scholarly journals WAYANG KLITHIK ROBOT

CORAK ◽  
2014 ◽  
Vol 3 (2) ◽  
Author(s):  
Gandar Setiawan
Keyword(s):  
Main Idea ◽  
Three Dimension ◽  
Visual Form ◽  
Second Stage ◽  
Third Stage

Wayang is a autentic culture from Indonesia. Wayang has many figure and character.It is main idea of this make the artwork. Inspiration of the artwork also from observation robotforms. Robot has the furious and futuristic form. Like the progression of technologi, form ofrobot also more experiencing form progression. Until now, form of robot still identic dan cannot losed from imajinative forms.This prossesing to make the artwork use created methode from Gustami, it is a threestages six steps creating craft artwork. First stage is eksploration consist of observation andfinding refference steps. Second stage is desaigning consist of making the sketch and makingthe gambar teknik or modeling steps. Third stage is forming consist of create artwork andfinished with value and evaluation steps.Result of visual form is a three dimension artwork with futuristic robot form. Visualform the artwork is a transformastion of futuristic wayang klithik with robot form. The puppetfigures are Wrekudara and Gatotkaca Combination form is a method for impression andaesthete value of the artwork. Keywords: puppet, wayang klithik, robot, Wrekudara, Gatotkaca  Wayang merupakan budaya asli dari Indonesia. Wayang memiliki berbagai macamtokoh dan karakter. Wayang menjadi ide utama penciptaan dalam penciptaan karya ini.Inspirasi karya juga muncul dari pengamatan bentuk-bentuk robot. Robot memiliki bentukyang variatif dan futuristik. Sesuai dengan perkembangan teknologi, bentuk robot jugamengalami perkembangan yang lebih bermacam-macam. Sampai saat ini, bentuk robot masihidentik dan tidak bisa lepas dari bentuk-bentuk imajinatif.Proses pembuatan karya seni ini menggunakan metode penciptaan dari Gustami, yaitumetode tiga tahap enam langkah dalam menciptakan karya seni kriya. Tahap pertama yaitueksplorasi yang meliputi langkah pengamatan dan pencarian sumber pustaka. Tahap keduamerupakan tahap perancangan yang terdiri dari langkah pembuatan beberapa sketsa danpembuatan gambar teknik ataupun model. Tahap yang ketiga yaitu tahap perwujudan yangterdiri langkah pengerjaan karya, dan diakhiri dengan penilaian juga evaluasi karya yang telahjadi.Bentuk visual yang dihasilkan yaitu karya seni tiga dimensi dengan bentuk futuristikmenyerupai robot. Bentuk visual karya merupakan penggabungan antara bentuk wayangklithik dengan bentuk robot. Tokoh wayang yang dibuat yaitu Wrekudara dan Gatotkaca.Perpaduan bentuk dilakukan sebagai cara untuk memberikan kesan dan nilai estetik padakarya.Kata kunci: wayang, wayang klithik, robot, Wrekudara, Gatotkaca

scholarly journals Wayang Klithik Robot

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Gandar Setiawan1
Keyword(s):  
Main Idea ◽  
Three Dimension ◽  
Visual Form ◽  
Second Stage ◽  
Third Stage ◽  
Three Stages

Wayang is a autentic culture from Indonesia. Wayang has many figure and character. It is main idea of this make the artwork. Inspiration of the artwork also from observation robot forms. Robot has the furious and futuristic form. Like the progression of technologi, form of robot also more experiencing form progression. Until now, form of robot still identic and can not losed from imajinative forms. This prossesing to make the artwork use created methode from Gustami, it is a three stages six steps creating craft artwork. First stage is eksploration consist of observation and finding refference steps. Second stage is desaigning consist of making the sketch and making the gambar teknik or modeling steps. Third stage is forming consist of create artwork and finished with value and evaluation steps. Result of visual form is a three dimension artwork with futuristic robot form. Visual form the artwork is a transformastion of futuristic wayang klithik with robot form. The puppet figures are Wrekudara and Gatotkaca Combination form is a method for impression and aesthete value of the artwork. Wayang merupakan budaya asli dari Indonesia. Wayang memiliki berbagai macam tokoh dan karakter. Wayang menjadi ide utama dalam penciptaan karya ini. Inspirasi karya juga muncul dari pengamatan bentuk-bentuk robot. Robot memiliki bentuk yang variatif dan futuristik. Sesuai dengan perkembangan teknologi, bentuk robot juga mengalami perkembangan yang lebih bermacam-macam. Sampai saat ini, bentuk robot masih identik dan tidak bisa lepas dari bentuk-bentuk imajinatif. Proses pembuatan karya seni ini menggunakan metode penciptaan dari Gustami, yaitu metode tiga tahap enam langkah dalam menciptakan karya seni kriya. Tahap pertama yaitu eksplorasi yang meliputi langkah pengamatan dan pencarian sumber pustaka. Tahap kedua merupakan tahap perancangan yang terdiri dari langkah pembuatan beberapa sketsa dan pembuatan gambar teknik ataupun model. Tahap yang ketiga yaitu tahap perwujudan yang terdiri langkah pengerjaan karya, dan diakhiri dengan penilaian juga evaluasi karya yang telah jadi. Bentuk visual yang dihasilkan yaitu karya seni tiga dimensi dengan bentuk futuristik menyerupai robot. Bentuk visual karya merupakan penggabungan antara bentuk wayang klithik dengan bentuk robot. Tokoh wayang yang dibuat yaitu Wrekudara dan Gatotkaca. Perpaduan bentuk dilakukan sebagai cara untuk memberikan kesan dan nilai estetik pada karya.

scholarly journals Orchestrating collaborative projects: Inside ICT networks in Horizon 2020

2020 ◽  
Vol 47 (3) ◽  
pp. 396-409
Author(s):  
Simen G Enger ◽  
Magnus Gulbrandsen
Keyword(s):  
Main Idea ◽  
Detailed Examination ◽  
Project Managers ◽  
Regulatory Control ◽  
Horizon 2020 ◽  
Second Stage ◽  
Research Organizations ◽  
Third Stage ◽  
Set Up ◽  
The Eu

Abstract This article investigates decisions taken at the project level in establishing and managing collaborative ICT projects under the European Framework Programme Horizon 2020. Based on interviews with project coordinators from European research organizations, we offer a detailed examination of how projects are built and managed, and how decisions influence the formation of collaborative networks. Projects are typically set up in three stages. In the first, a smaller group that has worked together before decides on the main idea. This leads in the second stage to a gradual invitation of partners to satisfy professional and formal demands, which also defines the structure of the project. If funded, more detailed decisions on ownership and interaction are taken in the third stage. Coordinators are under pressure from the regulatory control of the EU Commission, which can explain the strong preference for well-known partners, but the formal monitoring also provides tools for project managers.

QUINT: A Problem-Solving Strategy for Mechanical System Conceptual Design: Part II — Analysis, Evaluation, and Example

1990 ◽  
Author(s):  
Wang Qun ◽  
Yang Haibin ◽  
Zhou Ji ◽  
Yu Jun
Keyword(s):  
Problem Solving ◽  
Mechanical System ◽  
Conceptual Design ◽  
Main Idea ◽  
Second Stage ◽  
Third Stage ◽  
Problem Solving Strategy ◽  
Two Stages ◽  
Solving Strategy

Abstract In part I, the characteristics of mechanical system conceptual design, the main idea of of QUINT and how to realize the first-stage, second-stage and third-stage reasoning were discussed. The part II will continue to study the last two stages of QUINT strategy, and give an example.

The Coherence of Mary Barton: Romance, Realism, and Utopia

2015 ◽  
Vol 5 (3) ◽  
pp. 185-200
Author(s):  
Robert Z. Birdwell
Keyword(s):  
Thomas Carlyle ◽  
The Novel ◽  
Second Stage ◽  
The Third ◽  
Third Stage ◽  
Three Stages ◽  
Mode Of Production

Critics have argued that Elizabeth Gaskell's first novel, Mary Barton (1848), is split by a conflict between the modes of realism and romance. But the conflict does not render the novel incoherent, because Gaskell surpasses both modes through a utopian narrative that breaks with the conflict of form and gives coherence to the whole novel. Gaskell not only depicts what Thomas Carlyle called the ‘Condition of England’ in her work but also develops, through three stages, the utopia that will redeem this condition. The first stage is romantic nostalgia, a backward glance at Eden from the countryside surrounding Manchester. The second stage occurs in Manchester, as Gaskell mixes romance with a realistic mode, tracing a utopian drive toward death. The third stage is the utopian break with romantic and realistic accounts of the Condition of England and with the inadequate preceding conceptions of utopia. This third stage transforms narrative modes and figures a new mode of production.

How well do voice-hearing assessment measures capture the positive experiences of individuals?

2019 ◽  
Author(s):  
Lucy Armstrong ◽  
Lorna Hogg ◽  
Pamela Charlotte Jacobsen
Keyword(s):  
Systematic Review ◽  
Lived Experience ◽  
Second Stage ◽  
The Third ◽  
Third Stage ◽  
Hearing Assessment ◽  
Positive Experiences ◽  
Assessment Measures ◽  
Stage 1 ◽  
The Voice

The first stage of this project aims to identify assessment measures which include items on voice-hearing by way of a systematic review. The second stage is the development of a brief framework of categories of positive experiences of voice hearing, using a triangulated approach, drawing on views from both professionals and people with lived experience. The third stage will involve using the framework to identify any positve aspects of voice-hearing included in the voice hearing assessments identified in stage 1.

scholarly journals When the World Breaks Down: A 3-Stage Existential Model of Nihilism in Schizophrenia

2021 ◽  
pp. 1-24
Author(s):  
Philipp Klar ◽  
Georg Northoff
Keyword(s):  
The Self ◽  
First Person ◽  
Second Stage ◽  
Existential Crisis ◽  
Third Stage ◽  
The World ◽  
Third Person ◽  
Pathological Development ◽  
Sense Of Reality ◽  
Intentional Structure

The existential crisis of nihilism in schizophrenia has been reported since the early days of psychiatry. Taking first-person accounts concerning nihilistic experiences of both the self and the world as vantage point, we aim to develop a dynamic existential model of the pathological development of existential nihilism. Since the phenomenology of such a crisis is intrinsically subjective, we especially take the immediate and pre-reflective first-person perspective’s (FPP) experience (instead of objectified symptoms and diagnoses) of schizophrenia into consideration. The hereby developed existential model consists of 3 conceptualized stages that are nested into each other, which defines what we mean by existential. At the same time, the model intrinsically converges with the phenomenological concept of the self-world structure notable inside our existential framework. Regarding the 3 individual stages, we suggest that the onset or first stage of nihilistic pathogenesis is reflected by phenomenological solipsism, that is, a general disruption of the FPP experience. Paradigmatically, this initial disruption contains the well-known crisis of common sense in schizophrenia. The following second stage of epistemological solipsism negatively affects all possible perspectives of experience, that is, the first-, second-, and third-person perspectives of subjectivity. Therefore, within the second stage, solipsism expands from a disruption of immediate and pre-reflective experience (first stage) to a disruption of reflective experience and principal knowledge (second stage), as mirrored in abnormal epistemological limitations of principal knowledge. Finally, the experience of the annihilation of healthy self-consciousness into the ultimate collapse of the individual’s existence defines the third stage. The schizophrenic individual consequently loses her/his vital experience since the intentional structure of consciousness including any sense of reality breaks down. Such a descriptive-interpretative existential model of nihilism in schizophrenia may ultimately serve as input for future psychopathological investigations of nihilism in general, including, for instance, its manifestation in depression.

The Origins of the Village Revisited: From Nuclear to Extended Households

2002 ◽  
Vol 67 (3) ◽  
pp. 417-433 ◽  
Author(s):  
Kent V. Flannery
Keyword(s):  
Nuclear Family ◽  
Extended Family ◽  
Near East ◽  
Shared Storage ◽  
Nuclear Families ◽  
Second Stage ◽  
Third Stage ◽  
Two Stages ◽  
Extended Households ◽  
The Village

In Mesoamerica and the Near East, the emergence of the village seems to have involved two stages. In the first stage, individuals were distributed through a series of small circular-to-oval structures, accompanied by communal or “shared” storage features. In the second stage, nuclear families occupied substantial rectangular houses with private storage rooms. Over the last 30 years a wealth of data from the Near East, Egypt, the Trans-Caucasus, India, Africa, and the Southwest U.S. have enriched our understanding of this phenomenon. And in Mesoamerica and the Near East, evidence suggests that nuclear family households eventually gave way to a third stage, one featuring extended family households whose greater labor force made possible extensive multifaceted economies.

Reconstruction of Tragus and External Auditory Meatus using Remnant Auricle during Microtia Reconstruction

2018 ◽  
Vol 34 (02) ◽  
pp. 227-229
Author(s):  
Yi-gao Hu ◽  
Wei Ding ◽  
Jun Tan ◽  
Xin Chen ◽  
Tao Luo ◽  
...  
Keyword(s):  
Skin Flap ◽  
Skin Grafting ◽  
External Auditory Meatus ◽  
Reconstruction Technique ◽  
External Ear ◽  
Flap Necrosis ◽  
Second Stage ◽  
The Third ◽  
Third Stage ◽  
Thin Skin

AbstractThis article investigates an effective method with which to reconstruct the tragus and external auditory meatus for microtia reconstruction. The external ear was reconstructed using a delayed postauricular skin flap in patients with congenital microtia. After the first stage of delaying the postauricular skin flap and the second stage of otoplasty with ear framework fabricated from autogenous rib cartilage draping with the delayed skin flap, the third stage involved tragus and external auditory meatus canaloplasty. After designing the remnant auricle flap, the lower part was trimmed and the tragus was reconstructed. The upper part was trimmed into a thin skin flap, which was rotated and used to cover the hollowed wound posterosuperior to the tragus so as to mimic the external auditory meatus. If remnant wounds were present, skin grafting was conducted. In total, 121 patients with congenital microtia were treated from March 2010 to March 2016. The reconstructed tragus and external auditory meatus were well formed, and all wounds healed well. No severe complications such as flap necrosis occurred. Six months postoperatively, the morphology of the reconstructed tragus and external auditory meatus was good. Overall, the patients and their families were satisfied. The use of remnant auricle to reconstruct the tragus and external auditory meatus is an effective auricular reconstruction technique.

Order-disorder phenomena in α -brass - III. Influence of plastic deformation

1960 ◽  
Vol 257 (1290) ◽  
pp. 363-385 ◽  
Keyword(s):  
Plastic Deformation ◽  
Cold Work ◽  
Stored Energy ◽  
High Concentration ◽  
Complex Behaviour ◽  
Second Stage ◽  
Third Stage ◽  
Anneal Hardening ◽  
Two Stages ◽  
Degree Of Order

The evolution of stored energy during heating for specimens of deformed α-brass is quite different from that previously observed for pure metals; the stored energy is much larger and at least three stages of evolution exist. These have been studied for deformation in torsion and tension and the results correlated with measurements of electrical resistivity, density and hardness. The large release of energy in the first two stages is attributed mainly to the return of order destroyed by plastic deformation; the degree of disorder after heavy cold work is much greater than after quenching (part II). However, slight deformation (10% tension) increases the degree of order slightly. The first stage of energy release, below 120 °C, is probably due to rapid reordering assisted by vacancies created during deformation. The second stage represents the bulk of the reordering and some recovery involving rearrangement and annihilation of dislocations. The deformed specimens are probably strain-aged and thus recovery is accompanied by the dispersal of atmospheres of zinc which increases resistivity and decreases density, to some extent counteracting the effects of recovery. The balance of these three processes in stage 2 causes complex behaviour, the magnitude and even the sign of some changes in properties varies with the deformation. Reordering is complete before the beginning of the third stage of further recovery and recrystallization, in which dispersal of atmospheres is again important. Comparison of measurements of energy, resistivity and density suggests that the high concentration of stacking faults contributes to the resistivity. Anneal hardening is observed for the higher deformations and the maximum hardness coincides with the maximum degree of order.

FACES OF V.M. SHUKSHIN: MARTIN IDEN, HAMLET, STEPAN RAZIN

2021 ◽  
pp. 59-65
Author(s):  
Т.А. Богумил
Keyword(s):  
Early Stage ◽  
Socialist Realism ◽  
Crowding Out ◽  
Behavioral Models ◽  
Cluster Approach ◽  
Second Stage ◽  
The Third ◽  
Third Stage ◽  
Early Departure ◽  
First Time

В статье предлагается концепция жизни и творческого роста В.М. Шукшина сквозь призму тезаурусного и кластерного подходов. Объяснительными «персональными моделями» для интерпретации биографического текста писателя являются кластеры Мартина Идена, Гамлета и Степана Разина. Ранее биографы и литературоведы указывали на важность этих персон для Шукшина, но разрозненно. Впервые предпринята попытка свести указанные персональные модели воедино, в целостный сюжет становления писателя в пространстве культуры. На разных этапах эволюции автора доминирует одна из указанных моделей, последовательно сменяя друг друга, но не вытесняя, а «внахлест». Ранний этап творчества, ориентированный на стратегию Мартина Идена, является попыткой «вписаться» в наличный культурный мейнстрим. Выражено это в следовании поэтике соцреализма. Второй этап подспудно начинается с реабилитации отца Шукшина в 1956 года, когда актуализируется «гамлетовский комплекс», проявляющийся в чувстве вины перед отцом, через стратегию утаивания подлинного «я», мотивы чудаковатости. Третий этап связан с личностью реального исторического лица, Степана Разина, и выражается в открытом протесте против власти. Все важные для В.М. Шукшина поведенческие модели объединены мотивом одинокого противостояния враждебному социуму и имеют трагический финал, что обусловило ранний уход писателя и порождение мифов о насильственном характере его смерти. В.М. Шукшин одновременно был фигурой неординарной и типичной, что позволило его биографии стать «персональной моделью» для последующих авторов, выходцев из сельской глубинки. The article proposes the concept of life and creative growth of V.M. Shukshin through the prism of the thesaurus and cluster approach. The explanatory "personal models" for interpreting the biographical text of the writer are clusters of Martin Eden, Hamlet and Stepan Razin. Earlier, biographers and literary critics pointed out the importance of these people for Shukshin, but it was scattered. For the first time, an attempt was made to bring these personal models together into an integral plot of the formation of the writer in the space of culture. At different stages of the writer’s evolution, one of these models dominates, successively replacing each other, but not crowding out, but “overlapping”. The early stage of creativity, focused on Martin Eden’s strategy, is an attempt to “fit in” the current cultural mainstream. This is expressed in following the poetics of socialist realism. The second stage implicitly begins with the rehabilitation of Shukshin’s father in 1956, when the “Hamletian complex” is actualized. It is manifested in a sense of guilt towards his father, the strategy of concealing the true “I”, eccentricities. The third stage is connected with the personality of a real historical person, Stepan Razin, and is expressed in an open protest against the authorities. All important for V.M. Shukshin's behavioral models are united by the motive of a lonely confrontation with a hostile society and have a tragic ending, which led to the early departure of the writer and the generation of myths about the violent nature of his death. V.M. Shukshin was an extraordinary and typical figure at the same time. That allowed his biography to become a “personal model” for subsequent authors who came from the rural outback.

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