become temporal landmarks and icons that strengthen the visual identity and public image of Bandar Lampung.

Budaya Visual Urban: Estetika Instagramable dan Transformasi Lukisan Sokaraja di Banyumas

Dwi Scativana Isnaeni — 2026-09-28

The decline of Sokaraja Painting galleries since the 1990s has often been interpreted as a sign of the fading of a local folk painting tradition in Banyumas, Central Java. This study views the transformation not simply as the disappearance of artistic production or a reduction in the number of painters, but as a change in the social function and visibility of Sokaraja Paintings within everyday visual life. The study aims to examine this transformation in the context of contemporary urban visual culture, particularly through exhibition practices, documentation, photography, and Instagrammable aesthetics. A qualitative approach grounded in visual culture studies was employed through field observation, semi-structured interviews, visual documentation, archival research, and digital media tracing. Data were obtained from the former Sokaraja Painting gallery district, cultural activities and spaces in Sokaraja and Purwokerto, and digital documentation related to Sokaraja Paintings. The findings show that the weakening of the gallery and market ecosystem has reduced the position of Sokaraja Paintings as a dominant element of everyday visual life, but has not eliminated the tradition. Its continuity has taken new forms through exhibitions, festivals, archives, documentation, visual experiences, and the circulation of digital images. In this context, Instagrammable aesthetics refers to visual conditions that enable artworks, spaces, and experiences to be photographed, framed, documented, and potentially circulated through social media. This transformation is conceptualized as a Crisis of Representation, while the process of strengthening the connection between the paintings and Banyumas locality is formulated as Performative Localism. The study further develops Post-Decorative Visuality to explain the changing mechanisms through which Sokaraja Paintings acquire social presence, from a predominant emphasis on decorative function and ownership toward a configuration that also encompasses experience, memory, documentation, and image circulation. The findings demonstrate that the continuity of visual heritage can occur through changing modes of visibility and social relevance within contemporary urban visual culture.

Hermeneutika Filosofis Hans Georg Gadamer dalam Karya Museum of Dead Trees oleh Agus Heru Setiawan

Farras Aldinata Charis Subandi — 2026-09-28

Photography has undergone significant development as both an art work and technological medium, giving rise to discourses that deepen the understanding of the underlying roles behind a photographic work. Agus Heru Setiawan, through his photographic work Museum of Dead Trees, presents a piece rich with meaning, communicating the relationship between humans and nature particularly plants. Through a curatorial process similar to that carried out in museums, Heru emphasizes the often overlooked role of plants in human life, especially in relation to environmental sustainability. His work, which highlights the symbiotic relationship between humans and plants, serves as an effective medium for conveying critical ideas. As part of contemporary photographic practice, this work articulates ecological concerns and ideas through a conceptual visual approach. Contemporary photography itself positions images as open interpretive spaces, exploring ideas, personal narratives, and socio-ecological issues in reflective and interpretive forms. Through Gadamer’s philosophical hermeneutics, Heru’s work is analyzed by considering the context behind its creation. This analysis reveals that the meaning of the work cannot be separated from the circumstances in which it was created, positioning Heru’s work as an active dialogue between the visual text and its interpreter.

Praktik Menyulam sebagai Media Terapeutik dalam Mendukung Pemulihan Psikososial Penyandang Skizofrenia

Gracia Veronica — 2026-09-28

Embroidery as a craft-based therapeutic medium for individuals with schizophrenia within an urban community context. Embroidery is understood not merely as an aesthetic activity but also as an embodied experience involving the interconnectedness of the body, materiality, working rhythm, and creative processes. Through repetitive movements and engagement with textile materials, embroidery practice has the potential to generate aesthetic experiences that support attention, emotional regulation, and social engagement among participants. The purpose of this study is to analyze embroidery as an aesthetic and embodied practice and to identify its contribution to social engagement and the psychosocial recovery process of individuals with schizophrenia. The research employs a qualitative method with a phenomenological approach focusing on visual experience. The study was conducted through embroidery workshops at the Phalamartha Community in Sukabumi involving participants with schizophrenia who predominantly experience negative symptoms. Data were collected through participant observation, documentation of the creative process, and visual analysis of embroidered works. The findings indicate that embroidery practice fosters reflective aesthetic experiences through repetitive stitching rhythms and bodily engagement in the creative process. Embroidery activities encourage increased attention, confidence in self-expression, social participation, and a stronger sense of connectedness among participants. This study concludes that embroidery has the potential to function as a therapeutic medium that supports aesthetic experience and the psychosocial recovery of individuals with schizophrenia through community-based creative practice.

Simulasi Estetika Pada Narasi Visual Film Generatif Nusantara Gajah Mada

Habieb Husein — 2026-09-28

The rapid integration of Artificial Intelligence (AI) technology within the urban film industry creates efficiency shifts while sparking debates regarding the aesthetic status and the meaning of an artwork. This qualitative study aims to examine the artwork status of the AI documentary film “Nusantara: Gajah Mada” by Neyra Vision Studios that won an award at the AI Film Awards in Cannes 2025 using H.B. Sutopo’s Holistic Art Criticism approach, encompassing three pillars: genetic, objective, and affective factors. Results indicate that, regarding the genetic factor, high production efficiency (10 crew members) eliminates multi-departmental human collaboration (directors, actors, cinematographers, etc.) that brings human experience and unique emotion. Regarding the objective factor, the use of English instead of Old Javanese, along with predominantly static visuals and proportional inaccuracies, proves that the work operates as statistical pattern synthesis or simulated aesthetics. Regarding the affective factor, while public audiences generally appreciate the visuals, critical feedback labels the work as “soulless” and “AI slop” due to the absence of intention and lived human experience. This study concluded that the AI documentary “Nusantara: Gajah Mada” cannot yet be fully categorised as a complete artwork. Therefore, AI should ideally be positioned as a creative tool and working partner, while creative drive must remain with humans to preserve humanity in the art of storytelling.

Transformasi Kain Nampan Lampung dalam Praktik Seni Kriya Kontemporer pada Komunitas Urban

Hadi Kurniawan — 2026-09-28

The urban culture and creative industry development has driven a transformation in various forms to traditional textiles, such as the Nampan cloth from Lampung. This traditional cloth initially was used as part of traditional ceremony equipment, but this has undergone an expansion of meaning through its use in contemporary craft art practices today. The phenomenon shows that there has been process of cultural adaptation that allows local values to remain relevant with social habit changes. This study aims to analyze the transformation of Nampan Lampung fabric in contemporary craft art practice within urban communities and to identify its function, meaning, and aesthetic value changes. The research used a qualitative method with a descriptive-analytical approach through literature study, observation, and visual documentation of various craft works based on Nampan cloth. The analysis was conducted using the perspective of cultural transformation and contemporary craft art. The novelty of this research was a study that focused on the transformation of Nampan cloth within contemporary craft practices that was done by designers and crafter as part of urban communities. The results of this study showed that Nampan cloth has undergone a transformation from traditional artifacts into creative expression mediums such as fashion products, batik crafts, interior products, and furniture.. Urban communities have played a role as agents to bridge between the tradition and contemporary culture, this transformation can strengthen Lampung's cultural identity and become a strategy for revitalizing traditional textiles in the modern era.

Dialektika Realitas dan Imajinasi: Ilustrasi Kota sebagai Medium Antara Dokumentasi Faktual dan Fiksi

I Wayan Nuriarta — 2026-09-28

This article explores the position of urban illustration in Denpasar, Bali, as a dynamic narrative medium operating at the threshold between factual documentation and visual fiction. In contrast to conventional perspectives that reduce the city to a merely physical entity, the lens of illustration transforms the city into a visual text imbued with subjectivity and emotion. Employing an interdisciplinary critical approach that combines Visual Communication Design and Cultural Studies, this study examines the role of the fact–fiction dialectic in reconstructing public perceptions of urban space. The research data comprise a visual corpus of murals and urban illustrations documented in 2026 across three areas of Denpasar: Jalan Gunung Kawi, the heritage district of Jalan Gajah Mada–Pasar Badung, and Jalan Nusa Indah. The corpus was analyzed through three primary analytical units represented in Figures 1, 2, and 3. The analysis involved identifying visual structures, mapping the relationships between factual and imaginative elements, contextualizing the works within their sociocultural contexts, and critically interpreting the relationships among representation, power, memory, and transformations of urban space. The findings reveal three major tendencies. First, urban illustration operates through the juxtaposition of the city’s material conditions and imaginative narratives, thereby producing a representational space between the real and the imagined. Second, several murals employ Balinese iconography, historical memory, local language, and symbols of everyday life as visual strategies for preserving cultural identity and a sense of place amid transformations of urban space. Third, several works reveal tensions between the cultural narratives represented on the walls and the surrounding conditions of streets, vehicles, economic activities, and modern infrastructure. These findings demonstrate that urban illustration does not merely reproduce the physical form of Denpasar but constructs a critical reading of spatial transformation through processes of selection, distortion, juxtaposition, and visual symbolization. Accordingly, urban illustration can be understood as a cultural text that simultaneously functions as visual documentation, an articulation of memory, and a site for negotiating meanings concerning the city’s identity and future.

Kebaya Kota: Narasi Identitas dan Gaya Hidup Perempuan Urban

Nita Trismaya — 2026-09-28

Nowadays, the kebaya is gaining popularity among the public, marked by movements that have revived the love of the kebaya and the role of designers who care about its existence in recent years. This includes UNESCO's recognition of the kebaya as an intangible cultural heritage, along with Indonesia, Malaysia, Singapore, Brunei, and Thailand, in December 2024. This study aims to understand how urban women respond to modernity and external culture, and how the kebaya serves as a medium for negotiation to ensure its continued recognition. The research methods used were participant observation and field observation as primary data, with observations in cyberspace (online and social media), and literature review as secondary data. The theories chosen for analysis are cultural negotiation and visual studies. The research subjects were funky kebaya community in Jakarta. The findings of this study are that current kebaya styles are the result of cultural transformation between tradition and modernity within urban society, where urban culture itself is formed through diverse cultures, involving conflict, resistance, dialogue, and negotiation.

Dari Pakem ke Estetika Populer: Transformasi Batik pada Masyarakat Urban

Ony Setyawan — 2026-09-28

The development and evolution of batik textiles have undergone significant upheaval. As a traditional textile bound by ‘pakem’ (established traditions of authenticity and standardization in batik-making), batik has experienced various negotiations in its creation, encompassing visual, spiritual, and symbolic-ornamentation aspects. This paper presents an exposition on the transformation of batik textiles from traditional ‘pakem’ into popular aesthetics within urban societies. Data collection techniques included literature reviews, interviews, and observations. A comparative analysis of batik observations in the Tulungagung Regency and Malang City served as the primary sample. This study highlights various forms of visual aesthetic and rhetorical negotiations that shape popular aesthetics. The findings of this research indicate: 1) a transformation in visuals, techniques, styles, functions, and economic drives that subsequently shape a popular aesthetic in urban communities; 2) a transitional trend from Nusantara aesthetics to Western aesthetics; 3) the creation of local-iconic motifs; 4) a significantly higher interest in batik among youth in urban areas compared to rural areas; and 5) a decline in the standardization of traditional batik textiles. Cultural education and standardization in the creation of traditional batik are essential efforts to sustain the textile's existence and to address the aesthetic disparity that is increasingly drifting away from its traditional ‘pakem’.

Representasi Nostalgia melalui Ilustrasi Kota dalam Game A Space for the Unbound

Putri Sri Ridzki — 2026-09-28

A Space for the Unbound is a game developed by Indonesian creators and set in Indonesia during the 1990s. Released in 2023, the game has sold more than 200,000 copies worldwide across various consoles and PC platforms. Its pixel art style further evokes a sense of nostalgia among gamers who grew up during that era. The game's depiction of urban environments also represents the atmosphere and characteristics of Indonesian cities in the 1990s, evoking memories and nostalgic feelings associated with the period. This research aims to examine the relationship between nostalgia and the depiction of urban environments in A Space for the Unbound. The research employs a qualitative method through interviews with gamers and a literature review. The participants were gamers who had completed the game and had grown up during the 1990s. The results indicate that various elements of the game's urban environment, including residential areas, schools, internet cafés, public spaces, and other everyday settings, can evoke nostalgic feelings among players. These findings provide a deeper understanding of how the representation of urban environments in games can function as a medium for documenting the past and triggering personal memories and nostalgia.

Komik Memoar sebagai Narasi Visual Pengalaman Hidup di Kota Samarinda

Ramadhan S. Pernyata — 2026-09-28

This article discusses graphic memoir as a form of visual narrative based on lived experience in Samarinda City. The study departs from the potential of comics not only as entertainment media, but also as a medium for recording personal experiences related to a city. This study aims to explain how personal life experiences in Samarinda are translated into graphic memoir. The method used is practice-based research, with data collected through personal memories, photographs, videos, and visual references obtained from social media networks. Several visual details were also developed through participatory verification, in which responses from friends on social media were used to check and refine the depiction of places, settings, and urban atmosphere. The novelty of this study lies in positioning graphic memoir as a medium that connects personal experience, visual documentation, and participatory visual verification. The results show that graphic memoir can present Samarinda through fragments of childhood memories, changing or disappearing landmarks, emotional impressions, and visual details of everyday life. This study concludes that graphic memoir can become an alternative medium for narrating a city through personal visual experience.

Dari Wayang ke Sirkuit: Transformasi Visual Semar dalam Poster Mencari Semar Teater Koma

Saut Irianto Manik — 2026-09-28

The development of contemporary visual culture has been influenced by digital technology to encourage the reinterpretation of traditional cultural symbols through the practice of visual communication design. This condition poses challenges when cultural symbols that have an established visual identity and philosophical content, such as the figure of a puppet character; Semar, are transformed into a contemporary visual language without losing their cultural value. So far, the study of Semar's character has focused more on the perspective of puppetry, philosophy, and culture, while the study of the visual transformation process through performance poster design is still limited. This study aims to analyze the visual transformation of Semar in the Koma Theater performance poster entitled 'Seeking Semar' and the new representation it presents in the context of urban visual culture. This research uses a descriptive qualitative method with a case study approach through observation of creative processes, documentation of works, exploration of design alternatives, and analysis of visual elements. The novelty of this study lies in the transformation of Semar as the formation of a visual system that integrates Semar's face, the shape of puppet mountains, circuit elements, typography, and futuristic landscapes. The results of the research show that circuit elements function as a visual mechanism that connects these elements into a new representation of Semar's figure. This transformation explains that traditional cultural symbols can be repositioned through contemporary visual language without eliminating the cultural values that have become the basis of them.

Estetika Politemporal dalam Seni Kontemporer Jakarta: Arsip Digital, Memori Visual, dan Kritik atas Linearitas Sejarah Seni

Tri Aru Wiratno — 2026-09-28

This article examines "polytemporal aesthetics" as an analytical framework for interpreting contemporary art practices in Jakarta—specifically those engaging with digital archives, visual memory, historical documentation, and curatorial work. It begins by critiquing the linear art-historical model that views artistic evolution as a progressive sequence moving from tradition to modernism, postmodernism, and finally contemporary art. This linear model proves inadequate for Jakarta, a city defined by overlapping temporal layers: colonial, national, New Order, post-Reformasi, urban, digital, and global. The study employs a critical-conceptual analysis method alongside a qualitative case study approach. Its material focus comprises archive-based contemporary art practices, visual memory, digital imagery, and curatorial work in Jakarta, while its formal focus is polytemporal aesthetics—defined here as the way artworks and curatorial practices configure relationships between the past, the present, and non-linear history. The article utilizes four international examples—Christian Marclay’s *The Clock*, The Atlas Group/Walid Raad, Hito Steyerl’s concept of the "poor image," and Okwui Enwezor’s *Documenta11*—as a theoretical comparative framework. Meanwhile, the primary analysis focuses on Jakarta’s contemporary art landscape, specifically the Jakarta Biennale, ruangrupa/Jakarta 32°C, Museum MACAN, the National Gallery of Indonesia, and archive-based curatorial practices. The article argues that contemporary art in Jakarta does not merely produce visual forms but also manages inter-temporal relationships. Artists, curators, communities, and art institutions can be understood as "temporal operators" who activate archives, urban memory, and digital imagery to re-examine unfinished histories.

Komik Strip Digital Instagram sebagai Ilustrasi Kota: Dokumentasi dan Fiksi Visual

Syarip Hidayat — 2026-09-28

Digital comic strips on Instagram have emerged as a significant medium of urban expression in Indonesia. This study examines the visual aesthetics and drawing styles of three prominent Instagram digital comic strip accounts—Tahilalats, Jukihoki, and Masdimboy—as forms of urban illustration situated between documentation of urban reality and the construction of visual fiction. Employing a qualitative-comparative approach within a visual semiotics and digital comics framework, this research analyzes how these three comic artists construct representations of the city through strip panels published on the Instagram platform. Tahilalats presents urban satire through comedic distortion and documented exaggeration; Jukihoki builds emotional mapping of the city through visual metaphors and urban generational anxiety; while Masdimboy renders suburban nostalgia through an affective urbanism approach. Comparative analysis reveals that Indonesian digital comic strips do not merely document the city, but actively construct a collective imagination of urban space through distinctive visual language. This study contributes to understanding the role of digital comics in contemporary urban illustration discourse in Indonesia.

Metadata Visual Arsip Fotografi Koleksi Museum Sri Baduga dalam Memori Budaya Urban

Yoki Purwadi — 2026-09-28

Digital transformation has necessitated structured and sustainable management of museum visual archives. This study aims to examine the application of EXIF (Exchangeable Image File Format) and IPTC (International Press Telecommunications Council) visual metadata in the photographic archive of Museum Sri Baduga's collections, encompassing 10 classifications: Geology, Biology, Ethnography, Archaeology, Historica, Numismatics/Heraldry, Philology, Ceramology, Fine Arts, and Technology, in relation to the formation of cultural memory in digital urban spaces. EXIF metadata is recorded automatically by the camera, while IPTC metadata is entered manually by archive managers to store descriptive information such as collection titles, themes, keywords, and cultural identities. A descriptive qualitative approach was employed through a case study of photographic documentation of Museum Sri Baduga's collections. The novelty of this research lies in the combined use of both metadata standards embedded directly within each image file, ensuring that collection information remains accessible regardless of where the file is transferred or copied. Findings indicate that visual metadata plays a role in standardizing, identifying, and retrieving photographic archives, while simultaneously connecting collections to the social, historical, and cultural contexts of contemporary urban communities. It is concluded that EXIF and IPTC metadata constitute part of a digital transformation strategy that supports the preservation of visual memory and cultural identity through digital museum archives.