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Pohon Filsafat - The Tree of Philosophy by Stephen Palmquis

Mitos-Mitos Seputar Filsafat 
Konon, filsafat itu amat sulit. Sedikit sekali orang yang mampu mempelajarinya. Bahkan, kata orang, jangan terlalu serius belajar filsafat! Bila otak tidak kuat, jangan-jangan kita menjadi gila karenanya! Buat apa mengambil risiko ini, padahal konon filsafat itu sesuatu yang abstrak, jauh dari kehidupan kita sehari-hari? Hmm, memang ada banyak mitos mengenai filsafat seperti itu. Malahan mitos-mitos itu beredar tidak hanya di kalangan awam.

Sebagian agamawan berpandangan, memegang erat-erat kitab suci sebagai pegangan hidup sudah lebih dari cukup, sehingga filsafat yang tidak menjanjikan kebenaran-mutlak tidak diperlukan. Sebagian ilmuwan mengira, mereka berkewajiban untuk melepaskan diri secara total dari filsafat untuk mempertahankan keilmiahan mereka. Sebagian seniman merasa, filsafat tidak akan membantu kita dalam menikmati keindahan. Sebagian usahawan bilang, filsafat hanya membuang waktu karena tidak akan menghasilkan laba.

Dalam buku ini, Stephen Palmquist berusaha mempertanyakan mitos-mitos yang seperti itu. Secara tersirat ia mengatakan, semua orang yang berakal sehat bisa mempelajari filsafat dan bahkan mampu berfilsafat! Dalam beragama ada filsafatnya, dalam bersantap fried chicken pun ada filsafatnya. Begitu pula dalam berilmu, berpolitik, berbahasa, berbisnis, dan lain-lain.

Secara demikian, apakah Palmquist menyarankan agar kita membabat habis segala mitos? Sama sekali tidak. Ia justru menyatakan, ada beberapa mitos yang tidak bisa dilenyapkan. Bahkan, filsafat pun membutuhkan mitos tertentu. Ada banyak mitos yang memiliki potensi yang dahsyat. Apabila dibudidayakan dengan cara sebaik-baiknya, mitos itu bisa memberi hasil positif yang luar biasa. Umpamanya, mitos bahwa “filsafat itu laksana pohon”.

The Tree of Philosophy sebagai Mitos Menyajikan filsafat dalam bentuk mitos adalah sesuatu yang unik. Dengan cara ini, filsafat yang terkesan rumit dan tidak beraturan dapat disampaikan dengan gambaran yang sangat sistematis dan sekaligus seutuhnya. Hubungan antarunsur filsafat pun bisa ditata dengan rapi.

Hal itu penting karena uraian yang tidak utuh, sepenggal-sepenggal, dan tidak teratur, meloncat-loncat, cenderung menyesatkan pembacanya, terutama kalangan pemula. Dalam penggunaan itu, The Tree bisa dibilang sukses dalam menjalankan fungsinya sebagai mitos, setidak-tidaknya pada diri saya dan barangkali pada hampir semua mahasiswa yang memanfaatkan buku ini.

Akan tetapi, sesungguhnya saya pada pandang pertama kurang tertarik akan buku ini ketika melihat judulnya, The Tree of Philosophy (Pohon Filsafat). Kata “pohon”, bagi saya, menyiratkan sesuatu yang cenderung statis--sesuatu yang kurang saya sukai waktu itu tatkala saya berada dalam suasana euforia reformasi. Namun setelah mulai membaca isinya, saya agak tercengang. Ternyata filsafat yang digambarkan di sini merupakan suatu disiplin yang statis (kokoh) dan sekaligus dinamis (berkembang)!

Saya berasumsi, sebagian besar dari pembaca edisi Indonesia ini pun memiliki mitos tertentu tentang pohon. Bila saya menerjemahkan judul The Tree of Philosophy secara harfiah, yakni “Pohon Filsafat”, saya khawatir bahwa anda pada pandang pertama akan berprasangka negatif dan karenanya enggan membuka-buka buku ini lebih lanjut. Oleh sebab itu, saya mengubah judul itu, sepersetujuan penulis asli, menjadi Filsafat Mawas (The Perspectival Philosophy).

Filsafat Mawas di Antara Pengantar Filsafat Lainnya 
Secara garis besar, kelihatannya ada lima jenis pendekatan utama yang dipakai dalam pembelajaran Pengantar Filsafat (Filsafat Umum atau Filsafat Barat).

Yang kesatu adalah pendekatan historis dengan berbagai variasinya. Metode ini sering dipandang baik bagi pemula. Dalam pendekatan ini, pemikiran para filsuf terpenting dan latar belakang mereka dipelajari secara kronologis. Contoh pemanfaat pendekatan historis yang baik ialah Jostein Gaarder, Sophie’s World.

Yang kedua adalah pendekatan metodologis. Cara ini dipandang penting mengingat bahwa cara terpenting untuk memahami filsafat adalah berfilsafat. Dalam pendekatan ini, berbagai metode berfilsafat ditimbang-timbang, kemudian metode yang dipandang terbaik diuraikan lebih lanjut untuk dapat dipergunakan sebagai pedoman berfilsafat. Contoh pemakai pendekatan metodologis yang baik ialah Mark B. Woodhouse, A Preface to Philosophy.

Yang ketiga adalah pendekatan analitis dengan berbagai variasinya. Metode ini memandang bahwa tugas utama pengantar filsafat adalah menjelaskan unsur-unsur filsafat. Dalam pendekatan ini, isi filsafat diuraikan secara sistematis dan diterangkan segamblang-gamblangnya. Contoh pengguna pendekatan analitis yang baik ialah Louis O. Kattsoff, Elements of Philosophy.

Yang keempat adalah pendekatan eksistensial. Metode ini memandang bahwa tugas utama pengantar filsafat adalah memperkenalkan jalan-hidup filosofis tanpa terbelenggu oleh sistematikanya. Dalam pendekatan ini, tema-tema pokok filsafat didalami dengan harapan bahwa pembacanya akan dengan sendirinya memperoleh gambaran tentang filsafat yang seutuhnya. Contoh penerap pendekatan eksistensial yang baik ialah A.C. Ewing, The Fundamental Questions of Philosophy.

Masing-masing dari pendekatan-pendekatan tersebut memiliki keunggulan dan kelemahan sendiri-sendiri. Untuk memaksimalkan keunggulan-keunggulannya dan meminimalkan kelemahan-kelemahannya, agaknya yang terbaik adalah yang kelima, pendekatan terpadu. Metode ini mensintesis berbagai pendekatan sekaligus dalam satu buku saja. Contoh pelaku pendekatan terpadu yang baik ialah Stephen Palmquist, The Tree of Philosophy!

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Cinema and Technology: Cultures, Theories, Practices

Cinema and Technology: Cultures, Theories, Practices
By Bruce Bennett, Marc Furstenau, Adrian MacKenzie
 
The essays collected in Cinema and Technology map out a new interdisciplinary terrain, combining contemporary analyses of material and visual culture, deploying the methods of film studies, media and cultural studies, media anthropology, and science and technology studies. Rather than describing a technological "crisis," or separating the technological and aesthetic halves of the cinema, they present a manifold, expansive reconsideration of the life of technologies in the cultures, theories and practices of cinematic production and consumption.


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Biographical Notes • Acknowledgements • Introduction: B.Bennett, M.Furstenau & A.MackenziePART I: FORMAT • The Perilous Gauge: Canadian Independent Film Exhibition and the 16mm Mobile Menace; P.Lester • BMW Films and the Star Wars Kid: 'Early Web Cinema' and Technology; A.Clay • On Some Limits to Film Theory (Mainly From Science); J.Elkins PART II: NORMS • Socially Combustible: Panicky People, Flammable Films, and the Dangerous New Technology of the Nickelodeon; P.Moore • Cinema and its Doubles: Kittler vs. Deleuze; J.Harris • Genomic Science in Contemporary Film: Institutions, Individuals and Genre;K.O'Riordan • PART III: SCANNING • Cinema as Technology: Encounters with an Interface; A.Wood • Demonlover: Interval, Affect and the Aesthetics of Digital Dislocation'Into the d├ęcor': Attention and Distraction, Foreground and Background;C.Rodrigues • Children, Robots, Cinephilia and Technophobia; B.Bennett • PART IV: MOVEMENT • Lola and the Vampire: Technologies of Time and Movement in German Cinema;M.Langford • Inbetweening: Animation, Deleuze, Film Theory; B.Schaffer • Affective Troubles and Cinema; M-L.Angerer • Afterword: Digital Cinema and the Apparatus: Archaeologies, Epistemologies, Ontologies; T.Elsaesser* Bibliography • Index
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In Search of Cinema: Writings on International Film Art
"In Search of Cinema" chronicles the vitality of international film art in the last two decades. At a time when the movie review has degenerated into mere publicity for Hollywood pictures and film scholarship has become entangled in its own pseudo-scientific discourse, Bert Cardullo reclaims the territory of a certain type of film critic, somewhere between a reviewer-journalist and a scholar-theorist. With elegance, clarity, and rigour, he offers close readings of individual films to show how moviemakers use the resources of the medium to pursue complex, significant human goals.

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PART I: SETTING THE STAGE: THEORETICAL ISSUES
Existentialism: An Overview of Important Themes and Figures
Film as Tool for Philosophical Investigation
Film Realism and Narrative Identity
PART II: MEANINGFUL MOVIES
Antonioni: Meaninglessness and the Modern World
Religiosity in the Films of Ingmar Bergman
Rethinking Raskolnikov: Exploring Contemporary Ethical Challenges in the Films of Woody Allen
Authenticity in the Films of Federico Fellini
The Nietzschean Free Spirit in Dead Poets Society and Harold and Maude
Conclusion
Notes


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