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"Imajinasi mengenai utopia seringkali dikaitkan dengan impian yang tidak mungkin atau sulit untuk direalisasikan. Dari persepsi tersebut, timbul ketertarikan untuk mencari tahu mengenai perealisasian sebuah utopia dan kota ideal, perihal hal tersebut mungkin dilakukan ataupun tidak. Pembahasan akan diawali dengan memperdalam beberapa konsep kota ideal yang telah dipublikasikan. Kemudian dilakukan pembahasan yang lebih mendalam mengenai salah satu contoh implementasi utopia dalam bentuk kota ideal. Berdasarkan kesimpulan, kota ideal adalah sesuatu yang mungkin untuk dilakukan namun tidak secara sempurna. Konsep kota ideal cenderung berkaitan erat dengan imajinasi bebas perancangnya. Maka dari itu, perealisasian kota ideal belum dapat dilakukan secara total dikarenakan adanya intervensi masyarakat dan perubahan gaya hidup masyarakat.

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Imagination about utopia is closely related to something which is hard or impossible to be realized. From this perspective, there is an interest to investigate the realization of utopian dreams, an ideal city and its possibilities. The investigation will start by learning the basic meanings of imagination ideals in design, utopia, an ideal city and a utopian city. Then, there will be a discussion of some sample of utopian ideas in the form of an ideal city done by some architects in the past that will lead to a case study of the city of Brasilia which an implementation of urban utopian thinking.

Based on the conclusion, an ideal city is a dream which is yet to be fulfilled. Some attempts to make it happen in the past have succeeded, but the result was not as expected by the initial concept. The concept of an ideal city is based on the planner?s freedom of imagination. Therefore, the realization of an ideal city has not been carried out perfectly because the ideal city itself was intervened by the people living in it who needed a change of lifestyle."

"Sebuah ruang dianggap baik tidak hanya dari keindahan bentuknya saja, tetapi dari caranya memicu imajinasi penggunanya. Dalam arsitektur, imajinasi adalah hasil dari pengalaman ruang yang dialami oleh manusia. Walaupun imajinasi adalah hal yang bersifat personal karena melibatkan memori manusia, imajinasi dapat dipicu melalui pemberian rangsangan visual, salah satunya melalui cahaya. Cahaya khususnya cahaya buatan merupakan variabel yang dapat diubah untuk mencapai suatu kualitas dan pengalaman ruang tertentu. Sehingga imajinasi dapat diarahkan oleh perancang ruang melalui kualitas cahaya. Tulisan ini bertujuan untuk membahas peran cahaya dalam memicu imajinasi manusia melalui pengamatan terhadap seni pertunjukkan dan adegan-adegan di dalamnya.Melalui pembahasan terhadap studi kasus, cahaya memiliki peran sebagai elemen pendukung dari objek lain atau konteks maupun menjadi objek imajinasinya sendiri. Artinya untuk memicu imajinasi, cahaya perlu berkaitan dengan objek lain. Untuk mendukung imajinasi, cahaya dapat dimodifikasi melalui kualitas-kualitasnya yaitu intensitas, tingkat kecerahan, warna, difusi, dan arah.

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A space considered as a good space not only by the beauty of its shape, but also by the way it triggers user rsquo s imagination. In architecture, imagination is a result of human rsquo s space experience. Although imagination is a personal thing because there is human rsquo s memory involved, imagination can be triggered by visual stimulation and one of the visual elements is light. Light, especially artificial light is a changeable variable to achieve a certain quality, hence users can feel a certain space experience. Then, imagination can be directed by the space designer through the quality of light.

This thesis will explain light rsquo s role that triggers imagination through an observation of a theatre and its scenes. The result of the case study is that light can be a supporting element for imagination object and it can be an imagination object itself. Then, light should be related to another object to trigger imagination. Light should also be modified to trigger imagination through its qualities such as intensity, brightness, color, diffusion and direction. "

"In recent years have seen an enormous amount of philosophical research into the emotions and the imagination, but as yet little work has been done to connect the two. In this book, the author shows that all emotions require some form of imagination and goes on to fully explore the link between these two important concepts both within philosophy and in everyday life. We may take it for granted that complex emotions, such as hope and resentment, require a rich thinking and an engagement with the imagination, but the author shows how more basic and responsive emotions such as fear and anger also require us to take account of possibilities and opportunities beyond the immediate situation. The book highlights that many emotions, more than we tend to suppose, require us to imagine a situation from a particular point of view and that this in itself can be the source of further emotional feeling. It goes on to demonstrate the important role that emotions play in our moral lives, throwing light on emotions such as self-respect, disapproval, and remorse, and the price we pay for having them. He explores the intricate nature of moral emotions and the challenges we face when integrating our thinking on morality and the emotions. This book challenges many assumptions about the nature of emotion and imagination and will appeal to anyone seeking a deeper understanding of the role that these concepts play in our lives. -- From publisher's website."

"Bandung di masa kolonial dikenal sebagai Parisnya Pulau Jawa atau yang populer dengan sebutan Parijs van Java. Sebutan itu memberikan kesan kota yang estetik dan dicintai oleh banyak orang bahkan hingga saat ini. Orang Belanda menyebut Bandung sebagai Een Western Enclave atau permukiman eksklusif bagi orang Barat yang membuat kota ini makin spesial. Penelitian ini berfokus pada perkembangan kota di Bandung pada awal abad ke 20, dari kota kecil di tengah perkebunan menjadi kota modern yang diakui dunia internasional. Bandung dicalonkan menjadi ibukota Hindia Belanda untuk menggantikan Batavia. Berbagai perubahan kota yang terjadi ikut berpengaruh pada tampilan estetika arsitektur dan kota. Namun, di balik gemerlap perkembangan yang pesat itu, terdapat sejumlah ide terkait estetika yang tidak saling berhubungan. Penelitian ini mencoba menjawab apa aja citra estetik yang ingin ditampilkan di Bandung saat dipersiapkan menjadi ibukota baru beserta alasanalasannya yang dikaji melalui teori estetika Immanuel Kant dan teori metropolis karya Georg Simmel. Dengan menggunakan metode yang diperkenalkan oleh Iain Borden dan rekan-rekannya dalam buku The Unknown City, terungkap sejumlah pandangan terkait estetika yang membentuk citra kota Bandung, seperti potensi alam, ide keteraturan, eksotisme, ambisi terhadap hal-hal baru, imajinasi kenyamanan Eropa di kota tropis, sekaligus ketakutan akan wabah penyakit yang mengancam imajinasi kolonial.

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Colonial Bandung was known as the Paris of Java (Parijs van Java). It gives an impression of aesthetic and is adored by the people until present day. The Dutch named Bandung as Een Western Enclave or an exclusive neighborhood for the European. This research focused on the development of the city in the early twentieth century, from a small town near the plantation to a modern city that is globally known, even to be prepared as a capital city of Dutch East Indies. The development also changed the visual of architecture and the city. However, behind the rapid development of the city, there are some ideas in aesthetics that was unrelated.

This research tried to answer what is the image of aesthetics that was appeared in Bandung as the future capital city of Dutch East Indies. I learn it through the Aesthetic theory of Immanuel Kant and Metropolis of Georg Simmel. With the method that is introduced by Iain Borden and friends in the book The Unknown City, I found some views that is related to the aesthetic and the city, such as nature beauty, the urban planning and design principle, ambition to the tecnology and innovation, exoticism, imagination of the ideal tropics, as well as fears that threatened colonial imagination. "

"This research derived from Slankers phenomena. Slankers imagine their idol, the image of Slank. Slank is a group band that their music genre composed of pop, rock, blues, and reggae. For Slankers, Slank's songs are not only easy listening and singing, but also presenting the image of Slank. Even though Slank does not present physically, at that time Slank along with others image can be presented in Slankers' imagination. Mami - one of an example-, when she miss her father -who had pass away- she'Il listen to some of Slank"s songs. For her, Slank's songs can present her fathers image and Slank"s image, because her father was a Slanker. After she has listen to the songs, her longing will be tempered. While her imaginative experience comes up, she writes itto Slankers' media.Based on the phenomena, l study literatures in the Anthropology of Experience ((Turner and Bruner 1986 (ed.)), but they do not show the theory of imaginative experience. It urges me to state the objective of this research to construct theory of the imaginative experience. I build the conceptual framework composed of the concept of experience, imagination, and culture Experience is expression of interaction system between categories (Dilthey 1910, in Rickman, (ed.) 1976: 199, 211). imagination is to confront between contradictory categories (Casey 1991:20,42). Culture is constructed (Clemmer 1969:221). Within the composition I found the essence of dialogic, narrative, and narrative dialogic. This led to the development of narrative dialogic ethnography.I argue that the narrative dialogic ethnography is a research paradigm, that consist of (Guba and Lincoln, in Denzin and Lincoln (ed.) 1994: 108-109):- Ontology: to view imaginative experience is an expression system of relation and interaction between categories that to present images, furthermore the system is constructing.- Epistemology: to conduct between categories as the narrative dialogic.- Methodology; to make tense, to confront, to relate, and to interact some categories, and to accommodate some possibilities of sequences from some categories within the topic of imaginative of experience.Based on that paradigm, this research question is how the narrative dialogic ethnography works to construct the theory of imaginative experience. As a foundation, the narrative dialogic ethnography constructs a concept of imaginative experience. Imaginative experience is a narrative dialogic between "the realm of areal" and "the realm of afotik" that activates "the realm of aktinik, with the result is enable to presence a narrative dialogic between "the realm of areal" and "the realm of aktinik". Narrative dialogic can be able to construct the imaginative construction in "the realm of areal" or in "the realm of aktinik". "The realm of areal" is "the realm of physics" that contents of physical presence of certain person, or with others or things in various event. "The realm of afotik" is "the realmof images" that contents of their idol`s image presence. "The realm of aktinik" that contents of both subject and images presence in imagination.Based on that concept, the narrative dialogic ethnography constructs the theory of imaginative experience, that is narrative dialogic among "the realm of areal", "the realm of afotik" with "the realm of aktinik, which are; 1) "the realm of areal" is narrative dialogic between the concept of imaginative dramatic performance (it is performance of experiencer) with the concept of imaginative dramatic identity (it is admission cf others); 2)"the realm of afotik" is narrative dialogic between the concept of imaginative embodiment (it is energy of their idol's image that never last) with the concept of hero (it is their idol's image that have been last their heroic way); 3) "the realm of aktinik' is narrative dialogic between the concept of imaginative symbol and imaginative ritual (it is process of imaginative relationship) with the concept of religion (it is structure of imaginative relationship).This research concludes that;1. The nanative dialogic ethnography more capable to construct the concepts of imaginative experience compared to other anthropological approach, such as Bruner's dialogic narration (2005), Geertz's interpretation of cultures (1973), and Turner"s interpretation of symbols (1967).2. The narrative dialogic ethnography works not only interrelated one concept with others, as realized up till now, but also narrative dialogic one concept with others."