RAMA2

"Kalau kita cantik & wangi, insyaAllah rama-rama yg mendekati kita, bukan lalat yg banyak."

MCM MANA NAK CELIK HATI?

"Awat hang ni bagi terlebih perHATIan pada masa? Cubalah bagi lebih masa pada perHATIan, insyaAllah HATI celik"

(Petikan tanpa nama)

BELAS ANAK SAUDARA KPD BAPA SAUDARANYA.

Yang diwariskan oleh seorang guru bukanlah kebijaksanaan akal utk menunjuk2 pandai, tapi belas-ikhsan dan kasih-sayangnya terhadap ilmu yg membawa kesejahteraan manusia.

Ini petikan dari blog entry saya yg lepas. 

"GURU

The term ‘guru’ or ‘sifu’ reverberates with a sense of reverence in me. My father was a guru. Despite his vast experience, he used to humbly remind me, “I can teach you how to read the Quran, but only Allah can open your heart.” How true (for me), especially NOW.

My late father also used to advise me, “Hasnul, chose to be a lecturer.” He uttered the advise despite knowing (and acknowledging) how much I love to engage in many forms of creative practice. I chose to become a lecturer partly to honour him. Yet I continue to engage in creative practices. Later in life, I came to realize what he was trying to imply – knowing, making and teaching the arts are complimentary parts of ‘living’ and ‘being’ the arts.  

I have a deep respect to those who deserve to be revered as a guru like my father, and other gurus who have been highly instrumental in opening the path of my journey into the arts. Even the annoying ones, in retrospect, should be respected, because they came into my life for many reasons, some of which might not be apparent when they appeared. 

We are all connected, remember. Mental-emotional relations between humans are far more complex and intertwined in a complex web of quantum interconnectivity, beyond all the superficial boundaries that we can normally politicised, intellectualized and discoursed.

Underneath all the bragging, politics and dramas of charting a career path, is the cycle and lineage of guru-disciple that needs to be respected, honoured and revered, regardless of whether one is a superstar full-time artist, an angry man, Mat Rock pencen, a public servant, a bureaucrat, a renegade, a professor or not (yet).  

Today, such a revered cycle of guru-disciple that forms a lineage of teaching-learning has at times being obscured by other more populist discourses and immediate forces of contemporary art practice, especially those driven by the ebb and flow of the art market. 

At times, I felt as if the ground underneath is shifting beyond the ‘rule of play’ that I’m used to. It makes me ponder the fate of the early generations of artists-gurus especially in honouring the significant roles that they have played in laying the foundation of visual arts education in Malaysia.

Let us retrace. 

The writings of Syed Sheikh Al-Hadi around 1920s, Lim Hak Thai and Nanyang artists in 1930s, Abdullah Ariff and A.B Ibrahim, Peter Harris and Specialist Teachers Training Institute (STTI) in 1950s, writings by M.Ashraf, Abdul Ghani Hamid, Adi Mas dan Abdul Kadir Ahmad in 1950s(2), Tay Hooi Keat and Penang Art Teachers Council in 1950s, Syed Ahmad Jamal, Anthony Lau, Yeoh Jin Leng and the Malayan Teachers Training College at Kirby in 1950s, Jolly Koh, Redza Piyadasa, Sulaiman Esa and Hornsey College of Art in 1960s, Ismail Zain and Slade in 1960s, Malaysia Institute of Art, School of Art & Design, ITM and Kuala Lumpur College of Art in 1960s, all these can be considered as key figures and institutions that formed the historical and theoretical grounding for visual arts education in Malaysia. One can also trace the cycle of guru-disciple as well as the lineage of teaching-learning through these key figures and institutions, and how they have critically influenced the successive generations of visual artists.(3)  

   

The successive and linear tracing of teaching-learning lineage may have been further diversified by the offerings of visual arts programmes in local institutions of higher learning, with their own interpretations and versions of visual arts education embedded in their syllabus and curriculum. The teaching-leaning lineage has bifurcated into various trajectories, forming a web of multi-dimensional and interconnecting influences. Today, numbers of visual arts lecturers with Phds have increased, though I am not sure whether such increment indicates rise of quality artists-gurus.     

Yes, we can brag about our success stories, degrees we have collected, accolade, awards, purchased and collected works, successful solo show, strong collectors and followers, big house complete with a studio, workshop and gallery, fancy cars and so on. We can even belittle those who have chosen to dedicate their life to teaching. Or we can demean them by implying that they can’t survive ‘in the real world’. I’ve witnessed several stolen souls who like to demean their ex-teachers/lecturers such way. Sadly, even teaching itself has become a ‘profession’ quantitatively measured by KPIs (Key Performance Indicators) that may have very little to do with being a ‘guru’. No surprise there. After-all, we are living in a competitive age that stresses on not only ‘getting’ and ‘having’, but also ‘appearing’ and ‘showing’, especially on the internet.

   

Yet, true success for me begins with pacifying and calming the ripples (or even tsunami) of our own inner-net, in order to see our ‘true reflection’. Only a real guru can help us pacify and calm our ripples, open our path and guide us in seeking our true reflection. Ya I know, I sound like an ustaz, couldn’t help it, my late father used to be one okay.

Let us honour and revere the cycle of guru-disciple and the lineage of teaching-learning that have shaped us to become who we are NOW, and every NOW in our life.

APA REAKSI FUAD ARIF?

Sabtu 4 November 2017

Seksyen 7, Shah Alam

3.30 hingga 5.30 petang

Sabtu lepas saya ke Shah Alam untuk bertemu dengan Fuad Arif, seorang pensyarah di Fakulti Seni Lukis dan Seni Reka UiTM yang kini sedang membuat penyelidikan Phd di UPSI. Saya mahu bertanyakannya tentang beberapa frasa kunci yang digunakan untuk menghuraikan tentang fenomena kuantum. Saya ingin mengetahui sejauh manakah ia berkait dengan pengalaman beliau sendiri. Sebelum ini, saya pernah bertanya kepada beberapa kenalan lain seperti Dr. Chong Hong Yew, Mohd Noor Mahmud, Nasir Baharuddin dan Sulaiman Esa.

Saya kongsikan di sini apa yang sempat saya catitkan. Perlu ditekankan di sini bahawa ini adalah versi deraf awal. Teksnya mungkin akan mengalami perubahan. 

1  1. Realiti berpaksi saksi

“Persoalannya adakah ‘o’ pada ‘observer' itu merujuk kepada ‘O’ besar atau ‘o’ kecil?  Pada saya hidup ini adalah berkaitan dengan realiti kesedaran (consciousness). Tapi yang saya maksudkan tidaklah bersangkut dengan clinical psychology. Yang saya maksudkan mungkin lebih kepada kitaran antara being dan unbeing,  closing dan disclosing. It resonates (Ia bergema) with how I experience things. There’s also the ontological experience of being. Kita membahasakan sebagai consciousness (kesedaran). Dalam banyak keadaan, kalau mengikut Heidegger, ‘we are unconscious’ (kita tidak sedar).”

2  2. Alam yang bertingkat dan multidimensi

“Kita sudah berada di dunia ini dan perlu strive dengan apa yang kita harus alami dalam kehidupan. Ilmu manusia yang ada dan alam ini pun hanya seperti satu titik kecil sahaja. We experience our world here, do our best.”

3  3. Saling-bertautan dan Kesatuan Medan Kearifan Tunggal

“Bagi saya perkara ini is not that simple. Ia seperti sistem akar, saling bertaut tapi ada otonomi, ada bahagian-bahagian dengan peranan masing-masing yang terpisah dan berbeza, ada sifat-sifat tersendiri tapi pada masa yang sama, connected. Kita boleh juga lihat pada ombak, ada masa ia jadi ombak yang tersendiri, ada masa ia kembali menjadi laut.(Graham) Harman ada sentuh tentang... mengulas tentang hal Gaia oleh James Lovelock. Beliau menghujah bahawa tidak semua benda bertaut.”

4  4. Otak Kuantum

""Adakah dapat dijawab. Masalahnya bila soul (roh) diletakkan dlm persoalan ini maka ia menjadi tidak bermakna."

 

5  5. Berpasang-pasang dan Saling-melengkapi

6  6. Microcosm dan macrocosm

“Ini merujuk kepada sifat makhluk, realm of creation and experience. Still within the framing of language."

7  7. Kesedaran Tinggi

“The term higher suggests hierarchy. Ada tinggi, maknanya ada rendah. Ada pandai atau intelek, ada bodoh atau dumb. Dualisma ini kesan dari scienticism, satu paradigma yang menekankan hairaki. Sebab itu ia juga mudah diserap unsur-unsur politik juga. I don’t feel comfortable with the word ‘higher’ and ‘mind’. Kenapa tidak digunakan istilah self, being, soul. Bila kita memandu kereta contohnya, kita juga boleh mengalami sesuatu yang beyond seeing, satu fenomena yang melibatkan minda, emosi dan body. Mungkin kita merasa nostalgik, itu juga satu fenomena sedar. Pada saya, ini lebih berkait dengan momen-momen  yang Heidegger katakan sebagai ‘poietic revealing’. Ini jugalah yang menerangkan ungkapan ‘wow’ yang disebut tadi. Ia boleh dialami dalam fenomena-fenomena pada alam dan manusia. Mengalami momen matahari terbit atau kelopak-kelopak bunga yang tumbuh boleh dijadikan contoh. Pengalaman yang paling dasar ini berlaku sebelum hadirnya pemikiran intelek, disebut pre-intellect atau pre-cognition. Contoh lain ialah bila kita menyaksikan bayi dilahirkan. Ada yang mengungkapnya sebagai moments of now, atau moment of ecstasy. Antara badan dengan minda kita, ada chaos yang menjadi sebahagian dari pengalaman. Kita juga perlu ada kesedaran dan rasa bertanggungjawab terhadap body. Dalam wacana agama secara umum, body sering dianaktirikan, dianggap rendah, sekadar daging. Tapi dalam konteks Islam, badan tidak dipinggirkan. Malah, Nabi Muhammad sendiri amat menjaga penampilannya. Dia bawa sikat rambut ke mana-mana. Kebersihan badan juga ditekankan. Islam dalam hal ini tidak hanya menekankan hal-hal yang abstrak atau yang dianggap tinggi, tetapi perkara-perkara dan pengalaman yang konkrit. Pada saya, badan pun berfikir, seperti pergerakan tangan ketika kita memandu sambil fikiran berada di tempat lain. Ini berkait juga dengan ‘embodied object’ di mana sebahagian dari diri terserap dalam objek, hilang dalam kesedaran”

8  8. Geometri dan tatabahasa harmoni

“Ini berkait dengan matematik. Juga dengan satu idea bahawa essence kehidupan itu adalah Universal. Boleh dibaca secara kuantitatif dan secara metaforikal. Saya tidak pasti tentang direct relation between geometry and harmony. Namun kehidupan juga ada unsur chaos. Dalam minda kita sendiri ini berlaku. Saya tidak melihat diri sebagai seorang yang mengamalkan geometri dalam pengkaryaan.  Karya saya untuk Bakat Muda adalah hasil dari pengalaman saya mendengar lagu Bach. Lagu itu mungkin ada unsur geometri dan harmoni, tapi pada waktu itu saya tidak memikirkannya. Saya di pejabat seorang diri, berehat tanpa ada sebarang niat apa-apa, tiada sebarang jangkaan atau perancangan, mendengar lagu Bach dimainkan sambil melihat skrin komputer yang hitam tanpa signal, kosong. Ia meninggalkan kesan seperti membuka sesuatu, like opening up something. Rasa diri sangat kerdil.”

“Asalnya ide untuk karya BMS itu tidak melibatkan sebarang visual langsung, hanya dinding-dinding hitam dan gelap. Setelah itu saya terfikir untuk menggunakan terjemahan Al-Fatihah kerana tidak mahu suasananya menjadi terlalu asing. Saya juga mahu penonton mengalami sesuatu secara visual. Ia lebih kepada metaphoric projection, merujuk kepada sesuatu yang ambigious, bukan hanya black and white. Asalnya saya tidak membuat karya itu untuk BMS. Tetapi selepas karya BMS itu,  beberapa kejadian lain yang agak menduga juga berlaku dalam hidup, yang menyebabkan saya banyak membuat refleksi. Mungkin kita perlu bijak berduet antara harmoni dengan chaos, being dengan unbeing, closing dengan disclosing”

Moga kita semua memperolehi pencerahan dan pemurnian fikir serta budi dari perkongsian ini. Terima kasih brader Fuad Arif. 

PAK LEMAN & ‘SERMON WITHOUT WORDS’ (PAK LEMAN & KHUTBAH TANPA KATA)

Saturday, 28 October, 2017, Shah Alam, Selangor. 3 pm – 5.30 pm.

One of the key references for my current research is Sulaiman Esa, specifically his writings and his artworks.  I call him Pak Leman as a sign of respect and honour. I didn’t have the opportunity to be his student, formally. But I consider myself the student of his writings and artworks. I have written about his solo in my Jiwa Halus blog, where I touched a bit on my position in relation to Pak Leman. Those interested may google his name.

Few weeks ago, I went to see him at his house to ask him about eight quantum interpretations in key phrases. These interpretations can also be taken as a collection of descriptions and propositions on eight quantum phenomena. I was interested in acquiring how Pak Leman respond to these descriptions since I suspect they relate closely to how he had described and expressed his experience with Islamic visual tradition through his reading and practice.

It was supposed to be a partly structured partly open interview. Pak Leman responded with so much zest, energy and speed. He replied to my questions with his usual passionate responds. There were lots of body gestures too, and boundless energy.  I felt like talking to a thirty something guy. I saw few books on physics and art, perhaps indicating that Pak Leman was prepared for the interview. I recognized Capra’s “The Tao of Physics”.  Whilst trying to catch up and maintain the course of the topics discussed, I managed to take few notes. Please be informed that this is only a draft version. There might be few changes in this text later. 

Before I could start, Pak Leman mentioned Ismail Zain, my sifu and another key reference for my research. The research was inspired by Ismail Zain’s proposition on the use of Physics in re-approaching tradition, instead of Anthropology and History. Ismail Zain uses the term ‘internal technology’ in describing what he refers to as ‘sacred primary experience’.

“Ismali Zain had already talked about metaphysic, on tradition and Divine Truth from heaven,” Pak Leman opened the session.

When I responded by suggesting that Ismail Zain was referring to a different notion of time and space, Pak Leman replied,

“Time-space concept is already there in the Quran. Refer to ayat Kursi for example, God never sleeps, never got tired, not bounded by time-space, the Creator of Time-space, what do these means in modern language?” he asked.

Pak Leman went on to several topics for a while before I could brief him about my research and the interview. I asked him about several descriptions of quantum phenomena, through key phrases and key quotes.

Here are several of Pak Leman’s key replies:

1  1. Witness-based or observer-centred reality.

“You look at arabesque for example. You can look at it individually from any point. That’s observer-dependent. Reality is based on you, the observer. In the Western concept of space and time, the observer is passive and subservient.”

Pak Leman then gave the following example:

“Now, there are many examples of contemporary works that involve observer participation, very participatory. You have to move from object to relationship, to touch and feel the space, to be a part of the space. You cannot be passive anymore. The observer becomes a part of meaning-making. Man is a meaning-making being.”

I was reminded of “Panopticon” (2011), Pak Leman’s installation that he created in collaboration with his son Fairuz Sulaiman. It was exhibited in his major solo exhibition at the National Art Gallery in 2011.

So how does observer-centered notion of reality relate to Islamic cosmology?

“In cosmology, you have to understand your relationship within yourself, with other creations, with the Universe and with God. You have to be aware of who and where you are in relation to others. You have to ask, what’s your essence. It is beyond physical, its metaphysical.”

I shared with Pak Leman a quote from Einstein and several quotes from other physicists on the illusive nature of what we have customarily assumed as physical reality. He replied,

“Take the idea of ‘maya’ for example, the Real is only One, the Giver of life, Nafas Ar-Rahman, the rest all maya, energy, vibration, sound. In Islam, reciting the Quran for example, sound is very central. In Hinduism, sound is also very central, the sound Omm for example. Its about vibration. Energy.“

Such paradigm may not be compatible with Classical-Newtonian paradigm. In this regards, Pak Leman offers the following,

“Modern philosophy is securalist, modernist, about enlightenment where God is out of the equation.”

Pak Leman then threw few mental jabs towards Fuad Arif, my friend, who was also presence to witness the interview. Pak Leman seemed to have few issues with Heidegger and phenomenology. Fuad managed to evade and swing back politely, with my support.

I went on to seek Pak Leman’s respond to two more quantum phrases.

2

   2. Multi-level and multi-dimensional Universes, &

3  3. Microcosm and macrocosm

I showed Pak Leman several quantum theories and diagrams related to the notions of multi-dimensional and multi-level universes. He responded,

“This has been explained by Ibnu Arabi, Nakula, the 7 levels, 7 stages of the soul, different ‘alam’, malakut,  and so on. There are higher and lower worlds, the inner and outer worlds, the seen and unseen, the manifested and the hidden. There are microcosm, macrocosm and metacosm. Metacosm is beyond microcosm and macrocosm. There are different levels of knowledge in articulating this.”

Fuad then asked whether the descriptions of such levels were literal, metaphorical or symbolical.

“This concept is difficult to articulate solely through language. Language may collapse to explain the higher dimension, language cannot reach it, and it is beyond logic too.”

“My work ‘Doa’ refers to this hierarchy where the central concept is the ontological relationship, direct connection with God, through ‘doa’ for example.”

I mentioned to Pak Leman another three key phrases related to Physicists’ description of quantum phenomena. The following are Pak Leman’s key replies that I managed to note.

4 4. Inter-connectivity and the Single Unified Field of Infinite Intelligence

“This is about the shift from object to relationship. We are not talking about object anymore, but how the object relates to other objects. Even in studio practice, we teach students not to just draw object, but to see the relationship, the dynamics, between one object with another.”

5  5. Complimentary pairing

“This is Ying and Yang, mystic spiral, centrifugal and centripetal, anti-clockwise, like the movement of pilgrimages around the Kaabah, the inward-outward motions, the wind as shown by the movement of dried leaves during windy days. You see it in Fibonacci sequence through natural objects like flowers, Daisy for example. It is the convergence of male and female principles. This is what we called ‘Khutbah tanpa kata’, (a sermon without words) signs.”

6

   6. Higher consciousness

“This relates to stages or ‘makam’, different levels of energy. This is what Ismail Zain refers to as ‘internal technology’. This is where art plays a role as a part of ‘pemulihan jiwa’ (healing of the soul).”  

I tried to squeeze two more key phrases, but by that time, Pak Leman’s was already way beyond the scope of my research. Knowing and respecting him, I let him flow in accordance to his own rhythm.  He went on talking about his friend Piyadasa, their friendship, about the role of academics with Phds in the midst of market-oriented contemporary art scene and his current archival project on his rare drawings.

After enjoying light refreshment, Dr Khatijah Sanusi (Pak Leman’s wife) took a group photo of Pak Leman, Fuad and I, in front of his house.  We represent three generations of seekers.  It was a short yet meaningful session for me. It was an honour too.

Fuad sent me back to Subang airport. At the airport, I saw few examples of what Pak Leman refers to as ‘Khutbah tanpa kata’. They were mappings or visualizations of quantum phenomena.  I inhaled  deeply and exhaled slowly, whilst  living and breathing the quantum of  Islamic visual tradition.

Thank you Pak Leman.

BELASalamPULAUPINANG

Tolonglah ada belas terhadap alam. Jika tidak, yg tak buat jahat pada alam pun kena musibahnya. 

BUDAYA BENDA ATAU AKAL&BUDI & ILMU&ADAB

Jika ada kelapangan, bacalah artikel ringkas rakan berlaga minda dan rasa, sdr Hasmi Hashim di tautan berikut, 

https://www.themalaysianinsight.com/bahasa/s/20832/

Seperti biasa, coretan Hasmi mengusik minda dan rasa. Saya whatsapp kpd dia reaksi saya, sebagai seorang kenalan. 

Hari ini saya rajin sikit nak kongsi reaksi saya kpd dia. Itupun setelah direnungi bahawa perkongsian ini mungkin boleh dimanfaatkan dgn baik oleh kita semua. 

Saya:

"Salam brader. Esei tentang budget osem. Pada saya mat rock kapak separa pencen ini, esei tu perlu direct pd point yg paling mendasar - antara tafsiran budaya dari segi materi (termasuk wang ringgit, ekonomi dan segala yg boleh disukat sakat di KPI, ROI -return of investment , yg boleh dipiawaikan) dengan tafsiran budaya dari segi non-materi (nilai-nilai halus seperti cara fikir dan adab kesantunan). Kedua2 tafsiran membawa kpd sikap dan tindakan yg berbeza. Malah, boleh dibahaskan bahawa ketaksuban kpd ciri2 pulangan materi boleh merosakkan aspek non-materi atau nilai pd budaya. Mengejar 'rating' dijadikan contoh dlm esei brader. 

Oleh itu persoalannya, kita harus ambil tafsiran, sikap, posisi dan tindakan yg mcm mana? Nak kejor budaya material atau budaya non-material? 

Dari cara hang khatamkan tulisan tu, penekanan lebih kpd budaya dan warisan non-material (tak ketara/intangible culture & heritage) yakni akal dan budi, ilmu dan adab. 

Soalannya, budi dan adab wajib ke ada budget tahunan dari kerajaan  (baik negeri atau negara) sebagai pra-syarat? Saja je ngusik hang!

Tiap kerajaan ada tanggungjawab besar dan mencabar utk mensejahterakan budi dan adab, 'hidden point brader' yg amat penting dlm esei itu. Besar dan mencabar krn kedua-duanya tak bergantung pd sebarang pelaburan material termasuk budget, walaupun kesan atau ROI dan KPI nya amat mendalam dlm membina ketamadunan. Tamadun hancur kerana ada ilmu tapi takda budi dan adab. Hang punya 'closing point' tu dah osem. Takyah la surrender, tak perang pun, hehehh. Aku suka baca hang punya tulisan. Aku ni memilih, dah tua."

Mi, hang try baca ni. Ni bukan fikiran aku, tapi diringkaskan dari buku kawan2. Aku tulis pun utk rujukan anak2 murid."

http://hasnulsaidon.blogspot.my/2012/09/membaca-kebudayaan-bahagian-2.html?m=0

Reaksi saya ini diterima dgn rendah diri dan santun oleh Hasmi, yg tak habis berterima kasih krn artikelnya dibaca. Dah jadi seakan ritual yg sering berlaku selepas saya whatsapp, dia terus telefon utk susul berbual. Topiknya tentang semakin hilangnya adab dan budi pd ilmu, terutama di kalangan mereka yg selama ini diterima sebagai orang2 yg berilmu. Fenomena ini buat saya sendiri disampuk resah, kecewa, murung dan hampir nak marah2 (yg perlu dikawal atas nasihat doktor). Antara kesimpulannya, 'tanpa budi dan adab, budaya tak dapat membina ketamadunan' dan, 'tidak bersetuju bukanlah tiket utk menjadi tidak beradab.' 

Terima kasih sdr Hasmi. Kita ingat mengingati dan berpesan-pesan utk satu sama lain.