bluuebunny/crossref_metadata_2025_split huggingface dataset:
Kajian Aspek Ketidaksadaran dalam Karya Seni Rupa Indonesia Periode 2000-2011
Authors: Damajanti Irma , Sabana Setiawan , Adriati Ira 
Published: March 2017

Pada era seni rupa kontemporer, pembacaan karya tidak lagi hanya terbatas padahasil analisis dan interpretasi unsur-unsur formal, namun juga mempertimbangkanketerkaitannya dengan psikobiografi seniman sehingga dapat memberikan gambaranyang lebih lengkap tentang karakter seni rupa yang multifaset. Penelitian inidirancang untuk mengidentifikasi representasi aspek ketidaksadaran dalam karya senirupa Indonesia dan menginterpretasikan simbol-simbolnya. Seniman yang karyanyadipilih sebagai studi kasus dalam penelitian ini adalah I Gusti Ayu Kadek Murniasih,Entang Wiharso, dan Ugo Untoro. Pendekatan yang digunakan adalah pendekatanmultidisiplin (psikologi seni dan semiotika. Berdasarkan hasil analisis, aspekketidaksadaran yang direpresentasikan melalui simbol-simbol visual yang khas dalamkarya ketiga seniman cenderung lahir dari pengalaman traumatik yang melahirkanketakutan, kesakitan, dan agresi. Melukis bagi ketiganya adalah proses katarsis,media untuk mensublimasikan/memperhalus dorongan-dorongan naluri ketakutan,kesakitan, dan agresi ke dalam bentuk karya yang dapat diterima dan diapresiasidengan baik oleh masyarakat. A Study on Unconsciousness Aspect in the 2000-2011 Works of Indonesia VisualArt. In the era of contemporary visual art, the works of art cannot be read merelylimited to the analysis and interpretation of the formal elements but have to include theconsideration about the artist’s psychobiography so that there will be a more completepicture about the multifaceted visual arts. This research is carried out to identify therepresentation of the unconsciousness aspect in the works of visual arts and then interpretthe symbols. The selected samples are the works of I Gusti Ayu Kadek Murniasih,Entang Wiharso, and Ugo Untoro. The multidisciplinary (art psychology and semiotics)approach is applied within the qualitative method used. Based on the analysis result,the unconsciousness aspect represented in unique visual symbols in the works of thethree artists is originated in their traumatic experiences which generate fear, pain, andaggression. For them, painting is their catharsis process, the media to sublime/smoothentheir impulse of fear, pain, and aggression so that the society can accept and appreciatetheir works.
Museum Ullen Sentalu dalam Perspektif Seni Budaya
Authors: Daniwati Doro 
Published: March 2017

Museum merupakan tempat yang sering tidak bisa dilewatkan oleh wisatawan guna memuaskan rasa ingin tahu tentang keunikan dari sebuah kota tujuan wisata. Museum juga sering dikunjungi oleh baik para ilmuwan maupun para akademisi yang melakukan studi/riset/kajian tentang hal-hal yang memiliki nilai-nilai keunikan historis, arkeologis, estetis dan termasuk semua hal yang bernuansa memorabilia dan nostalgia. Ullen Sentalu merupakan museum yang agak unik karena di samping lokasinya yang agak jauh dari hingar bingar kesibukan kota, namun keberadaannya merupakan kebutuhan seni budaya perkotaan. Keunikan dari museum ini terletak pada nilai koleksi artefak-artefaknya yang menghadirkan khusus tentang benda-benda kewanitaan yang bernuansa warisan budaya monarki Mataram Lama yang berbeda dengan koleksi museum lainnya di tanah air. Museum is a place where tourists are unable to easily neglect for satisfying their curiousity about the uniqueness found in the tourism destination cities.The museum is also commonly visited by artists, academicians, and scientists for their research and studies of variety subjects which discuss the values of historical, archeological, and aesthetic uniqueness, and any subjects that are concerned with those of memorabilia and nostalgic evidence. Ullen Sentalu museum is rather unique when we see the location in the ’remote’ area which is far from the frenetic bustle of the city yet its existence constitutes the needs of urban culture. The uniqueness of this museum lies on the value of artefacts collections which particularly bring the feminine objects nuenced the cultural heritage of the Old Mataram monarchy which are completely different from other museum collections in the country.
Suita Zodiak: Komposisi Musik untuk String Kuartet dan Trio Woodwind
Authors: Jatmika Ovan Bagus 
Published: March 2017

Zodiak adalah rasi bintang di sepanjang garis ekliptika yang terdiri atas 12 bagian, yaitu Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagitarius, Capricorn, Aquarius, dan Pisces. Ke-12 zodiak tersebut memiliki karakter yang berbeda karena dibedakan oleh modus (cardinal, fixed, mutable) dan elemen (api, tanah, udara, air) yang menyusunnya. Fenomena ini, dalam konteks komposisi musik, merupakan hal-hal ekstra musikal. Hal-hal ekstra musikal inilah yang akan diangkat ke dalam komposisi musik programa dengan judul “Suita Zodiak”. Komposisi ini disusun dalam 12 gerakan dan disusun dalam 12 tonalitas yang berbeda. Masing-masing gerakan menggambarkan karakter 12 zodiak dari Aries hingga Pisces. Karakter dari ketiga modus yang menyusun zodiak ditransformasi ke musik melalui pembedaan tekstur, sedangkan karakter dari keempat elemen yang menyusun zodiak ditransformasi ke musik melalui pembedaan karakter melodi, suasana musikal, dan pembedaan tempo. Pemaknaan tentang karakter 12 zodiak kemudian dijadikan batasan dalam penciptaan “Suita Zodiak” bersifat arbitrer. Hal ini mengacu pada beberapa karya yang pernah diciptakan sebelumnya, yang sebagian besar menghubungkan karya musik dengan unsur ekstra musikalnya secara arbitrer. Karya ini digarap dalam format string kuartet dan trio woodwind dengan mengembangkan beberapa konsep melodi yang diambil dari thesaurus of scales and melodic pattern. Zodiac Suite: Music Composition for String Quaertet and Trio Woodwind. Zodiac is the constellations along the ecliptic line consisting of 12 parts, namely Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagitarius, Capricorn, Aquarius, and Pisces. The 12 zodiacs have different characters because they are distinguished by the mode (cardinal, fixed, mutable) and elements (fire, earth, air, water) that are arranged them. This phenomenon, in the context of musical composition, is extra-musical things. These extra-musical things will be lifted into musical composition program entitled “Suita Zodiak”. This music composition has been worked out in 12 movements and arranged in 12 different tones. Each movement describes the character of the 12 zodiacs from Aries to Pisces. The characters of the three modes setting up the zodiac will be transformed into music through texture distinction; meanwhile the characters of four elements that are creating the zodiac have been transformed into music through the distinction of the melodic character, musical atmosphere, as well as difference in tempo. The meaning of 12 zodiac characters are then used as constraints in the creation of the arbitrary Zodiac Suite. This refers to several masterpieces that had been previously created, most of which relate to musical masterpiece with arbitrary extra-musical element. This artistry has been created in the quartet string and trio woodwind format by developing several melody concepts that are taken from thesaurus of scales and melodic pattern.
Representasi Identitas Bali Pada Koleksi Tetap Museum Neka
Authors: Himawan Willy , Sabana Setiawan , Kusmara A. Rikrik 
Published: March 2017

Pulau Bali memiliki budaya yang unik dengan berbagai artefak. Representasi artefak budaya ditampilkan di museum. Salah satu museum yang memiliki kunjungan wisatawan tertinggi di Bali adalah Museum Neka. Museum sebagai lembaga permanen memiliki koleksi karya seni yang dipilih sesuai dengan kepentingan pemilik institusi, termasuk Museum Neka. Penelitian ini mengamati dan mengkaji representasi visual dari koleksi permanen Museum Neka dan hubungannya dengan identitas Bali. Karya-karya seni yang dikaji dibatasi untuk karya seni rupa khususnya lukisan karena Museum Neka memiliki koleksi terbesar dari lukisan, yaitu lebih dari 300 lukisan. Neka Museum juga memfokuskan pada lukisan dalam koleksi permanennya. Lukisan-lukisan tersebut dilihat melalui metode pengamatan visual, dan analisis konten visual yang menggambarkan konstruksi identitas Bali. Pendekatan hermeneutik digunakan untuk memahami makna keseluruhan presentasi. Hasil penelitian ini dapat digunakan untuk memetakan kecenderungan museum untuk membangun identitas budaya. The Representation of Balinese Identity in the Permanent Collection of Neka Museum. The island of Bali has a unique culture with various artifacts. The representation of cultural artifacts is showed in the museum. One of the museums that has the highest rate of tourist visit in Bali is the Neka Museum. The museum as a permanent institution has a collection of art works in accordance with the institution’s interest, as well as the Neka Museum. Through the works of a permanent collection, this study observes and reviews the visual representation of the permanent collection of Neka Museum and its relation with the balinese identity. The art works of that are examined are restricted to works of fine art and devoted to the paintings because of Neka Museum has the largest collection of paintings for more than 300 paintings. Neka Museum also exhibits a permanent collection focuses on paintings. In addition, the paintings can be seen through visual observation methods, the analysis of visual content that describes the construction of balinese identity. Hermeneutic approach is used to understand the overall meaning of the presentation. The results of this study can be used to map the tendency of museums to build a cultural identity.
Pengaruh Pariwisata pada Keberagaman Seni Rupa sebagai Modal Kultural Bali: Studi pada Komunitas dan Perhelatan Seni Rupa di Wilayah Denpasar, Klungkung, dan Singaraja
Authors: Himawan Willy , Sabana Setiawan , Kusmara A. Rikrik 
Published: March 2017

Pulau Bali terkenal sebagai salah satu tujuan wisata terbesar di dunia yang berkaitan erat dengan budaya Bali. Perkembangan seni rupa modern tidak dapat dipisahkan dari sejarah kolonialisme pada tahun 1900-an melalui pengembangan awal pariwisata yang memengaruhi perkembangan praktik seni Bali dan wacananya. Studi kualitatif ini akan melihat Bali sebagai kawasan-kawasan yang berbeda dalam spektrum perkembangan seni rupa yang dipengaruhi oleh konteks perkembangan pariwisata di tiap wilayah. Metode yang digunakan adalah aksi partipatoris di lapangan dengan pendekatan hermeneutik untuk memahami konteks, makna, dan nilai estetik yang terbangun dalam kegiatan-kegiatan seni rupa di Klungkung dalam kegiatan komunitas Batu Belah dalam acara Global Change Art Climate 2015, di Denpasar dan sekitarnya dalam kegiatan komunitas Sprites Art 2015, dan di Buleleng dalam kegiatan komunitas Segara Lor pada Buleleng Festival 2013. Perbedaan dalam konteks pengembangan pariwisata di daerah-daerah tertentu di Bali telah memengaruhi perkembangan dan perbedaan makna dan nilai estetika karya seni di sana. The Tourism Influence on Art Diversity as a Cultural Capital of Bali: Study on the Community and Art Events in Denpasar, Klungkung dan Singaraja. The island of Bali is famous as one of the largest tourist destination in the world. The development of modern art cannot be separated from the history of colonialism in the 1900s through the early development of Balinese art activities and their studies. This qualitative study sees Bali as different regions in the spectrum of the development of art which influenced by the context of the development of tourism in each region. The method used in this study is the action partipatoris field (participatory action field research) with a hermeneutic approachto understand the context, meaning, and aesthetic value that are built in the activities of art in Klungkung by among others are Batu Belah community in “The Global Change Art Climate 2015”, in Denpasar “Sprites activities Art” in 2015, and in Buleleng in activities “Segara Lor in Buleleng Festival 2013”. Differences in the context of the development of tourism in certain areas in Bali have influenced the development and meaning differences, and the aesthetic value of the works of art there.
Fotografi Jalanan: Membingkai Kota dalam Cerita
Authors: Kusrini Kusrini 
Published: March 2017

Fotografi jalanan (street photography) menjadi sarana bagi fotografer Erik Prasetya untuk menggambarkan kota Jakarta secara visual dalam buku foto Jakarta: Estetika Banal. Di dalamnya terdapat hasil kerja fotografi selama sekitar 20 tahun yang berisi cerita tentang Jakarta. Foto-foto tersebut dicermati secara keseluruhan untuk mengetahui gambaran umum tentang Jakarta yang diusung oleh fotografer. Fotofoto tersebut dipilih sesuai dengan deskripsi umum dan dibahas lebih lanjut untuk mendapatkan cerita tentang Jakarta pada 1990-2000’an. Dalam foto-foto tersebut, Jakarta merupakan kota dengan masyarakat yang dinamis. Jalanan tidak pernah sepi dan tidak tidur meskipun di waktu malam. Bangunan, transportasi, para pekerja, mobilitas yang tinggi, menjadi bagian dari visual Jakarta, yang sekaligus menceritakan masih adanya kesenjangan ekonomi dan sosial masyarakatnya. Di dalamnya ternyata masih juga terdapat tawa dan kegembiraan. Semangat bertahan hidup di ibukota menjadi bagian yang tidak terpisahkan dari cerita tentang Jakarta. Keindahan foto terlihat dari imaji yang ditampilkan mengeksplorasi teknik manual yang disesuaikan dengan kondisi dan situasi serta cerita yang hendak disampaikan. Keindahan lain dalam fotografi jalanan karya Erik Prasetya ini terdapat dari cerita visual yang tersaji. Fotografi jalanan tidak sekadar cerita tentang jalanan secara fisik, namun juga cerita tentang masyarakat di sepanjang jalan serta perjalanan kehidupan yang dilalui fotografer. Street Photography: Framing City in Stories. Erik Prasetya is photographer who uses street photography (fotografi jalanan) to narrate visually Jakarta in a photo book titled Jakarta: Estetika Banal. There are photos of his work for 20 years about Jakarta. The photos are examined as a whole to know the general idea of Jakarta carried by the photographer. They are selected to get the general description and finally are studied further to get stories about Jakarta in late 1990-2000. In these photos, Jakarta is a city with a dynamic society. The streets are never quiet and do not sleep at night though. Building, transportation, greater mobility of workers, become parts of Jakarta visually, which also tell the persistence of economic and social discrepancy in society. However, there are laughter and exhilaration that we can find. The spirit to survive in the capital becomes an integral part of the story of Jakarta. The beauty of the photos came from the images are displayed exploring manual techniques adapted to the conditions and situations, and stories that would be submitted. Another beauty of street photography works by Erik Prasetya is that there is a visual story presented. Street photography is not just a story about the streets physically, but also stories of people found along them as well as the journey of life experienced by the photographer.
STRATEGI PEMBELAJAR INDONESIA MENGIDENTIFIKASI MAKNA KATA BAHASA ARAB DALAM KONTEKS KALIMAT WACANA GEOGRAFI
Authors: Asrori Imam 
Published: March 2017

This restrospective research studied the strategies employed by Indonesian students in identifiying the meaning of Arabic words in context. This study found: first, the students identified the word meaning using the following strategies: (a) using a billingual dictionaries (digital dictionary, printed dictionary, online dictionary), (b) asking friends, and (c) utilizing context. Second, students were able to identify the full context and identify the meaning of difficult words accurately. Third, relating meaningful context and accurate meaning which found four patterns of integrating context and accuracy of meaning, namely (a) full context and accurate meaning (F-A), (b) full context but innacurate meaning (F-NA), (c) incomplete context but accurate meaning ( NF-A), and (d) incomplete context and inacurate meaning (NF-NA). The ability to identify full context tends to help students to identify the meaning of words accurately.
Nonenhancing peritumoral hyperintense lesion on diffusion-weighted imaging in glioblastoma: a novel diagnostic and specific prognostic indicator
Authors: Kolakshyapati Manish , Adhikari Rupendra B. , Karlowee Vega , Takayasu Takeshi , Nosaka Ryo , Amatya Vishwa J. , Takeshima Yukio , Akiyama Yuji , Sugiyama Kazuhiko , Kurisu Kaoru , Yamasaki Fumiyuki 
Published: March 2017

OBJECTIVEGlioblastoma differentials include intracranial tumors, like malignant lymphomas and metastatic brain tumors with indiscernible radiological characteristics. The purpose of this study was to identify a distinct radiological feature for the preoperative differentiation of glioblastoma from its differentials, which include malignant lymphomas and metastatic brain tumors.METHODSPreoperative MR images, including diffusion-weighted imaging (DWI) studies (b = 1000 and 4000 sec/mm2), obtained in patients with newly diagnosed malignant tumor, were analyzed retrospectively after receiving approval from the institutional review board. Sixty-four patients with histologically confirmed glioblastoma, 32 patients with malignant lymphoma, and 46 patients with brain metastases were included. The presence of a nonenhancing peritumoral DWI high lesion (NePDHL, i.e., hyperintense lesion in a nonenhancing peritumoral area on DWI) was confirmed in both DWI sequences. Gray matter lesions were excluded. Lesions were termed “definite” if present within 3 cm of the hyperintense tumor border with a signal intensity ratio ≥ 30% when compared with the contralateral normal white matter in both sequences. Discriminant analysis between the histological diagnosis and the presence of Definite-NePDHL was performed, as well as Kaplan-Meier survival analysis incorporating the existence of Definite-NePDHL.RESULTSIn 25% of glioblastoma patients, Definite-NePDHL was present, while it was conspicuously absent in patients with malignant lymphoma and metastatic brain tumors. The specificity and positive predictive value were 100%. In the glioblastoma subset, a higher preoperative Karnofsky Performance Scale score (p = 0.0028), high recursive partitioning analysis class (p = 0.0006), and total surgical removal (p = 0.0012) were associated with better median overall survival. Patients with Definite-NePDHL had significantly early local (p = 0.0467) and distant/dissemination recurrence (p < 0.0001) and poor prognosis (p = 0.0007).CONCLUSIONSThe presence of Definite-NePDHL is very specific for glioblastoma and indicates poor prognosis. Definite-NePDHL is a significant indicator of early local and distant/dissemination recurrence in patients with glioblastoma. Studying peritumoral DWI and high–b-value DWI is useful for tumor differentiation.
Associations between clinical outcome and navigated transcranial magnetic stimulation characteristics in patients with motor-eloquent brain lesions: a combined navigated transcranial magnetic stimulation–diffusion tensor imaging fiber tracking approach
Authors: Sollmann Nico , Wildschuetz Noémie , Kelm Anna , Conway Neal , Moser Tobias , Bulubas Lucia , Kirschke Jan S. , Meyer Bernhard , Krieg Sandro M. 
Published: March 2017

OBJECTIVENavigated transcranial magnetic stimulation (nTMS) and diffusion tensor imaging fiber tracking (DTI FT) based on nTMS data are increasingly used for preoperative planning and resection guidance in patients suffering from motor-eloquent brain tumors. The present study explores whether nTMS-based DTI FT can also be used for individual preoperative risk assessment regarding surgery-related motor impairment.METHODSData derived from preoperative nTMS motor mapping and subsequent nTMS-based tractography in 86 patients were analyzed. All patients suffered from high-grade glioma (HGG), low-grade glioma (LGG), or intracranial metastasis (MET). In this context, nTMS-based DTI FT of the corticospinal tract (CST) was performed at a range of fractional anisotropy (FA) levels based on an individualized FA threshold ([FAT]; tracking with 50%, 75%, and 100% FAT), which was defined as the highest FA value allowing for visualization of fibers (100% FAT). Minimum lesion-to-CST distances were measured, and fiber numbers of the reconstructed CST were assessed. These data were then correlated with the preoperative, postoperative, and follow-up status of motor function and the resting motor threshold (rMT).RESULTSAt certain FA levels, a statistically significant difference in lesion-to-CST distances was observed between patients with HGG who had no impairment and those who developed surgery-related transient or permanent motor deficits (75% FAT: p = 0.0149; 100% FAT: p = 0.0233). In this context, no patient with a lesion-to-CST distance ≥ 12 mm suffered from any new surgery-related permanent paresis (50% FAT and 75% FAT). Furthermore, comparatively strong negative correlations were observed between the rMT and lesion-to-CST distances of patients with surgery-related transient paresis (Spearman correlation coefficient [rs]; 50% FAT: rs = –0.8660; 75% FAT: rs = –0.8660) or surgery-related permanent paresis (50% FAT: rs = –0.7656; 75% FAT: rs = –0.6763).CONCLUSIONSThis is one of the first studies to show a direct correlation between imaging, clinical status, and neurophysiological markers for the integrity of the motor system in patients with brain tumors. The findings suggest that nTMS-based DTI FT might be suitable for individual risk assessment in patients with HGG, in addition to being a surgery-planning tool. Importantly, necessary data for risk assessment were obtained without significant additional efforts, making this approach potentially valuable for direct clinical use.
Does clinical improvement of symptomatic degenerative lumbar disease impact obesity?
Authors: Joseph Jacob R. , Farooqui Zishaan , Smith Brandon W. , Kahn Elyne N. , Liu Xilin , La Marca Frank , Park Paul 
Published: March 2017

OBJECTIVEObesity and low-back pain associated with degenerative spondylosis or spondylolisthesis are common comorbid conditions. Many patients report that the pain and disability associated with degenerative lumbar disease are key factors in their inability to lose weight. The aim of this retrospective study was to determine if there is an association between improved functional status and weight loss following a successful transforaminal lumbar interbody fusion (TLIF) procedure.METHODSA retrospective cohort study of patients who underwent single-level TLIF was performed. Inclusion criteria were preoperative body mass index (BMI) greater than 30 kg/m2, achievement of minimum clinically important difference in the Oswestry Disability Index (ODI, defined as improvement of 15 points), and minimum 1-year postoperative followup BMI. Preoperative and postoperative BMI, ODI, and visual analog scale (VAS) scores were compared. A subgroup analysis of patients who achieved substantial clinical benefit (SCB, defined as a net improvement of 18.8 points on the ODI) was also performed.RESULTSA total of 56 patients met the inclusion criteria. The mean age of the study population was 55.6 ± 13.7 years. The mean preoperative BMI was 34.8 ± 4.6 kg/m2, the mean preoperative ODI was 66.2 ± 10.1, and the mean preoperative VAS score was 7.1 ± 1.7. The mean change in ODI was −33.1 ± 13.5 (p < 0.01) and the mean change in the VAS score was −4.1 ± 2.1 (p < 0.01). The mean change in BMI was +0.15 ± 2.1 kg/m2 (range −4.2 to +6.5 kg/m2; p = 0.6). SCB was achieved in 46 patients on the ODI. The mean preoperative BMI for patients with SCB was 34.8 ± 4.8 kg/m2, and the mean postoperative BMI was 34.7 ± 5.0 kg/m2. The mean change in BMI was −0.03 ± 1.9 kg/m2 (p = 0.9).CONCLUSIONSDespite successful surgical intervention via TLIF with achievement of improved function and pain, obese patients did not have significant change in weight postoperatively.