cyanic-selkie/wikianc huggingface dataset:
Kai
Color
Abnormal discoloration of wood often denotes a diseased condition, indicating unsoundness. The black check in western hemlock is the result of insect attacks. The reddish-brown streaks so common in hickory and certain other woods are mostly the result of injury by birds. The discoloration is merely an indication of an injury, and in all probability does not of itself affect the properties of the wood. Certain rot-producing fungi impart to wood characteristic colors which thus become symptomatic of weakness. Ordinary sap-staining is due to fungous growth, but does not necessarily produce a weakening effect.
Structure
In coniferous or softwood species the wood cells are mostly of one kind, tracheids, and as a result the material is much more uniform in structure than that of most hardwoods. There are no vessels ("pores") in coniferous wood such as one sees so prominently in oak and ash, for example.
The structure of the hardwoods is more complex. They are more or less filled with vessels: in some cases (oak, chestnut, ash) quite large and distinct, in others (buckeye, poplar, willow) too small to be seen plainly without a small hand lens. In discussing such woods it is customary to divide them into two large classes, ring-porous and diffuse-porous. In ring-porous species, such as ash, black locust, catalpa, chestnut, elm, hickory, mulberry, and oak, the larger vessels or pores (as cross sections of vessels are called) are localized in the part of the growth ring formed in spring, thus forming a region of more or less open and porous tissue. The rest of the ring, produced in summer, is made up of smaller vessels and a much greater proportion of wood fibres. These fibres are the elements which give strength and toughness to wood, while the vessels are a source of weakness.
If a heavy piece of pine is compared with a light specimen it will be seen at once that the heavier one contains a larger proportion of late wood than the other, and is therefore considerably darker. The late wood of all species is denser than that formed early in the season, hence the greater the proportion of late wood the greater the density and strength. When examined under a microscope the cells of the late wood are seen to be very thick-walled and with very small cavities, while those formed first in the season have thin walls and large cavities. The strength is in the walls, not the cavities. In choosing a piece of pine where strength or stiffness is the important consideration, the principal thing to observe is the comparative amounts of early and late wood. The width of ring is not nearly so important as the proportion of the late wood in the ring.
It is not only the proportion of late wood, but also its quality, that counts. In specimens that show a very large proportion of late wood it may be noticeably more porous and weigh considerably less than the late wood in pieces that contain but little. One can judge comparative density, and therefore to some extent weight and strength, by visual inspection.
No satisfactory explanation can as yet be given for the real causes underlying the formation of early and late wood. Several factors may be involved. In conifers, at least, rate of growth alone does not determine the proportion of the two portions of the ring, for in some cases the wood of slow growth is very hard and heavy, while in others the opposite is true. The quality of the site where the tree grows undoubtedly affects the character of the wood formed, though it is not possible to formulate a rule governing it. In general, however, it may be said that where strength or ease of working is essential, woods of moderate to slow growth should be chosen. But in choosing a particular specimen it is not the width of ring, but the proportion and character of the late wood which should govern.
In the case of the ring-porous hardwoods there seems to exist a pretty definite relation between the rate of growth of timber and its properties. This may be briefly summed up in the general statement that the more rapid the growth or the wider the rings of growth, the heavier, harder, stronger, and stiffer the wood. This, it must be remembered, applies only to ring-porous woods such as oak, ash, hickory, and others of the same group, and is, of course, subject to some exceptions and limitations.
In ring-porous woods of good growth it is usually the middle portion of the ring in which the thick-walled, strength-giving fibres are most abundant. As the breadth of ring diminishes, this middle portion is reduced so that very slow growth produces comparatively light, porous wood composed of thin-walled vessels and wood parenchyma. In good oak these large vessels of the early wood occupy from 6 to 10 per cent of the volume of the log, while in inferior material they may make up 25 per cent or more. The late wood of good oak, except for radial grayish patches of small pores, is dark colored and firm, and consists of thick-walled fibres which form one-half or more of the wood. In inferior oak, such fibre areas are much reduced both in quantity and quality. Such variation is very largely the result of rate of growth.
Wide-ringed wood is often called "second-growth", because the growth of the young timber in open stands after the old trees have been removed is more rapid than in trees in the forest, and in the manufacture of articles where strength is an important consideration such "second-growth" hardwood material is preferred. This is particularly the case in the choice of hickory for handles and spokes. Here not only strength, but toughness and resilience are important. The results of a series of tests on hickory by the U.S. Forest Service show that:
In diffuse-porous woods, as has been stated, the vessels or pores are scattered throughout the ring instead of collected in the early wood. The effect of rate of growth is, therefore, not the same as in the ring-porous woods, approaching more nearly the conditions in the conifers. In general it may be stated that such woods of medium growth afford stronger material than when very rapidly or very slowly grown. In many uses of wood, strength is not the main consideration. If ease of working is prized, wood should be chosen with regard to its uniformity of texture and straightness of grain, which will in most cases occur when there is little contrast between the late wood of one season's growth and the early wood of the next.
Water content
Drying produces a decided increase in the strength of wood, particularly in small specimens. An extreme example is the case of a completely dry spruce block 5 cm in section, which will sustain a permanent load four times as great as that which a green block of the same size will support.
The greatest increase due to drying is in the ultimate crushing strength, and strength at elastic limit in endwise compression; these are followed by the modulus of rupture, and stress at elastic limit in cross-bending, while the modulus of elasticity is least affected.-->
Mekarsari, Cibalong, Garut
Mekarsari nyaéta salah sahiji désa di kacamatan Cibalong, Kabupatén Garut, Propinsi Jawa Barat, Indonésia.
2014 UG5
Ari 2014 UG5 mangrupa hiji astéroid. Ieu asteroid téh bagéan tina astéroid Apollo, anu nganjrek deukeut jeung marcapada. Ékséntrisitas orbit ieu astéroid kacatet gedéna 0.353, sedengkeun magnitudo mutlakna 23.9. Ari nu jadi référénsina mah nyaéta MPO�313380.
Bebentukan
Kawas sakumna astéroid, ieu astéroid kabentuk tina nébula panonpoé primordial minangka beubeulahan planétisimal, objék di nébula marcapada ngora nu teu cukup badag pikeun robah jadi planét.
2012 SJ58
Ari 2012 SJ58 mangrupa hiji astéroid. Ieu asteroid téh bagéan tina astéroid Apollo, anu nganjrek deukeut jeung marcapada. Ékséntrisitas orbit ieu astéroid kacatet gedéna 0.347, sedengkeun magnitudo mutlakna 26.1. Ari nu jadi référénsina mah nyaéta MPO�240121.
Bebentukan
Kawas sakumna astéroid, ieu astéroid kabentuk tina nébula panonpoé primordial minangka beubeulahan planétisimal, objék di nébula marcapada ngora nu teu cukup badag pikeun robah jadi planét.
Lawa Batu, Kuala, Nagan Raya
Lawa Batu nyaéta salah sahiji Gampong di kacamatan Kuala, Kabupatén Nagan Raya, Propinsi Acéh, Indonésia.
2014 YM9
Ari 2014 YM9 mangrupa hiji astéroid. Ieu asteroid téh bagéan tina astéroid Amor, anu nganjrek deukeut jeung marcapada. Ékséntrisitas orbit ieu astéroid kacatet gedéna 0.451, sedengkeun magnitudo mutlakna 19.3. Ari nu jadi référénsina mah nyaéta MPO 342304.
Bebentukan
Kawas sakumna astéroid, ieu astéroid kabentuk tina nébula panonpoé primordial minangka beubeulahan planétisimal, objék di nébula marcapada ngora nu teu cukup badag pikeun robah jadi planét.
SMAN 69 Jakarta
SMA Negeri 69 Jakarta nyaéta hiji Sakola Menengah Atas Negeri anu aya di Kalurahan/Désa Pulo Panggang, Kacamatan Kepuloan Seribu Utara, Kabupatén Kapuloan Sarébu, DKI Jakarta. Kalawan alamat lengkepna di Pulo Pramuka RT 003 RW 05, NPSN na 20107185.
2016 EG1
Ari 2016 EG1 mangrupa hiji astéroid. Ieu asteroid téh bagéan tina astéroid Apollo, anu nganjrek deukeut jeung marcapada. Ékséntrisitas orbit ieu astéroid kacatet gedéna 0.317, sedengkeun magnitudo mutlakna 29.1. Ari nu jadi référénsina mah nyaéta MPO�370776.
Bebentukan
Kawas sakumna astéroid, ieu astéroid kabentuk tina nébula panonpoé primordial minangka beubeulahan planétisimal, objék di nébula marcapada ngora nu teu cukup badag pikeun robah jadi planét.
SMAS Madinatunnajah
SMAS Madinatunnajah nyaéta Sakola Menengah Atas Swasta anu aya di Kabupatén Cirebon. Alamat lengkepna di Jl. D.I. Panjaitan No 30 Kalimukti Pabedilan, Kalurahan/Désa Kalimukti Kacamatan Pabedilan, Kabupatén Cirebon, Jawa Kulon kalawan nomor NPSN 20254004.
18106 Blume
Ari 18106 Blume atawa 2000 NX3 mangrupa hiji astéroid. Ieu asteroid téh bagéan tina astéroid Amor, anu nganjrek deukeut jeung marcapada. Ékséntrisitas orbit ieu astéroid kacatet gedéna 0.513, sedengkeun magnitudo mutlakna 17.7. Ari nu jadi référénsina mah nyaéta MPO 337411.
Bebentukan
Kawas sakumna astéroid, ieu astéroid kabentuk tina nébula panonpoé primordial minangka beubeulahan planétisimal, objék di nébula marcapada ngora nu teu cukup badag pikeun robah jadi planét.
2004 RX165
Ari 2004 RX165 mangrupa hiji astéroid. Ieu asteroid téh bagéan tina astéroid Amor, anu nganjrek deukeut jeung marcapada. Ékséntrisitas orbit ieu astéroid kacatet gedéna 0.507, sedengkeun magnitudo mutlakna 21.1. Ari nu jadi référénsina mah nyaéta MPO74344.
Bebentukan
Kawas sakumna astéroid, ieu astéroid kabentuk tina nébula panonpoé primordial minangka beubeulahan planétisimal, objék di nébula marcapada ngora nu teu cukup badag pikeun robah jadi planét.
2006 KS38
Ari 2006 KS38 mangrupa hiji astéroid. Ieu asteroid téh bagéan tina astéroid Apollo, anu nganjrek deukeut jeung marcapada. Ékséntrisitas orbit ieu astéroid kacatet gedéna 0.456, sedengkeun magnitudo mutlakna 23.9. Ari nu jadi référénsina mah nyaéta MPO�102359.
Aek Nangali, Batang Natal, Mandailing Natal
Aek Nangali nyaéta salah sahiji Désa di kacamatan Batang Natal, Kabupatén Mandailing Natal, Propinsi Sumatra Kalér, Indonésia.
2009 US87
Ari 2009 US87 mangrupa hiji astéroid. Ieu asteroid téh bagéan tina astéroid Amor, anu nganjrek deukeut jeung marcapada. Ékséntrisitas orbit ieu astéroid kacatet gedéna 0.240, sedengkeun magnitudo mutlakna 22.0. Ari nu jadi référénsina mah nyaéta MPO 208301.
2017 HP3
Ari 2017 HP3 mangrupa hiji astéroid. Ieu asteroid téh bagéan tina astéroid Apollo, anu nganjrek deukeut jeung marcapada. Ékséntrisitas orbit ieu astéroid kacatet gedéna 0.416, sedengkeun magnitudo mutlakna 21.5. Ari nu jadi référénsina mah nyaéta MPEC�2017-J68.
Bebentukan
Kawas sakumna astéroid, ieu astéroid kabentuk tina nébula panonpoé primordial minangka beubeulahan planétisimal, objék di nébula marcapada ngora nu teu cukup badag pikeun robah jadi planét.
Al mumin
Al Mukmin (الْمُؤْمِنُ) nyaéta miboga harti nu maha méré rasa aman. Ieu nuduhkeun yén Alloh téh Dzat anu jadi tempat panglumpatan jeung panyalindungan keur jalma anu ngarasa  inggis jauh tina kaamanan lahir ataa batin.
Dalil
Ieu ngaran disebutkeun dina surat Al Hasyr ayat 23.
Al Mukmin hadé pisan dipaké dzikir keur jalma anu katerapan rasa sieun, kalayan ngagalindengkeunana kudu ku haté anu yakin yén Alloh méré rasa aman tina sagala hal, utamana bahaya atawa bancang pakéwuh.
Burokan
Burokan mangrupa seni helaran nu populér pisan di Cirebon. Ceuk para senimanna (utamana di Désa Pakusamben, Kacamatan Babakan, Kabupatén Cirebon), burokan ieu mimiti aya kira taun 1934, nalika saurang warga Désa Kalimaro, Kacamatan Babakan, nu ngaranna Kalil nyieun hiji kréasi anyar seni Badawang (bonéka baradag) nyaéta mangrupa Kuda Hiber Buroq. Ceuk cenah kitu téh dumasar carita rayat di masarakat Islam ngeunaan lalampahan Isro Mi’roj Nabi Muhammad s.a.w. ti Masjidil Haram ka Masjidil Aqsha kalawan tunggang sato kawas kuda jangjangan nu disebut Buroq. Di sagigireun éta, tina sababaraha kasaksian urang Cirebon, Buroq ieu téh mindeng kapanggih ogé dina rupa lukisan kaca di sababaraha wangunan di Cirebon. Lukisan kaca ieu mangrupa kuda sembrani (jangjangan, bandingkeun jeung pégasus na mitologi Kulon) nu beungeutna putri geulis cahayaan. Jadi, urang Cirebon geus teu ahéng dina masalah dedegan Buroq mah. Kalil kalawan motékar lajeng nyiptakeun Badawang anyar nu dingaranan Buroq, sedengkeun kasenianana dingaranan seni Genjring Buroq.
Pintonan
Parabot pintonan nu dipaké di antarana sapasang bonéka buroq nu biasa dimaénkeun ku opat urang (dua di hareup, dua di tukang), sababaraha bonéka (badawang) bentuk sato: gajah, monyét, macan, kuda, jeung mindeng ogé diramékeun ku badut.
Alat musik nu ngiringkeun Burokan biasana aya sababaraha rupa: tilu dogdog (badag, sedeng, leutik), opat genjring, hiji simbal, organ, gitar, gitar melodi, kromong, suling, jeung kecrék. Laguna dibawakeun ku panyanyi lalaki jeung wanoja, kalan-kalan giliran gumantung kana laguna.
Pintonan Burokan biasana dipaké dina sababaraha kariaan, kayaning hajat khataman, sunatan, kawin, marhabaan, jsb. Prakna biasa lumangsung ti isuk-isuk ngurilingan kampung sabudeureun tempat kariaan. Ari badawang lian ti Buroq, di antarana aya bonéka gajah, macan, jld, nu saméméhna geus disadiakeun sasajén lengkep salaku saratna. Lajeng lulugu rombongan mariksa sadaya kalengkepan pintonan bari maca do'a. Pintonan dimimitian ku tatabeuhan, lajeng usik dibarengan ku tembang Asroqol (solawat Nabi jeung Barzanji). Rombongan pintonan kakara maju sanggeus masarakat ngumpul, nu beuki lila beuki ramé sabab masarakat bisa milu aub ngareuah-reuah. Ari dina acara sunatan, budak nu disunatan ditumpakkeun kana Buroq bari maké papakéan lengkep disenangkeun, sedengkeun barudak nu hayang tumpak bonéka-bonéka lianna disina mayar antara Rp. 500-1000,-.
Nalika diarak, lalaguanana robah-robah, teu wungkul Asroqol, kaasup lagu tarling, dangdut, jaipong, kawas Limang Taun, Sego Jamblang, Jam Siji Bengi, Sandal Barepan, Garet Bumi, Sepayung Loroan, Kacang Asin, Tilil Kombinasi, malah lagu-lagu nu keur populér kayaning Pemuda Idaman, Melati, Mimpi Buruk, Goyang Dombrét, jrrdl. Sapanjang pintonan Burokan, nu matak ngirut mah tetep bonéka Buroq, sabab panggeulisna jeung polah para pangiringna nu pikaresepeun.
Nepi ka kiwari, opat generasi ti Kalil, seni Genjring Buroq beuki dipikaresep ku masarakat, malah sumebar ka luar Cirebon, kayaning Losari, Cirebon, Brebes, Banjarharja, Karangsuwung, Ciledug, Kuningan, jeung Indramayu. Nu onjoy kiwari nyaéta Genjring Burok Gita Remaja ti Désa Pakusamben nu dipingpin ku Mustofa (lain turunan Kalil) ti 1969.
Ajén-inajén
Ajén nu aya dina satukangeun seni burokan ieu, di antarana:
2014 YK9
Ari 2014 YK9 mangrupa hiji astéroid. Ieu asteroid téh bagéan tina astéroid Amor, anu nganjrek deukeut jeung marcapada. Ékséntrisitas orbit ieu astéroid kacatet gedéna 0.389, sedengkeun magnitudo mutlakna 18.5. Ari nu jadi référénsina mah nyaéta MPO 346327.
Bebentukan
Kawas sakumna astéroid, ieu astéroid kabentuk tina nébula panonpoé primordial minangka beubeulahan planétisimal, objék di nébula marcapada ngora nu teu cukup badag pikeun robah jadi planét.
(491567) 2012 RG3
Ari 2012 RG3 mangrupa hiji astéroid. Ieu asteroid téh bagéan tina astéroid Apollo, anu nganjrek deukeut jeung marcapada. Ékséntrisitas orbit ieu astéroid kacatet gedéna 0.528, sedengkeun magnitudo mutlakna 18.1. Ari nu jadi référénsina mah nyaéta MPO�404030.
Bebentukan
Kawas sakumna astéroid, ieu astéroid kabentuk tina nébula panonpoé primordial minangka beubeulahan planétisimal, objék di nébula marcapada ngora nu teu cukup badag pikeun robah jadi planét.
2009 XO2
Ari 2009 XO2 mangrupa hiji astéroid. Ieu asteroid téh bagéan tina astéroid Apollo, anu nganjrek deukeut jeung marcapada. Ékséntrisitas orbit ieu astéroid kacatet gedéna 0.487, sedengkeun magnitudo mutlakna 23.5. Ari nu jadi référénsina mah nyaéta MPO�172389.
Baroh, Grong-grong, Pidie
Baroh nyaéta salah sahiji Gampong di kacamatan Grong-grong, Kabupatén Pidie, Propinsi Acéh, Indonésia.
Hétérotrofik
Hétérotrofik nyaéta kécap sipat (mahluk hirup, saperti sasatoan) anu aya patula patalina pikeun mahluk hirup atawa organisme anu hénteu bisa ngolah sorangan kadaharana, ogé kadaharanna lain meunang ku jalan nyokot zat organik pikeun nyukupan tanagana atawa énérrgi biasana mah tina tutuwuhan atawa sasatoan. Kabutuhan karbon pikeun tumuwuh jeung énérgi atawa tanaga dicukupan ku senyawa organik kompléks. Kaasup dijérona sakabéh ieu mangrupa sasatoan, protozoa, supa, jéung bakteri hétérotrofik.
Heterotrof dibandingkeun jeung autotrofik
Hiji mahluk hirup organisme anu ngagunakeun bahan organik atawa organisme séjén pikeun kadaharanna éta disébut hétérotrof  (hĕt'ər-ə-Trof '). Bandingkeun jeung autotrofik kabutuhan karbon pikeun tumuwuh katut tanaga atawa énérgi  mahluk hirup ieu  bisa ngalakukeun sintésis sorangan kadaharanna tina zat-zat anorganik,  ku jalan ngagunakeun bantuan cahaya atawa tanaga  kimia séjéna. upamana waé, alga, jeung sabaraha baktéri.
Sancang, Cibalong, Garut
Sancang nyaéta salah sahiji désa di kacamatan Cibalong, Kabupatén Garut, Propinsi Jawa Barat, Indonésia.
Bélarus
Républik Bélarus atawa Bélarusia mangrupa hiji nagara di Éropa Wétan eujeung ibu kotana Minsk. Nagara ieu administratifna kabagi kana 6 provinsi (voblast) jeung hiji kota husus.
Administratif
Bélarus diwangun ti 6 provinsi ("voblast"), dingaranan dumasar kana kota-kota nu jadi pusat administrasina. Kota Minsk, aya di provinsi Minsk, miboga status husus salaku salah sahiji bawahan nasional sabab teu diasupkeun kana voblast naon waé. Subdivisi dina voblast diwarisan ti masa Soviét. Voblast-voblast éta dibagi deui kana raion (biasa ditarjamahkeun kana "distrik" atawa "wewengkon"). Otoritas législatif satempat (raisovet, "déwan raion") dipilih ku warga raion; otoritas éksekutif satempat (administrasi raion) diangkat ku otoritas éksekutif nu leuwih luhur. Ku cara nu sarua, kabéh voblast miboga otoritas législatifnya sorangan (oblsovet), dipilih ku warga, jeung otoritas éksekutif (administrasi voblast), nu pamingpinna dipilih ku présidén.
SMKS Teknik Cicurug Center
SMKS Teknik Cicurug Center nyaéta Sakola Menengah Kajuruan Swasta anu aya di Kabupatén Sukabumi. Alamat lengkepna di Jl. Raya Siliwangi Kp Cibeber Hilir Rt 01/ Rw 08, Kalurahan/Désa Cicurug Kacamatan Cicurug, Kabupatén Sukabumi, Jawa Kulon kalawan nomer NPSN 20252994.
Produksi
Produksi mangrupa kagiatan anu dilaksanakeun pikeun nambahan ajén kana objék atawa nyieun objék anyar sangkan leuwih mangpaat dina nyumponan pangabutuh. Kagiatan nambahkeun kana mangpaat hiji obyék tapi teu ngarobah bentukna disebut produksi jasa. Sedengkeun kagiatan ngaronjatkeun mangpaat hiji barang ku cara ngarobah sipat jeung wangunna disebut produksi barang. Produksi mangrupa dampak parobahan tina dua atawa leuwih input (sumberdaya) jadi hiji atawa leuwih kaluaran (produk). Ieu kagiatan dina ékonomi dinyatakeun dina fungsi produksi. Fungsi produksi némbongkeun jumlah maksimum output nu bisa dihasilkeun tina ngagunakeun sababaraha input maké téhnologi nu tangtu. Pikeun nalungtik aspék produksi, para ékonom ngagunakeun fungsi produksi salaku alat analitik. Konsépsi abstrak ngeunaan fungsi produksi anu dumasar kana nilai ngamungkinkeun para ékonom pikeun nganalisis rupa-rupa masalah saperti nangtukeun kontribusi panghasilan kana faktor produksi, pangaruh faktor produksi kana pertumbuhan ékonomi, parobahan téknologi sareng karakteristik pangangguran téknologi.
Produksi nyiptakeun barang sareng jasa pikeun nyumponan kabutuhan manusa. Kagiatan produksi merlukeun faktor produksi saperti sumberdaya alam, tanaga kerja, modal jeung téknologi. Dina hakékatna, produksi nyaéta nyiptakeun atawa nambahan mangpaat atawa wujud, waktu jeung tempat kana faktor-faktor produksi sangkan leuwih mangpaat pikeun kaperluan manusa. Ku alatan éta, produksi museurkeun kana usaha pikeun ngahasilkeun leuwih pamakéan barang sarta jasa pikeun minuhan kaperluan loba jalma. Sacara umum, tujuan perusahaan sareng produksi, nyaéta pikeun kéngingkeun kauntungan anu maksimal. Jadi perlu ngararancang jeung ngitung sacara saksama kualitas produksina.
Tujuan Produksi
Produksi miboga tujuan kawas ieu di handap.
Basa Ndora
Basa Ndora nyaéta basa wewengkon anu aya di Indonésia. Panyaturna aya di 1 propinsi nyaéta propinsi Nusa Tenggara Wétan, nu dumuk di 1 kabupaten/kota.
Juhar Ginting Sadanioga, Juhar, Karo
Juhar Ginting Sadanioga nyaéta salah sahiji Désa di kacamatan Juhar, Kabupatén Karo, Propinsi Sumatra Kalér, Indonésia.
Kakawihan
Ngahaja dijudulan maké « atawa », sabab asa acan aya kasapogodosan ngeunaan istilah. Lamun disebut kaulinan, kapan loba ogé kaulinan anu séjén saperti panggal, sérmen, galah, ucing sumput, jsb, ; pon kitu deui lamun dijudulan kakawihan wungkul, loba ogé kakawihan anu séjénna. Tapi palebah kakawihan anu ieu mah rada khas, sabab lamun ditilik-di antarana aya hubungan antara kaulinan jeung kakawihan. ku kituna, judul ana rada pas mah sigana kaulinan budak lembur anu dikawihan (sok sanajan kanyataanana teu kabéh kakawihan aya kauliananana). Tapi pikeun arguméntasi mah, kakawihan ogé bisa dianggap kaulinan. Istilah kaulinan urang lembur ogé sigana mah anyar (pertengahan taun genep puluhan), sabada ieu « kaulinan » dibawa ka panggung (dijadikeun tongtonan) utamana ku Departemen Kesenian Unpad (aya ogé anu nyebutkeun digali ku Studiklub Téater Bandung/STB) ogé ku Damas.
Naon anu ditulis di handap ieu, sagemblengna hasil tina ingetan, hasil nengetan para senior di Depkes Unpad manggung (teu kingsi prak sorangan) dina pertengahan taun tujuh puluhan. Biasana lamun aya acara di Unpad atawa di Fakultas Pertanian, sok sanajan geus pada lalulus, arinyana sok kaul. Nya dina kasempetan éta sok pareng merhatikeun (bari jeung teu kungsi dicatet). Ku kituna lamun loba kekecapan anu salah ; katambah  lamun ditilik-ditilik dina éta kakawihan téh loba ogé kekecapan anu teu jelas pihartieunana, neda dihapunten. Atuh ka anu uninga, aya kasempetan pikeun ngoréksi atawa ngoméan. Saenyana lamun aya anu leukeun mah, tiasa dicék deui ka aranjeunna anu kungsi manggungkeun ieu kaulinan urang lembur, diantawisna ka kang Ekik Barkah, kang Oman, kang Epih, kang Ia, kang Abdurachman, kang Zahir Zahri. Sadaya kakawihan téh euweuh judulan, minangka anu disebut judul téh nyaéta baris kahiji tina lagu.
Interpretasi
Neuleuman eusi rumpaka, aya sababaraha hala nu narik pikeun bisa diinterpretasi :
1. Kakawihan mangrupa alat anu digunakeun ku masyarakat, sangkan naon anu aya dina gerentes haténa teu kaharti ku batur anu aya di luar komunitasna (bahasa sandi). Contona, lagu ambil-ambilan bisa jadi aya patula-patalina jeung kondisi urang Sunda harita anu rék dijadikeun kuli (meureun dijjieunna dina jaman penjajahan) ; nu matak basa aya anu rék diambil, dijieun manrupa-rpa alesan. Jaleuleu ja. Lagu ieu téh cenah dijieun dina mangsa tatar Sunda diserang ku Mataram. Lagu « jaleuleu ja » aya anu nyurahan siga kieu : Jaleuleu ja  ( aya Jawa)
Atulak tu ja éman - gog (Nitah ka pikeun Eman lamun aya Jawa kudu nyadiakeun tulak (keur panakol) sarta nagog – pasang kuda-kuda, hartina kudu siap-siap)
Seureuh leuweung - bay (seureuh leuweung téh biasa ogé disebut gebay, bentukna siga taméng – ku kituna lamun aya Jawa, salian ti kudu siap téh – nagog – téa, ogé nyiapkeun taméng)
Jambé kolot - bug (jambé kolot téh di Sunda mah disebut jebug – jadi lamun musuh datang – kudu digebug)
Ucing katinggang songsong - Ngék (ngagebugna nepi ka siga ucing katinggang songsong – ngék ……………….)
Ayang-ayang gung. Lagu ieu nyaritakeun masyarakat di hiji wilayah anu sahéng (Ayang-ayang gung Gung goongna ramé) nyaritakeun kalakuan pamingpinna nyaéta ménak Wastanu nu jadi wadana. Pangna diaromongkeun téh ku sabab kalakuanana olo-olo (naha manéh kitu – tukang olo-olo), giruk—ruket (ngabalad jeung kumpeni). Tujuanana mah taya lian sangkan bisa naék pangkat – sanajan bari jeung (kalakuan kitu téh) goréng. Ninggali wadana anu kitu petana, saenyana rahayat ngaharepkeun dalem – tapi dalem ogé sarua misleukna (lNgantos kang jeung dalem, Lempa lempi lempong, Ngadu pipi jeung nu ompong) Ngeunaan jalan ka batawi ngemplong bisa dihartikeun yén pamingpin jaman baheula ogé leuwih oriéntasi ka luhur alias ka batawi.
Ningningnang – ningnang dot em dot blem. Ieu gé nyaritakeun kalakuan dalem anu misleuk, ari dongkap ka hiji wilayah sok dipapag ku bajidoran, ti dinya teras tutunjuk « kembang malati ». Kalakuan saperti kitu ku masyarakat disarebutna « adu gandék raja belang « Néng nang néng prak. Lagu ieu mah ngagambarkeun kuwu pedit kariaan (sigana juragan kuwu téh janggotan kawas embé). Susuguhna ogé kapan lauk bilatung, kéjona – kéjo gandrung.
Truk-truk brung. Lamun kalakuan kuwu, wadana, dalem saperti anu disebutkeun di luhur, tong anéh lamun rahayatna malarat. Bayangkeun waé, sarubak-rubakna/sapanjang-panjangna buntut lutung, tuluy dikenyang-kenyang barudak, mangkaning salawé widak. Ceuk bahasa ayeuna mah kaayaan kitu téh ngagambarkeun silih bagi kamiskinan (shared poverty).
Ehon bérod. Lagu ieu siganana nyaritakeun mata-mata anu nyamur jadi tukang oncom. Disebut mata-mata téh sabab sok « comél ka nu gélo » (bisa jadi pamaréntahan walanda atawa jepang, ku kituna lamun aya tukang oncom ngaliwat, rahayat kudu ati-ati ngomong (trung-trung-trung kohkol alarm).
Pacublek cublek uang, ngajakan rahayat pikeun motong « kerbau péndék » (Jepang) jeung motong « kerbau tinggi »(walanda) ; sedengkeun anu tinggina jemblang-jemblung mah taya lian tentara Gurkha. 2.    Ngagambarkeun kaayaan. Lamun analisa di luhur bener, kakawihan téh bisa jadi dijieunna patula-patali jeung hiji kajadian (aya faktor waktu). Contona, jaleuleu dikira-kira jaman Dipati Ukur, Ehon berod dijieun dina jaman penjajahan, nya kitu ogé ayang-ayang gung. Tina lalaguan ogé, urang bisa ninggali kalakuan bangsa Cina dina jaman penjajahan. Kapan waktu si Roji meuli paku, ku babah teu dibéré, malahan pokna téh mata sia. Palebah dieu urang ogé bisa ngakurkeun jeung sajarah, utamana posisi Cina dina Jepang anu sigana mah meunang posisi khusus (dai nippon nu kawasa).
3. Ngaramalkeun ka hareup. Waktu Sukarno tibeubeut tina kalunguhanana, anu kababawa téh lain ngan ukur manéhna, tapi ogé anték-antékna. Ninggali kaayaan kieu aya nu nyarita, cenah « oray bungka » – baca Bung Karno téh jadi kanyataan, kabéh anu nutur-nutur (dipandeuri) Bung Karno kalaut.
4. Ulin kecap. Dina lagu éhon bérod, bangbang kalima – lima gobang, santri maan dodol katinggali padalisan anu tungtung dijadikeun padalisan anyar.
5. Kaulinan dina hiji kaayaan, contona dina ojok-ojok uang – aung, ojok ata iti.
6. Heureuy biasa, saperti dina pérépét jeung kol, cingcangkeling, disurung ungkug-ungkugan (bulu irung digelungan, bulu kéléh dilélépét)
Panutup Catur Analisa di luhur éstuning dipapantes. Dina sababaraha hal ngan saukur interpretasi, leres jeung henteu na mah kedah digali ku ahlina (sanés pagawéan insinyur pertanian sapertos pribados). Tapi kalah kumaha ogé ieu téh kabeungharan urang sunda.
Ambil - Ambilan
Ambil ambilan turugtug hayam samantu
euweuh nu diambil kabéh gé budak pahatu
Pahatu gé bae'
purah nutu purah ngéjo
purah ngasakan baligo
purah calik dina lampit
purah tunggu pipir leuit
nyerieun sukuna
kacugak ku kaliagé
aya ubarna
urat guling sampurnage
tigunting nyocolan dage
geura dahar sangu bodas
béasna meunang ngahidas
lauk cai meunang mais
angeun taleus pencok hiris
Dongdang Mayang
Pamikul adeg-adeg
Bujang lanjang ti kidul sing araced
Truk truk brung
Truk truk brung
Truk tru brak
Buntut lutung panjang rubak
Dikenyang-kenyang barudak
Barudak salawé widak
Nyéd eng – nyed eng
Nyed nyed eng
Nyed- nyed eng
IV.
Ningningnang-ningnang
Dot em dot blem
Dalem sumping dor bajidor
Tutunjuk kembang malati
Laole ole obong
Terongna ting belenong
Ngadu pipi jeung nu ompong
Adu riri silih pinyong ( ?)
Inyong-inyong mas muria
Adu gandék raja belang
V.
Térélék embé janggotan
Pa kuwu kariaan
Laukna lauk bilatung
Kéjona kéjo gandrung
Trangtrung bedog buntung
Trungtrang bedog rompang
Hét hét embé janggotan
Kélék monyét héhéotan
Badubanglpak dug blem
VI.
Pacublek-cublek uang
Uangnya manggulenténg
Padati wara – wiri
Tangsi nona
Tangsi tuan
Ka teluk bungbung
Pok érah (2x)
Si Sidin mau kawin
Potong kerbau péndék
Potong kerbau tinggi
Tingginya jemblang – jemblung
Ta eem
Ta em – ta em – ta em
VII.
Sakentrung – sakentrung
Paré hawara di huma
Trung dung trung dung éng (2x)
Sakentrung taligung
Tété tulak
Tété wondo
Dalem surak raja sono
Kalisanga domblé
Kacang diraraweuy
Televisi interaktif
Televisi interaktif nyaéta hiji istilah keur nerangkeun sababaraha tehnik nu nginteraksikeun panongton jeung eusi televisi nu ditempona. Kadang-kadang disebut TV interaktif, interactive TV, iTV, idTV atawa ITV (ulah patukeur jeung jaringan Independent Television di Britania). <!--
Kakawihan
VII.
Tembus kénéh
Televisi interaktif
Definisi televisi interaktif
Interactive television represents a continuum from low interactivity (TV on/off, volume, changing channels) to moderate interactivity (simple movies on demand without player controls) and high interactivity in which, for example, an audience member affects the program being watched. The most obvious example of this would be any kind of real-time voting on the screen, in which audience votes create decisions that are reflected in how the show continues. A return path to the program provider is not necessary to have an interactive program experience. Once a movie is downloaded for example, controls may all be local. The link was needed to download the program, but texts and software which can be executed locally at the set-top box or IRD (intra-room decoder) may occur automatically, once the viewer enters the channel.
Kakawihan
VII.
Dodol sana, dodol sini
Televisi interaktif
Return path
To be truly interactive, the viewer must be able to alter the viewing experience (eg choose which angle to watch a football match), or return information to the broadcaster.
Kakawihan
VII.
Cir kuciplek, doli doéng
Televisi interaktif
Return path
This "return path" or "back channel" can be by telephone, mobile SMS (text messages), radio, digital subscriber lines (ADSL) or cable.
Ampung Julu, Batang Natal, Mandailing Natal
Ampung Julu nyaéta salah sahiji Désa di kacamatan Batang Natal, Kabupatén Mandailing Natal, Propinsi Sumatra Kalér, Indonésia.
Televisi interaktif
Return path
Cable TV viewers receive their programs via a cable, and in the integrated cable return path enabled platforms, they use the same cable as a return path.
Satellite viewers (mostly) return information to the broadcaster via their regular telephone lines. They are charged for this service on their regular telephone bill. An Internet connection via ADSL, or other, data communications technology, is also being increasingly used.
Kakawihan
IX.
Endeuk-eundeukan lagoni
Meunang peucang sahiji +
Televisi interaktif
Return path
Increasingly the return path is becoming a broadband IP connection, and some hybrid receivers are now capable of displaying video from either the IP connection or from traditional tuners. Some devices are now dedicated to displaying video only from the IP channel, which has given rise to IPTV - Internet Protocol Television. The rise of the "broadband return path" has given new relevance to Interactive TV, as it opens up the need to interact with Video on Demand servers, advertisers, and web site operators.
Kakawihan
IX.
Leupas deui ku nini -
Televisi interaktif
Forms of interaction
The term "interactive television" is used to refer to a variety of rather different kinds of interactivity (both as to usage and as to technology), and this can lead to considerable misunderstanding. At least three very different levels are important (see also the instructional video literature which has described levels of interactivity in computer-based instruction which will look very much like tomorrow's interactive television):
Karang Agung, Kotabumi Kidul, Lampung Kalér
Karang Agung nyaéta salah sahiji Désa di kacamatan Kotabumi Kidul, Kabupatén Lampung Kalér, Propinsi Sumatra Kalér, Indonésia.
Televisi interaktif
Interactivity with a TV set
The simplest, Interactivity with a TV set is the one that is already very successful. This got its first big jump with the use of the remote control to enable channel surfing behaviours, and has evolved to include video-on-demand, VCR-like pause, rewind, and fast forward, and DVRs, commercial skipping and the like. It does not change any content or its inherent linearity, only how we control the viewing of that content. DVRs allow users to time shift content in a way that most VCR owners never learned to do. This is a kind of interactive TV, and not insignificant, but it is not what is meant in any full sense of the term. It is already taking place in many homes. Calling the simple use of a remote control to turn TV sets on and off as an example of interactivity is like saying turning the pages of a book makes the book interactive.
Kakawihan
IX.
Beunang deui ku aki +
Leupas deui ku ninina nini nini -
Karang Agung, Kotabumi Kidul, Lampung Kalér
Karang Agung, Kotabumi Selatan, Lampung Utara
Televisi interaktif
Interactivity with TV program content
Simpler forms, which are enjoying some success, include programs that directly incorporate polls, questions, comments, and other forms of (virtual) audience response back into the show. There is much debate as to how effective and popular this kind of truly interactive TV can be. It seems likely that some forms of it will be popular, but that viewing of pre-defined content, with a scripted narrative arc, will remain a major part of the TV experience indefinitely. The United States lags far behind the rest of the developed world in its deployment of interactive television. This is a direct response to the fact that commercial television in the U.S. is not controlled by the government, whereas the vast majority of other countries' television systems are controlled by the government. These "centrally planned" television systems are made interactive by fiat, whereas in the U.S., only some members of the Public Broadcasting System has this capability.
Kakawihan
IX.
Leupas deui ku ninina ninina ninina nini nini -
Jogja, Kuala, Nagan Raya
Jogja nyaéta salah sahiji Gampong di kacamatan Kuala, Kabupatén Nagan Raya, Propinsi Acéh, Indonésia.
Kakawihan
IX.
Beunang deui ku akina akina akina akina aki-aki +
Leupas deui ku ninina ninina ninina ninina ninina ninina nini nini -
Beunang deui ku akina akina akina akina akina akina akina akina aki-aki
Pérépét Jengkol
Kadempet kohkol jejeretean
Eh jaja eh jaja eh jaja eh jaja
XI.
Ehon bérod (3x)
Roda sapi buntung
Tunggir hayam bikang
Kangkung sisi gawir
Wira dagang oncom
Comél ka nu gélo
Lodong kosong ngentrung
Trung trung trung kohkol alarm
XII
Santri maan dodol
Doléwak nincak waduk
Duka waduk saha
Haneut kénéh pisan
(balik deui kana santri maan dodol
kitu jeung kitu waé bulak balik)
XIII
Bubulaoan
Si semar maling gunting
Guntingna kabulaoan
Ta eem te eem
Sidakep bari balem
Cingcangkeling
Cingcangkeling manuk cingkleung cindeten
Blos ka kolong bapa satar buleneng
XXIII
Kalongking (2x)
Bapa sia
Utah ngising
Cecewok dina pependil
Televisi interaktif
Interactivity with TV program content
Commercial broadcasters and other content providers serving the US market are constrained from adopting advanced interactive technologies because they must serve the desires of their customers, earn a level of return on investment for their investors, and are dependent on the penetration of interactive technology into viewers' homes. In association with many factors such as American television content providers and operators must contend with the existing infrastructure and business models. Satellite and cable will force broadcasters to adopt interactivity or the broadcasters will become less competitive than they already are.
Betung Kuning, Sitinjau Laut, Kerinci
Betung Kuning nyaéta salah sahiji désa di kacamatan Sitinjau Laut, Kabupatén Kerinci, Propinsi Jambi, Indonésia.
Televisi interaktif
Interactivity with TV-related content
The least understood, Interactivity with TV related content may have most promise to alter how we watch TV over the next decade. Examples include getting more information about what is on the TV, whether sports, movies, news, or the like.
Similar (and most likely to pay the bills), is getting more information about what is being advertised, and the ability to buy it -- this is called "tcommerce" (short for "television commerce"). Partial steps in this direction are already becoming a mass phenomenon, as Web sites and mobile phone services coordinate with TV programs (note: this type of interactive TV is currently being called "participation TV" and GSN and TBS are proponents of it). This kind of multitasking is already happening on large scale -- but there is currently little or no automated support for relating that secondary interaction to what is on the TV compared to other forms of interactive TV. Others argue that this is more a "web-enhanced" television viewing than interactive TV. In the coming months and years, there will be no need to have both a computer and a TV set for interactive television as the interactive content will be built into the system via the next generation of set-top boxes. However, set-top-boxes have yet to get a strong foothold in American households as price (pay per service pricing model) and lack of interactive content have failed to justify their cost.
Many think of interactive TV primarily in terms of "one-screen" forms that involve interaction on the TV screen, using the remote control, but there is another significant form of interactive TV that makes use of Two-Screen Solutions, such as NanoGaming. In this case, the second screen is typically a PC (personal computer) connected to a Web site application. Web applications may be synchronized with the TV broadcast, or be regular websites that provide supplementary content to the live broadcast, either in the form of information, or as interactive game or program. Some two-screen applications allow for interaction from a mobile device (phone or PDA), that run "in synch" with the show.
Such services are sometimes called "Enhanced TV," but this term is in decline, being seen as anachronistic and misused occasionally. (Note: "Enhanced TV" originated in the mid-late 1990s as a term that some hoped would replace the umbrella term of "interactive TV" due to the negative associations "interactive TV" carried because of the way companies and the news media over-hyped its potential in the early 90's.)
Notable Two-Screen Solutions have been offered for specific popular programs by many US broadcast TV networks. Today, two-screen interactive TV is called either 2-screen (for short) or "Synchronized TV" and is widely deployed around the US by national broadcasters with the help of technology offerings from certain companies.
SMK Negeri 10 Bandung
SMK Negeri 10 Bandung mangrupa Sakola Menengah Kajuruan Negeri Widang Seni Pintonan munggaran di Propinsi Jawa Barat. Ayeuna mah mangrupa SMK Widang Seni jeung Industri Kréatif anu aya di Kota Bandung.
Pantee Bayam, Madat, Aceh Timur
Pantee Bayam nyaéta salah sahiji Gampong di kacamatan Madat, Kabupatén Aceh Timur, Propinsi Acéh, Indonésia.
Televisi interaktif
Interactivity with TV-related content
One-screen interactive TV generally requires special support in the set-top box, but Two-Screen Solutions, synchronized interactive TV applications generally do not, relying instead on Internet or mobile phone servers to coordinate with the TV and are most often free to the user.
SMK Negeri 10 Bandung
SMK Negeri 10 Bandung nangtung dina legana lahan 50.000 m².
Televisi interaktif
User Interaction
Interactive TV is often described by clever marketing gurus as "lean back" interaction, as users are typically relaxing in the living room environment with a remote control in one hand. This is a very simplistic definition of interactive television that is less and less descriptive of interactive television services that are in various stages of market introduction. This is in contrast to the similarly slick marketing devised descriptor of personal computer-oriented "lean forward" experience of a keyboard, mouse and monitor. This description is becoming more distracting than useful as video game users, for example, don't lean forward while they are playing video games on their television sets, a precursor to interactive TV. A more useful mechanism for categorizing the differences between PC and TV based user interaction is by measuring the distance the user is from the Device. Typically a TV viewer is "leaning back" in their sofa, using only a Remote Control as a means of interaction. While a PC user is 2ft or 3ft from his high resolution screen using a mouse and keyboard. The demands of distance, and user input devices, requires the application's look and feel to be designed differently. Thus Interactive TV applications are often designed for the "10ft user experience" while PC applications and web pages are designed for the "3ft user experience". This style of interface design rather than the "lean back or lean forward" model is what truly distinguishes Interactive TV from the web or PC.
SMK Negeri 10 Bandung
Riwayat
1958
Televisi interaktif
User Interaction
In the case of Two-Screen Solutions Interactive TV, the distinctions of "lean-back" and "lean-forward" interaction become more and more indistinguishable. There has been a growing proclivity to media multitasking, in which multiple media devices are used simultaneously (especially among younger viewers). This has increased interest in two-screen services, and is creating a new level of multitasking in interactive TV. In addition, video is now ubiquitous on the web, so research can now be done to see if there is anything left to the notion of "lean back" "versus" "lean forward" uses of interactive television.
Bandéra Arménia
Bandéra nasional Arménia, Triwarna Arménia (kawanoh ogé salaku Եռագույն, Yeřaguyn}}), miboga 3 warna sacara horisontal kalawan panjang nu sarua. Beureum di luhur, paul di tengah, sarta oranye (ogé kasebut salaku "warna aprikot") di handap. Dina 15 Juni 2006, Hukum Bandéra Nasional Arménia, disahkeun ku Majelis Nasional Arménia.
SMK Negeri 10 Bandung
Riwayat
Dina mimitina, Diréktur KOKAR Bandung dipingpin ku Radén Machjar Angga Koesoemadinata.
Meunasah Mee, Grong-grong, Pidie
Meunasah Mee nyaéta salah sahiji Gampong di kacamatan Grong-grong, Kabupatén Pidie, Propinsi Acéh, Indonésia.
Bandéra Arménia
Loka semi-resmi, Yeraguyn.com, nyadiakeun panduan ieu :
SMK Negeri 10 Bandung
Riwayat
Ti mimiti KOKAR Bandung muka kagiatan sakola dimimitian ti tabuh 14.00 s.d. tabuh 18.00 kalayan béda tempat diajar alatan asup ka sakola atawa lembaga séjénna, saperti SGB di Jl. H. Samsudin, SKKP di Jalan Kautamaan Istri, Pendopo Kabupatén Bandung di Jalan Dalem Kaum jeung Dinas Kabudayaan Daerah (Idakeb) Jawa Barat, gigireun Gedung Yayasan Pusat Kabudayaan di Jalan Naripan. Gedongna teu aya alat-alatna ogé, ku kituna kagiatan diajar Jeung ngajar dilaksanakeun ku cara basajan tapi tetep sumanget.
Televisi interaktif
User Interaction
For one-screen services, interactivity is supplied by the manipulation of the API of the particular software installed on a set-top box, referred to as 'middleware' due to its intermediary position in the operating environment. Software programs are broadcast to the set-top box in a 'carousel'.
SMK Negeri 10 Bandung
Riwayat
1961
Televisi interaktif
User Interaction
On UK DTT (Freeview), in DVB-MHP systems and for OCAP, this is a DSM-CC Object Carousel.
SMK Negeri 10 Bandung
Riwayat
KOKAR Bandung mimiti nempatan wangunan sorangan anu perenahna di Jalan Buahbatu 212 Bandung sangkan kagiatan sakola dimimitian isuk-isuk, nyaéta tabuh 07.30 s.d. 13.00 WIB.
Televisi interaktif
User Interaction
The set-top box can then load and execute the application. In the UK this is typically done by a viewer pressing a "trigger" button on their remote control (e.g. the red button, as in "press red").
SMK Negeri 10 Bandung
Riwayat
Pamimpin dina mangsa ieu nyaéta Daeng Soetigna anu ahirna katelah Bapa Angklung Indonesia.
Televisi interaktif
User Interaction
Interactive TV Sites have the requirement to deliver interactivity directly from internet servers, and therefore need the set-top box's middleware to support some sort of TV Browser or content rendering system. Middleware examples like Liberate are based on a version of HTML/Javascript and have rendering capabilities built in, while others such as OpenTV and DVB-MHP can load microbrowsers and applications to deliver content from TV Sites.
SMK Negeri 10 Bandung
Riwayat
Pikeun leuwih ngahontal visi jeung misina, ku SK PPPK Mentri No: 69/1962 tanggal 16 Juli 1962, KOKAR Bandung diiring ku Déwan anu disebut Dewan Pembina, susunan Déwan Pembina nyaéta: 1964 1965 1966
Televisi interaktif
User Interaction
Typically the distribution system for Standard Definition digital TV is based on the MPEG-2 specification, while High Definition distribution is likely to be based on the MPEG-4 meaning that the delivery of HD often requires a new device or set-top box. -->