Abstract. This article contains an analysis of vlogs uploaded by President

Since the beginning of revitalization, Taman Alun-alun Bandung is expected to be a public space where people can interact with each other and build a healthy social order. Public space when viewing on the concept of Juergen Habermas, is a space within which there is participation and plural public consolidation and across classes and social structures with an emancipatory agenda. This research is by ethnography method which seeks to examine how so far Taman Alun-alun Bandung carry out its function as a public space of Bandung city residents. This research uses two big concepts namely Public Space from Juergen Habermas and Production of Social Space from Henrik Lafebvre, seeks to describe how social production space and nuance of publicity in the Park Taman Alun-alun Bandung. In the praxis level Taman Alun-alun Bandung can not be said to successfully perform its function as a representational spaces for community participatory activities. Created public spaces become pseudo, considering the imprisonment it makes imagined publicity can fill Taman Alun-alun Bandung not achieved. Sejak awal revitalisasi, Taman Alun-alun Bandung diharapkan dapat menjadi ruang publik tempat di mana masyarakat dapat saling berinteraksi dan membangun tatanan sosial yang sehat. Ruang publik apabila menilik pada konsep Juergen Habermas, adalah ruang yang didalamnya terdapat partisipasi dan konsolidasi publik yang plural dan melintasi kelas serta struktur sosial dengan agenda emansipasi. Penelitian ini mengunakan metode etnografi, yang berupaya memeriksa bagaimana sejauh ini Taman Alun-alun Bandung menjalankan fungsinya sebagai ruang publik warga kota Bandung. Penelitian ini menggunakan dua konsep besar yaitu Ruang Publik dari Juergen Habermas dan Produksi Ruang Sosial dari Henrik Lefebvre, berupaya mendeskripsikan bagaimana ruang produksi sosial dan nuansa kepublikan di Taman Alun-alun Bandung. Dalam tataran praksis Taman Alun-alun Bandung tidak dapat dikatakan berhasil menjalankan fungsinya sebagai representational spaces bagi aktivitas partisipatif masyarakat. Ruang publik yang tercipta menjadi semu, mengingat keberjarakan tersebut membuat kepublikan yang dibayangkan dapat mengisi Taman Alun-alun Bandung tidak tercapai.

Since 2016, Public Park in Indonesia, particularly in West Java has significantly been revitalized. Taman Sempur is one of public parks located in West Java that spent about Rp 2.2 billion for its revitalization process. That massive amount was poured out in order to develop public space for the community. Taman Sempur is a compound where Taman Kaulinan, Taman Skateboard, Taman Ekspresi, big pedestrian and few sports facilities with its own specific functions stand. This research, that applied the combination of geosemiotic and ethnographic analysis, attempted to observe how meaningful Taman Sempur as urban public space for the community through public space and public sphere approaches. The existing modality indicates that the community have certain attention to participate in Taman Sempur as public space, with some of its flaws in material dimension aspect. At the same time, public sphere nuances still vaguely felt, considering the community's awareness were not full and even due to habitus individual conflict while becoming part of the "public".

In this article, the author dissected two photos published by two mass media by describing the situation of the Covid-19 pandemic in Indonesia. The two photos serve as an entry point to see the position of Indonesia's visual culture in facing the Covid-19 pandemic, visual culture here is seen from the mass media approach using photography as a representation of Indonesia. Photography does not only prioritize aspects of beauty, but is able to describe complexity, problems and at the same time open up space for discussion and how to understand the cultural power of Indonesia. This article is not in the aim of having the pretense to simplify or even bypass the leap in Indonesian visual culture, but how to place the full awareness of the audience in the face of a "disaster". At this point, the writer tries to dismantle the mythical meaning in the two photos that will be uncovered. The author's aim is to show the complexity of cultural problems, particularly related to visual culture, by borrowing two photos taken from the mass media. The two photos were selected on the basis of being able to represent the reality of Indonesia in dealing with the Covid-19 pandemic. This article uses Barthesian semiology. The aim is to explore how a visual, has sensory power with its power that is capable of determining behavior. In this article, the author describes the relation between photography practice and the discourse of the Covid-19 pandemic in Indonesia, which can be productive as well as counterproductive. This research wants to show that, in this case visual photography, is one of the mediums in the form of signs which possess ideology, as a contribution of thought for the government to be literate in maximizing the medium, in this case photography.

ABSTRAKDalam artikel ini penulis membedah keseharian ruang personal dengan mengunakan medium fotografi, yaitu objek kamar kos penulis. Tujuannya adalah untuk merepresentasikan identitas dan ruang penulis dari realitas keseharian, dan menghubungkannya dengan narasi modernitas. Identitas dalam ruang dibentuk oleh struktur dan superstruktur. Struktur dipahami sebagai sesuatu hal yang remeh temeh tetapi material, yaitu benda-benda keseharian yang akrab dengan penulis. Sementara itu, super struktur dipahami sebagai wacana yang ideologis dan abstrak, sebagai penggambaran dari ruang ketiga seperti kusen, tembok dan lainnya. Dalam membedah identitas dan ruang ketiga, serta hubungannya dengan struktur dan super struktur, penulis menggunakan pendekatan foto dokumenter. Pendekatan dalam foto dokumenter mampu mengurai indeks akan sebuah realita mengenai keseharian dalam kamar kos penulis. Dalam artikel ini, penulis menunjukan relasi praktik keseharian yang remeh temeh dengan wacana besar modernitas. Atas kondisi tersebut, diharapkan adanya proses nyata yang saling berhubungan antara penulis dengan medium fotografi dan masyarakat. Artikel ini bertujuan untuk mengeksplorasi representasi konteks ruang keseharian secara ideologis, dengan membedah berbagai komponen sebagai denotasi pada lapisan pertama untuk menafsirkan kenyataan. Pada langkah selanjutnya, penulis membedah lapisan dalam representasi visual sebagai konotasi dan mitos. Seluruh proses ini akan dilakukan menuju pengelolaan ruang keseharian sebagai representasi identitas pribadi. Kata-kata