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""For Erik Reece, life, at last, was good: he was newly married, gainfully employed, living in a creekside cabin in his beloved Kentucky woods. It sounded, as he describes it, "like a country song with a happy ending." And yet he was still haunted by a sense that the world--or, more specifically, his country--could be better. He couldn't ignore his conviction that, in fact, the good ol' USA was in the midst of great social, environmental, and political crises--that for the first time in our history, we were being swept into a future that had no future. Where did we--here, in the land of Jeffersonian optimism and better tomorrows--go wrong? Rather than despair, Reece turned to those who had dared to imagine radically different futures for America. What followed was a giant road trip and research adventure through the sites of America's utopian communities, both historical and contemporary, known and unknown, successful and catastrophic. What he uncovered was not just a series of lost histories and broken visionaries but also a continuing and vital but hidden idealistic tradition in American intellectual history. Utopia Drive is an important and definitive reconstruction of that tradition. It is also, perhaps, a new framework to help us find a genuinely sustainable way forward. "--"Eric Reece, author of Lost Mountain and An American Gospel, traces the history of the utopian movement in America and lays out a radical re-visioning of the future of utopian societies"--"

"This book investigates the inherent 'impossibilities' in the political thought of Adriano Olivetti, and seeks to determine whether the Olivettian ideal lacks true consistency, or if it is, rather, an idealism which does not lose sight of reality. "

"ABSTRAKSkripsi ini menyelidiki problem prediksi ilmu sosial yang hadir dalam kemunculan peristiwa-peristiwa Black Swan, yang mempersoalkan kekeliruan dan kegagalan prediksi atas peristiwa sosial-historis yang akan terjadi di masa depan. Dengan problem ini, saya memberikan afirmasi atas ketidakmungkinan pemerolehan hukum historis yang dinyatakan oleh Popper dalam kritiknya terhadap historisme. Fenomena Black Swan menunjukkan bahwa dunia sosial itu acak dan tidak terprediksi sehingga regularitas, generalisasi, dan abstraksi hukum sosial itu tidak mungkin untuk diperoleh. Sekaligus, ini melemahkan keajegan prediksi historis ilmu sosial yang merupakan akibat dari dogmatisasi metode, arogansi epistemik, dan penerimaan yang mutlak terhadapnya yang bisa jatuh pada bentuk utopianisme. Penelitian ini menggunakan metode deskripsi-kualitatif yang bersifat eksploratif dan analisis konseptual. Skripsi ini adalah afirmasi terhadap inprediktabilitas historis ilmu sosial.

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ABSTRAKThe problem of historical prediction of social science presents in the emerge of Black Swan events, which discuss about the mistake and failure of the prediction of future social historical events. By this problem, I give an affirmation to the impossibility to find the law of historical as Popper stated in his criticism of historicism. The Black Swan phenomena shows that social world is random and unpredictable thus generalization, regularity, and abstraction of law are impposible to be reached. Furthermore, it debilitates the absolutization of historical prediction of social science as an effect from the dogmatization of method, epistemical arrogance, and unconditional acceptance to historical prediction that may fall into a form of utopianism. The methods of this study is explorative qualitative description and conceptual analysis. This study is the affirmation of historical inpredictability of social science. "

"ABSTRAKBertentangan dengan tujuan peradaban dengan nilai-nilai Utopisnya yang dimaksudkan untuk memberi manfaat kepada masyarakat, Freud mengajukan konsekuensi lain yang menunjukkan ambivalensi peradaban. Dalam masyarakat beradab, menurut dia, orang menghilangkan bahaya yang berasal dari manusia lain melalui penciptaan institusi sosial, seperti budaya, moralitas, atau regulasi sistem yang lebih kompleks. Lembaga sosial ini selain manfaat yang diberikan, juga memberikan bahaya lain yang menurut Freud menyebabkan benturan antara individu dan naluri utamanya untuk memenuhi prinsip. Untuk menjadi bagian dari masyarakat, anggota masyarakat harus menyesuaikan diri dengan sistem sosial masyarakatnya. Dalam sistem sosial ini, naluri fundamental manusia terbatas atau ditolak melalui adanya peraturan, moralitas, dan budaya yang perlu dipatuhi dan diprioritaskan di atas keinginan individu. Dengan demikian, untuk hidup bersama dalam masyarakat, individu seharusnya melepaskan aspek tertentu dari keinginannya dengan menindasnya.Dengan begitu masyarakat yang terlihat memiliki peradaban tinggi ternyata adalah sebuah masyarakat totaliter yang merupakan masyarakat distopis.ABSTRACT

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ABSTRACTContrary to the purpose of civilization which is meant for benefiting the community, Freud proposed another its consequence that shows the ambivalence of civilization. In civilized society, he stated, people eliminated the danger which comes from other human beings through creating social institution, such as culture, morality, or more complex system regulation. This social institution, despites of the benefits that it can bring, also brings another danger which according to Freud causes a clash between individual and its primal instinct to fulfill the pleasure principle Dalley, 1977 . To become of a part of society, a member of society must adapt to its society rsquo s established social system. In this social system, Tthe fundamental instinct of human beings is limited or denied through the existence of which needs to obey and prioritize above individual rsquo s will. Thus,to live together in a society, individual is supposed to giving up certain aspect of his or her desire by repressing them. Introduction The Giver was released in the United States on August 15, 2014 and based on the 1993 novel of the same title by Lois Lowry. It depicts a civilized community with the inexistence of inequalities and discriminations. The community is shaped and governed by the old generation based on their ideal values they believe have created an ideal community. A community which is a great place and considered as a solution to live where every member of the community succeed in eliminating all the things that can create undesirable feelings and conditions such as disorder, bad weather, chaos, pain, envy, fear and hatred. Watching The Giver, the audience will be given a depiction of a community where no poverty exists. There are no the rich and the poor. The citizens rsquo behavior and attitude during interaction to other member of the community are extremely polite even to their own family member or colleagues to avoid internal aggression. Thus, there are no crimes because everyone behaves perfectly well according the norms strictly regulated.In addition, the advanced technology has made many improvements in the quality of human life by successfully avoiding danger from bad weather or natural disaster as external dangers. In the movie, the community seems have perfectly avoided both internal aggressions and external dangers that lead to sorrow and unhappiness. However, the community also cannot feel the pleasure of the real world, such as to love or to be loved since showing emotion is considered not proper. They also have no choice about what job they will be assigned to, whom they will marry to or who their future children will be. Every child never sees his or her birthmother as the Elders or the old generation will choose his or her family. Everything is decided by the elder as the leader of the community, including when a member of the community will need to be lsquo released rsquo which means lsquo will be killed or dead rsquo without his or her knowing what is the real meaning of death.This journal will show that The Giver gives realization that there is a cost of such ideal society to individualism. Using Sigmund Freud rsquo s social theory of civilization, a seemingly ideal Utopian of civilized society in the Giver is actually a repressed society that have lead the society to totalitarian state which is a dystopian. Thus, from the depiction of The Giver society, civilization and its fundamental nature are actually incompatible with the individual needs of human being to please the primal instinct."

"Film animasi Prancis Le Tableau (2011) karya Jean-François Laguionie mengisahkan kehidupan dalam sebuah lukisan yang belum diselesaikan oleh pelukisnya. Terdapat pengelompokkan tokoh-tokoh dalam lukisan yang didasarkan oleh progres pelukisan. Artikel ini mendalami bagaimana pengelompokkan sosial dalam film menimbulkan konflik ketidaksetaraan dan mendorong gerakan penghapusan kelas sosial. Tujuan penelitian ini adalah menerapkan perspektif kritik Marxis sebagai kerangka teoretis dalam menginterpretasikan konflik ketidaksetaraan dan konsep penghapusan kelas sosial dalam narasi visual film animasi Le Tableau serta mengkritisinya dengan realitas kehidupan sosial. Metode penelitian yang digunakan adalah kualitatif deskriptif. Data yang digunakan berupa unsur naratif, efek visual pada tokoh dan latar serta kutipan langsung dari tokoh. Analisis aspek naratif ditunjang dengan konsep teori A.J. Greimas dalam bentuk skema aktan dan struktur fungsional, kemudian pemaknaan simbol dari pengembangan animasi didukung teori film animasi dari Boggs dan Petrie. Hasil analisis menunjukkan konsep Marxisme terkait penghapusan kelas sosial yang tercermin dalam film sebagai pertentangan struktur kelas sosial menjadi sebuah wacana utopis untuk diimplementasikan dalam kehidupan.

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The French animated film Le Tableau (2011) by Jean-François Laguionie portrays life within an unfinished painting by its painter. The characters in the painting are grouped based on the progress of the painter's work. This article delves into how social categorization in the film gives rise to conflicts of inequality and propels a movement toward the dismissal of social class. The research aims to apply a Marxist critical perspective as a theoretical framework in interpreting the inequality conflicts and the concept of dismissal of social class in the visual narrative of the animated film Le Tableau, and to critically analyze it concerning the reality of social life. The research methodology used is qualitative descriptive. The data utilized includes narrative elements, visual effects on characters and settings, as well as direct quotes from characters. Narrative aspect analysis is supported by A.J. Greimas' theory in the form of actant schemes and functional structures, with symbol interpretation from animation development supported by animation film theories from Boggs and Petrie. The analysis results reveal Marxist concepts related to the dismissal of social class reflected in the film as a resistance to social class structures, becoming a utopian discourse to be implemented in real life."

"Gedung Pola tidak hanya berfungsi sebagai ruang pamer yang dibangun khusus untuk memamerkan gagasan perencanaan arsitektur dan kota berdasarkan pemikiran utopia dari Sukarno atas nasionalisme dan modernism tapi juga pameran menjadi sebuah strategi politik dan arsitektur kemudian dimanfaatkan sebagai ruang politik yang representatif bagi propaganda idealis Sukarno untuk publik Jakarta (khususnya) dan masyarakat Indonesia pada umumnya. Tesis ini mencoba untuk mengungkapkan bagaimana pameran bukan hanya sebagai media representasi visual tapi juga menjadi sebuah strategi politik ruang. Pemikiran Sukarno akan dicoba untuk ditelusuri melalui pembacaan archives sebagai evidence yang akan diinterpretasikan melalui pendekatan hermeunitical approach dari Heidegger. Selain itu tesis ini juga mencoba memandang artefak arsitektur sebagai suatu fenomena sejarah. Pendekatan ini dipilih oleh karena dalam membaca archives, jejak yang tertinggal akan diinterpretasikan secara fenomenologi sebagai upaya untuk menjawab kehadiran ruang politik dalam Gedung Pola dan juga untuk mengungkap bagaimana sebuah pameran, dapat menjadi strategi dari sebuah politik ruang.

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Gedung Pola was not only function as an exhibition room built specifically to exhibit Soekarno’s Utopian vision on achitecture and city planning based on Nasionalism and Modernism, but also become a place to exhibit his political strategy, used as a representative political space for Sukarno’s ideal propaganda for Jakarta citizen in specific and all Indonesian citizen in general.

This thesis try to elaborate on how an exhibition was not only use as a representative medium for visual, but also become a political strategy space. Sukarno’s idealogy will be tried to understood through reciting his archives as the evidence, that will be interpreted through Hermeunitical approach from Heideger.

Moreover, this thesis also try to view architecture artefact as a historical phenomenon because in reciting the archives, traces that was left will be interpreted phenomenologically, as a way to answer the existence of political space in Gedung Pola, and also to reveal how an exhibition can be a strategy for political space."