Browsing by Author "Iskandar, Asep Deni"

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    THE DIFFERENCE BETWEEN THE TEXT OF RAMAYANA JAWA KUNO AND THE RENDERING OF RAMAYANA STORY-RELIEF IN PRAMBANAN TEMPLE
    (International Journal of Psychosocial Rehabilitation, Vol.24, Issue 02, 2020) Iskandar, Asep Deni; Rustopo; Dharsono; Haryono, Timbul
    Other than as decor, Ramayana story-relief of Prambanan temple functions as teachings in visual form. The teachings source, a heroism narration of Rama (also called Ramayana epic), is a holy book originally written by Valmiki an Indian nationality, which later spread to various areas including Java island. Javanese society was known as open to external cultures. Conversely, they did not forthwith use it as their teachings. The epic later encountered a change in the form of story-part addition, written as Ramayana Jawa Kuno (RJK). Several researchers believe that RJK was employed as the guidance in the making of Ramayana story-relief, as there is a conformity between the written text and the rendering sculptures. Thus, the RJK text was likewise employed by the author to analyze the depictions of each scene in the relief panels. Nevertheless, the analyses conversely found some differences in some scenes and objects which show the presence of text interpretation and the discretion of the sculptures at the time.
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    THE IMPORTANCE OF VISUAL LANGUAGE IN LEARNING PHOTOGRAPHY
    (Conference On Professional Development In Education (PDE2014), Widyatama University Indonesia, Open University Indonesia and Open University Malaysia, 2014-06-11) Iskandar, Asep Deni; Putri, Herlinda
    The development in camera technology seems to grow so fast, and so does the computer. It should improve the creativity of the practitioners so that the issues arising are not in the aspects of technique and the sophisticated tools only – but are in the content represented, so that the “photography art” would not be stagnant. This photography stagnation can be figured out by the appearance of most photo-works, image repetition especially in the naturalist style. The implication of digital camera revolution is in making camera operating easier. Therefore, even a six-year-old kid can compose a photo-work defined as good by the practitioners and photographer. Although it is good that taking photographs has become easier, it seems that content is not an important aspect. One of the elements in photography hardly touched is visual language. It seems to be unimportant in photography area and works. This paradigm does not belong to the photographers but also to the photography subject educators, where as in photography area it cannot be separated due to the picture produced is a result of visual grammar. Thus it is very necessary in learning photography, either the Western which has been globalized since the colonialism era or the special one come from the Indonesia tradition.
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    KAJIAN BENTUK DAN MAKNA SIMBOLIK GAMBAR DINDING PADEPOKAN KOMUNITAS SUKU DAYAK BUM1 SEGANDU INDRAMAYU
    (Conference on Communication and New Media Studies (COMNEWS) 2015, Universitas Multimedia Nusantara, 2015-05-19) Iskandar, Asep Deni
    Makalah yang dikemukakan berkenaan dengan topik media, religi, dan budaya berupa gambar dinding. Gambar sebagai produk budaya dapat berfungsi untuk kepentingan apapun, bahkan bisa menjadi sistem nilai bagi masyarakat pendukungnya. Dalam komunitas Suku Dayak Bumi Segandu Indramayu, gambar pada dinding pagar padepokan bukan sekedar hiasan, namun berhubungan dengan primbon keselarasan dengan alam semesta, sejarah dan ajaran. Jika diperhatikan pada setiap panel menyerupai gambar yang dibuat anak-anak, terkesan dekoratif namun penuh makna. Gambar dibuat merujuk pada kitab (primbon) atau penuturan ajaran dari pendiri padepokan. Dapatlah dikatakan, gambar dinding merupakan transformasi dari sastra sebagai tuntunan perilaku yarig hams dijalankan oleh pengikutnya. Tujuan pembuatan gambar dinding agar penyebaran tuntunan bagi masyarakat pendukungnya dapat menjadi lebih komunikatif. Gambar dijadikan kendaraan suatu wawasan dan visi yang menyodorkan ungkapan makna meliputi pesan intelektual. Dalam makalah ini, penulis mencoba menelaah peran gambar dinding sebagai tuntunan perilaku dalam menghormati setiap perbedaan keyakinan. Untuk menelaah gambar dinding di padepokan tersebut akan digunakan metode kualitatif untuk mendeskripsikan hasil analisis dengan pendekatan semiotika. Hasil penelitian yang dilakukan akan menjadi rujukan kajian berkenaan dengan artefak sebagai perwujudan ide dari komunitasnya yang berkaitan dengan suatu ajaran. Hasil lainnya berupa penggalian nilai-nilai tradisi spiritualitas masyarakat di Indonesia yang masih menghargai perbedaan pandangan dalam kehidupan.
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    KOSMOLOGI PADA KOMUNITAS SUKU DAYAK INDRAMAYU BERBASIS WARISAN LELUHUR BERORIENTASI PADA SIKAP EGALITER
    (Al Mizan (Media Universitas Pasundan), Edisi Nomor 137, 2008-07) Iskandar, Asep Deni
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    MEMBACA BAHASA RUPA SASTRA VISUAL GAMBAR DINDING KOMUNITAS SUKU DAYAK HINDU BUDHA BUMI SEGANDU INDRAMAYU
    (Dewa Ruci, Jurnal Pengkajian & Penciptaan Seni, Volume 6 Nomor 3, 2010-12) Iskandar, Asep Deni
    Representntion of teaching in the lorm of literary uisualization ol panel wall picture alongside fortress of Padepokan at Suku Dayak Bumi Segandu Indromayu cnmmunity. The uisual form at ouerall ponel wall pidures still be shown the existence of touch by way oJ drowingtypically used by the past ancestors with the system space-time-plane (STP). The use of system STP at wall picture become the euidence that the tradition pafrem still aci.st in the middle of domination of the ubual longuage ol the West with the system naturalistic-perspeciiue-moment opname (NPM) thot assumed uniuersal and modem.
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    MEMBACA GAMBAR DINDING SUKU DAYAK BUMI SEGANDU INDRAMAYU
    (Linguart Jurnal bahasa, sastra dan seni, Volume III Nomor 1,, 2008-01) Iskandar, Asep Deni
    Masuknya bangsa-bangsa Eropa pada abad 17 temyata berpengaruh pada perkembangan seni rupa di Indonesia. Pengaruh tersebut bukan saja pada bentuk karya namun pada sistem menggambar cara khas yang sudah berkembang sejak jaman pra sejarah dan sekaligus menggeser sistem menggambar warisan leluhur. Bahasa rupa modern dari Barat kemudian menjadi sistem yang universal sementara bahasa rupa khas dari leluhur telah ditinggalkan oleh masyarakatnya. Namun, di tengah-tengah terjadinya pergeseran sistem menggambar ternyata masih tersisa gambar-gambar dengan menggunakan cara khas. Dari kesederhanaan bentuk. visualnya temyata terkandung nilai-nilai ajaran dan mengacu pada sebuah kitab. Dengan kata lain gambar dinding merupakan sastra visual atau ajaran-ajarun yang divisualkan.
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    OPTIMIZATION OF IN HOUSE POLYMERASE CHAIN REACTION FOR HIGH RISK HUMAN PAPILLOMAVIRUS (HPV 18) E1 GENEBASED DETECTION
    (International Journal of Psychosocial Rehabilitation, Vol.24, Issue 01, 2020) Naroeni, Aroem; Arrasul, Lifda Nirmala Putri; Saraswati, Henny; Iskandar, Asep Deni
    Human Papillomavirus is a virus that can infect human and a causative agent for cervical cancer. This disease mostly caused by HPV type 16 and 18. Polymerase Chain Reaction (PCR) is one of the molecular biology method can be used to detect HPV in sample. Gen E1 in HPV genome has a role in virus replication and transcription, and relatively conserved. This gene can be used in HPV genotyping and detection. This research aim is to find the PCR optimal reaction for HPV type 18 detection. The E1 gene data from the National Center for Biotechnology Information (NCBI) was used in designing primer with Primer-BLAST NCBI. Selection of the primers was done by in silico analyzes using DINAmelt and Mfold. Optimization of annealing temperature and primer concentration was done for selected primers. The result showed that optimal annealing temperature is 59oC with optimal primer concentration is 600 nM.
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    PEMBANGUNAN ETOS KREATIF SUMBER DAYA MANUSIA UNTUK MENGEMBANGKAN EKONOMI KREATIF DAN MENGHADAPI MASYARAKAT EKONOMI ASEAN 2015
    (Seminar Nasional, Universitas Widyatama Bandung,, 2015-03-19) Iskandar, Asep Deni
    Since creative economy was developed by the government in 2009, it is believed that the creative economy will impact on the country’s economy. It could be realized by the government that income contribution from economy creative sector in 2013 reached Rp 642 trillion. No wonder Triawan Munaf, chief of Badan Ekonomi Kreatif who was recently installed, stated that creative economy could contribute to country’s income much more. The achievement of the country’s income in 2013 indeed seemed to be fantastic, but in reality Asean Economic Community 2015 which has been developed got impact on the creative economy itself, including the human resource. Its implementation still gets questions from the society, especially about whether Indonesia would be just a market target with such a various products and human resources from the creative economy sector, and about its capability to be the leader in MAE. It is the firmness of the government, about the policy in creative industry development, required to get a huge role in MAE. In this paper, the writer tried to analyze the role of government in promoting creative spirit of the human resource which would impact on the creative industry development. Creative industry development program would work better, and the doers would have spirit, when the government themselves through Badan Ekonomi Kreatif could develop a conducive working atmosphere.
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    REALISME DALAM MEDIA FOTOGRAFI
    (Jurnal Ilmu Seni & Desain ULTIM ART, Universitas Multimedia Nusantara, Volume V Nomor 2, 2012-12) Iskandar, Asep Deni
    TIle term lrse of realist and naturalist in photography are often being misleaded. As a matter of fact, both terrns have big and significant difference. Realist is defined as a stright description, acurate, without any adding, or natural asfrom daily life. Naturalist is a term that was used in lgth century as a synonim of realist. In photograph!/ media, realist 7vas then seen more appropriate to be used since it relates with the image captured by the camera. For most photographer, it is a common thing, especially for those who still put technique and the beauty of visual form important rather than the content. It is acceptable when many photographer ignore, even taboo, to relate it to vist4al art area.
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    REALITAS DAN MASALAH PENERAPAN METODA PEMBELAJARAN PENDIDIKAN TINGGI DESAIN KOMUNIKASI VISUAL
    (DKV Indonesia Ekreaprener, Universitas Sebelas Maret, 2012-10-19) Iskandar, Asep Deni
    Industri kreatif yang dicanangkan oleh Pemerintah pada 2009 dianggap menjadi pilar penggerak perekonomian negara. Sejak itu pula pertumbuhan industri kreatif semakik marak dan seolah menjadi tren. Perguruan berbasis kreatif seperti Desain Komunikasi Visual (DKV) kemudian larut di dalamnya. Kurikulum DKV yang selama ini diberlakukan, kemudian diobrak-abrik sebagai upaya menunjang tumbuhnya ekonomi kreatif. Celakanya, institusi pendidikan dipandang masih melahirkan tenaga kerja terampil untuk pemenuhan industri. Hal tersebut justru bersebrangan dengan semangat ekonomi kreatif yang menitik beratkan pada kewirausahaan desain grafis, yang tidak lagi mengandalkan penyerapan tenaga oleh industri.
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    TELAAH CARA WIMBA DAN TATA UNGKAPAN SASTRA VISUAL GAMBAR DINDING KOMUNITAS SUKU DAYAK HINDU BUDHA BUMI SEGANDU INDRAMAYU
    (Penelitian Internal Dosen Universitas Widyatama, 2014) Iskandar, Asep Deni