Littérature scientifique sur le sujet « L-ART/02 »

Abstract Context.—The National Kidney Disease Education Program recommends calculating glomerular filtration rate from serum creatinine concentration. Accurate creatinine measurements are necessary for this calculation. Objective.—To evaluate the state of the art in measuring serum creatinine, as well as the ability of a proficiency testing program to measure bias for individual laboratories and method peer groups. Design.—A fresh-frozen, off-the-clot pooled serum specimen plus 4 conventional specimens were sent to participants in the College of American Pathologists Chemistry Survey for assay of creatinine. Creatinine concentrations were assigned by isotope dilution mass spectrometry reference measurement procedures. Participants.—Clinical laboratories with an acceptable result for all 5 survey specimens (n = 5624). Results.—The fresh frozen serum (FFS) specimen had a creatinine concentration of 0.902 mg/dL (79.7 μmol/L). Mean bias for 50 instrument-method peer groups varied from −0.06 to 0.31 mg/dL (−5.3 to 27.4 μmol/L), with 30 (60%) of 50 peer groups having significant bias (P < .001). The bias variability was related to instrument manufacturer (P ≤ .001) rather than method type (P = .02) with 24 (63%) of 38 alkaline picric acid methods and with 6 (50%) of 12 enzymatic methods having significant biases. Two conventional specimens had creatinine concentrations of 0.795 and 2.205 mg/dL (70.3 and 194.9 μmol/L) and had apparent survey biases significantly different (P < .001) from that of the FFS specimen for 34 (68%) and 35 (70%) of 50 peer groups, respectively. Conclusions.—Thirty of 50 peer groups had significant bias for creatinine. Bias was primarily associated with instrument manufacturer, not with type of method used. Proficiency testing using a commutable specimen measured participant bias versus a reference measurement procedure and provided trueness surveillance of instrument-method peer groups.

Yasrul Sami is one of the West Sumatran artists who is consistent with his work with the abstract expressionism genre. His work is quite unique by featuring unusual elements, such as symbolic letters and numbers. The problem in this research is how the journey of Yasrul Sami's works and the characteristics of his paintings. This research is a qualitative research in the form of descriptive analysis, using the sociological approach of Vera L. Zolberg and art criticism by Edmund Burke Feldman. Data were obtained by using observation, interview, and documentation techniques by Milles and Huberman. The data analysis technique uses data triangulation by Mathinson, namely triangulation of sources, techniques and time. Based on the results of the research, Yasrul Sami's creative journey began when he was little, there were several people involved and became Yasrul's motivation to become an artist as well as a lecturer. Yasrul's work when he was young was in the form of geometric lines, during his junior high school years he painted realistic landscapes. During his high school years, he stopped painting and continued at the SMSR school and continued his education in abstract expressionism until now. Characteristic of Yasrul Sami's work based on an art criticism approach, it was found that the use of symbols of numbers, letters, repeated triangular geometric elements, water droplets and colors that were classified as gloomy matched Yasrul Sami's character. The conclusion of this study is based on sociological theory and art criticism in Yasrul's work is influenced by social and community institutions that shape Yasrul Sami's character. Keywords: Yasrul Sami, abstract, sociology, critic.AbstrakYasrul Sami merupakan salah seorang seniman Sumatera Barat yang konsisten dengan karyanya beraliran abstrak ekspresionisme. Karyanya cukup unik dengan menampilkan elemen yang tidak biasa, seperti huruf dan angka yang simbolik. Permasalahan dalam penelitian ini yaitu bagaimana perjalanan karya Yasrul Sami dan ciri khas dari karya lukisnya. Penelitian ini merupakan penelitian kualitatif berupa analisis deskriptif, dengan pendekatan sosiologi Vera L. Zolberg dan kritik seni oleh Edmund Burke Feldman. Data diperoleh dengan menggunakan teknik observasi, wawancara, dan dokumentasi oleh Milles dan Huberman. Teknik analisis data menggunakan triangulasi data oleh Mathinson yaitu triangulasi sumber, teknik dan waktu. Berdasarkan hasil penelitian, perjalanan kekaryaan Yasrul Sami dimulai ketika ia kecil, ada beberapa orang yang terlibat dan menjadi motivasi Yasrul untuk menjadi seorang seniman sekaligus dosen. Karya Yasrul ketika kecil berupa goresan garis geometris, masa SMP melukis pemandangan realis, masa SMA berhenti melukis dan dilanjutkan kembali pada sekolah SMSR dan melanjutkan pendidikan kuliah dengan karya abstrak ekspresionisme sampai sekarang. Ciri khas karya Yasrul Sami berdasarkan pendekatan kritik seni didapatkan bahwa penggunaan simbol angka, huruf, elemen geometris segitiga berulang, tetesan air dan warna yang tergolong suram sesuai dengan karakter Yasrul Sami. Kesimpulan dari penelitian ini berdasarkan dari teori sosiologi dan kritik seni dalam berkarya Yasrul dipengaruhi oleh instusi sosial dan masyarakat yang membentuk karakter Yasrul Sami.Kata Kunci: Yasrul Sami, abstrak, sosiologi, kritik. Authors:Prety Chia : Universitas Negeri PadangNessya Fitryona : Universitas Negeri Padang References:Donny, P. (2022). “Menganalisis Unsur-Unsur Karya”. Hasil Wawancara Pribadi: 3 Oktober 2022, Kota Padang.Dita, D. (2022). “Menganalisis Unsur-Unsur Karya”. Hasil Wawancara Pribadi: 3 Oktober 2022, Kota Padang.Fauzie, M. (2017). Prosedur Kritik Seni Rupa. Makalah tidak diterbitkan. Pendidikan Seni Rupa UNP Padang.Fitryona, N., & Erfahmi, S. (2013). Eksistensi Nurdin BS dalam Berkarya Seni Lukis. Serupa The Journal of Art Education, 1(3).Jasrizal, R. (2022). “Kajian Seni Rupa”. Hasil Wawancara Pribadi: 02 Agustus 2022, SMK Negeri 4 Padang.Katalog, K. (2004). Mempertimbangkan Tradisi Kampung dan Rantau. Jakarta: Panitian Pameran.Katalog, K. (2018). Japuik Tabao Jilid 3. Jakata: Bentara Budaya Jakarta.Muklisin, M., & Triyanto, R. (2020). Analisis Formal Lukisan Andi Ian Surya. Gorga: Jurnal Seni Rupa, 9(2), 292-299.Salam, S. (2020). Pengetahuan Dasar Seni Rupa. Makassar: Badan Penerbit UNM.Soedarso, S. P. (2002). Pengantar Apresisasi Seni. Yogyakarta: STSRI.Sami, Y. (2022). “Warna Terang dalam Karyanya”. Hasil Wawancara Pribadi: 02 Februari 2022, Kota Padang.Hazry, Z. (2022). “Bersama Teman Sesenimannya”. Hasil Wawancara Pribadi: 02 Agustus 2022, SMK Negeri 4 Padang.Zolberg, V. L. (1990). Constructing a Sociology of The Arts. New York : Cambridge University Press.

The development of the industrial revolution 4.0 has a profound impact on the development of the world education which is a place to develop and create innovations with insight and character by the use of art and technology, the development of virtual reality based traditional arts. This is done in order to enrich information on art and culture learning, as well as to foster the cultivation of local culture as a nation's identity. Learning by using virtual reality is very supportive in art learning that has been developed in the video. The formulation of the problem in this study is how to develop video learning media on traditional Dayak art works in Kalimantan Tengah based on virtual reality at SMPN 2 Palangkaraya?. Research and Development (R&D) research methods are research methods used to produce certain products and test the effectiveness of these products. The research stages are potential and problems, data collection process, product design, design validation, design revision, product testing, product revision, product production, data analysis. In the development of video learning media for traditional Dayak art in Kalimantan Tengah based on virtual reality, that learning media products are developed based on the needs of an educational curriculum that is contained in teaching tools for appreciation of local arts, with content in arts crafts, sculpture, architecture, ceramics, traditional weapons. . The developed video will be uploaded in 10-15 minutes based on the number of learning meetings at SMPN 02 Palangka Raya, especially for class VII students. The development of this visual art learning media video is packaged in combining the capabilities of virtual reality technology, so that the learning process is more interesting, with the achievement of educational aspects, namely attitudes, knowledge and skills. Keywords: video, art, virtual, reality, education. AbstrakPerkembangnya revolusi industri 4.0 memberikan dampak dalam pada perkembangan dunia pendidikan yang merupakan suatu tempat untuk mengembangkan serta menciptakan inovasi dalam berwawasan serta berkarakter dengan pemanfaatan seni dan teknologi, yaitu pengembangan pada karya seni tradisi berbasis virtual reality. Hal ini dilakukan guna pengayaan informasi pembelajaran seni budaya, serta menumbuhkan penanaman budaya lokal sebagai identitas bangsa. Pembelajaran dengan mengunakan virtual reality sangat mendukung dalam pembelajaran seni yang telah di kembangkan dalam video. Adapun rumusan masalah dalam penelitian ini yaitu bagaiman mengembangkan video media pembelajaran pada karya seni rupa tradisional suku Dayak di Kalimantan Tengah berbasis virtual reality di SMPN 2 Palangkaraya? Metode penelitian Research and Development (R&D) adalah metode penelitian yang digunakan untuk menghasilkan produk tertentu dan menguji keefektifan produk tersebut. Tahapan penelitian yaitu potensi dan masalah, proses pengumpulan data, desain produk, validasi desain, revisi desain, uji coba produk, revisi produk, produksi produk, analisis data. Dalam pengembangan video media pembelajaran seni rupa tradisional Dayak di Kalimantan Tengah berbasis virtual reality, bahwa produk media belajar dikembangkan berdasarkan kebutuhan kurikulum pendidikan yang di muat dalam perangkat mengajar apresiasi seni rupa daerah setempat, dengan muatan seni kerajinan, patung, arsitektur, keramik, senjata tradisional. Video yang dikembangkan akan di muat dalam durasi 10-15 menit berdasarkan jumlah pertemuan pembelajaran di SMPN 02 Palangka Raya, khsusnya pada siswa kelas VII. Pengembangan video media pembelajaran seni rupa ini di kemas dalam memadukan kemampuan teknologi virtual reality, sehingga proses belajar lebih menarik, dengan capaian aspek pendidikan yaitu sikap, pengetahuan dan keterampilan.Kata Kunci:video, seni, virtual, reality, pendidikan. Authors: Iwan Pranoto : Universitas Palangka RayaZuly Daima Ufla : Universitas Palangka RayaJuli Natalia Silalahi : Universitas Palangka RayaIsna Herlina : Universitas Palangka RayaSagarli : Universitas Palangka Raya References:Ardipal, A. (2012). Kurikulum Pendidikan Seni Budaya yang Ideal bagi Peserta Didik di Masa Depan. Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni, 11(1), 1-12.Dewi, D. K. (2016). Pengaruh Tingkat Pendidikan dan Motivasi Kerja Terhadap Kinerja Karyawan. Journal Bisma, 4(1), 1-15.Domingo, J. R., & Bradley, E. G. (2018). Education student perceptions of virtual reality as a learning tool. Journal of Educational Technology Systems, 46(3), 329-342.Fujiawati, F. S. (2016). Pemahaman konsep kurikulum dan pembelajaran dengan peta konsep bagi mahasiswa pendidikan seni. JPKS (Jurnal Pendidikan dan Kajian Seni), 1(1), 16-29.Harianto, W. E. (2014). Penerapan Media Pembelajaran Seni Rupa Berbasis Audio Visual Pada materi Batik Siswa Kelas VIII-B dan VIII-C SMP Negeri 1 Turi Lamongan. Jurnal Pendidikan Seni Rupa, 2(3), 34-44.Lase, D. (2019). Pendidikan di Era Revolusi Industri 4.0. Jurnal Sundermann, 1(2), 28-43.Nurseto, T. (2011). Membuat Media Pembelajaran yang Menarik. Jurnal Ekonomi & Pendidikan, 8(1), 20-31.Nusantara, T. (2018). Desain Pembelajaran 4.0. Prosiding Lembaga Penelitian Pendidikan (LPP) Mandala NTB. 1-16.Pranoto, Iwan. (2020). “Media Pembelajaran Seni Rupa”. Hasil Dokumentasi Pribadi: 01 Juni 2020, SMPN 2 Palangka Raya.Ratnanigsih, K. (2020). Pengembangan Media Pembelajaran Seni Budaya Berbasis Digital Eksotisme Lukisan Pada Caping. Jurnal Ilmiah Kependidikan, 3(2), 62-74.Retnanigsih, D. (2019). Tantangan Dan Strategi Guru Di Era Revolusi Industri 4.0 Dalam Meningkatkan Kualitas Pendidikan. Prosiding Seminar Nasional. 25-38.Setiaji, R. S. (2020). Smartphone Media Berkarya Seni Masa Kini. Jurnal Imaji, 18(1), 14-26.Sofa, T. M. (2020). Pembelajaran Seni Tari Dalam Menghadapi Tantangan Revolusi Industri 4.0. Jurnal Imaji, 18(1), 1-16.Suhaya. (2016). Pendidikan Seni Sebagai Penunjang Kreatifitas”.Jurnal Pendidikan dan Kajian Seni, 1(1), 1-14.Sugiyono. (2011). Metode Penelitian Kuantitatif, Kualitatif dan R&D. Bandung: Afabeta.Suryani, L. (2021). Penerapan Media Audio Visual untuk Meningkatan Perilaku Cinta Lingkungan pada Golden Age. Jurnal Obsesi, 5(1), 902-917.Trinawindu, I K. (2016). Multimedia Interaktif untuk Proses Pembelajaran. Jurnal Parabangkara, 19(23). 37-48.Zunaidah. F. N. (2016). Pengembangan Bahan Ajar Mata Kuliah Bioteknologi Berdasarkan Kebutuhan Dan Karakter Kebutuhan dan Karakter Mahasiswa Universitas Nusantara PGRI Kediri. 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This research aims to evaluate the performance of cultural arts teachers in terms of the suitability of educational background with the art aspects taught by the teachers. The research method used is a Countenance Stake evaluation model using a sampling technique of purposive sampling. The instrument validity uses content validity with Aiken's V formula, reliability with cronbach alpha and cohen kappa, while data analysis uses quantitative descriptive. The results of the research is that antecedent include the suitability of educational background with the art aspects taught by the teacher, including the good category. The teacher's performance in making plans for implementing cultural arts learning has a very good category. The transaction includes the performance of cultural arts teachers who teach art aspects according to the teacher's educational background is in the very good category. This is shown from the implementation of the teacher's cultural arts learning which includes: preliminary activities, core and closing. Meanwhile, the performance of cultural arts teachers who teach the artistic side does not match the educational background of teachers is in the good category, but in the core activities which include explaining skills, providing reinforcement, using learning models and asking questions still need improvement. Teacher performance in assessing learning is in the very good category. The outcome by looking at the mid-semester assessment as a whole has reached the minimum completeness criteria of 86%. Teachers are expected to continue to improve their performance as good teaching quality affects students, school development and the teachers themselves.Keywords: evaluation, teacher performance, culture art.AbstrakPenelitian ini bertujuan untuk mengevaluasi kinerja guru seni budaya ditinjau dari kesesuaian latar belakang pendidikan dengan aspek seni yang diajarkan guru. Metode penelitian yang digunakan berupa model evaluasi Countenance Stake dengan teknik pengambilan sampel berupa purposive sampling. Validitas instrumen menggunakan validitas isi dengan formula Aiken’s V, reliabilitas dengan alpha cronbach dan cohen kappa, sedangkan analisis data menggunakan deskriptif kuantitatif. Hasil penelitian ini menunjukkan bahwa aspek antecedent meliputi kesesuaian latar belakang pendidikan dengan aspek seni yang diajarkan guru termasuk kategori baik. Kinerja guru dalam membuat rencana pelaksanaan pembelajaran seni budaya memiliki kategori sangat baik. Aspek transaction meliputi kinerja guru seni budaya yang mengajar aspek seni sesuai dengan latar belakang pendidikan guru memiliki kategori sangat baik. Perihal tersebut ditunjukkan dari keterampilan guru saat pelaksanaan pembelajaran seni budaya guru pada kegiatan pendahuluan, kegiatan inti dan kegiatan penutup. Sedangkan kinerja guru seni budaya yang mengajar aspek seni tidak sesuai dengan latar belakang pendidikan guru termasuk kategori baik, tetapi dalam kegiatan inti yang meliputi keterampilan: menjelaskan, memberi penguatan, menggunakan model pembelajaran dan bertanya masih perlu peningkatan. Kinerja guru dalam membuat penilaian pembelajaran termasuk kategori sangat baik. Aspek outcome dengan melihat penilaian tengah semester secara keseluruhan sudah mencapai kriteria ketuntasan minimal sebesar 86%. Guru diharapkan terus meningkatkan kinerjanya karena kualitas kinerja guru yang baik akan berpengaruh pada peserta didik, pengembangan sekolah dan guru itu sendiri.Kata Kunci: evaluasi, kinerja guru, seni budaya. Authors:Siti Khodijah Lubis : Universitas Negeri Yogyakarta References:Anggraeni, P., & Akbar, A. (2018). Kesesuaian Rencana Pelaksanaan Pembelajaran dan Proses Pembelajaran. Jurnal Pesona Dasar, 6(2).Azis, A. C. K., Mesra, M., & Sugito, S. (2021). PENGEMBANGAN BAHAN AJAR MICRO TEACHING BAGI MAHASISWA SENI RUPA UNIVERSITAS NEGERI MEDAN. Gorga: Jurnal Seni Rupa, 10(1), 223–230.Bahari, N. (2014). Kritik Seni Wacana Apresiasi dan Kreasi. Pustaka Pelajar.Dolong, J. (2016). Sudut Pandang Perencanaan dalam Pengembangan Pembelajaran. Jurnal Lingkungan Kementerian Agama Islam, 5(1).Husein, L. (2017). Profesi Keguruan Menjadi Guru Profesional. PT Pustaka Baru Press.Kasman, K., & Lubis, S. K. (2022). Teachers’ Performance Evaluation Instrument Designs in the Implementation of the New Learning Paradigm of the Merdeka Curriculum. Jurnal Kependidikan: Jurnal Hasil Penelitian Dan Kajian Kepustakaan Di Bidang Pendidikan, Pengajaran Dan Pembelajaran, 8(3).Lubis, S. K., Eswendi, M. P., & Suib Awrus, M. P. (2017). Pengaruh Hasil Tes Kemampuan Intelektual Terhadap Hasil Belajar Seni Rupa Siswa Di MAN 2 Padangsidimpuan. Serupa The Journal of Art Education, 6(1).Lubis, S. K., Retnowati, T. H., & Syawalina, S. (2020). Predictive Power of Intellectual Ability Test Score on Students’ Fine Art Learning Outcomes. 3rd International Conference on Arts and Arts Education (ICAAE 2019, 41–44. https://doi.org/10.2991/assehr.k.200703.009Manpan, D., & Effendi, R. (2014). Etika Profesi Guru. Jakarta: Alfabeta.Mardapi, D. (2017). Pengukuran, Penilaian, dan Evaluasi Pendidikan. Yogyakarta:Pramana Publishing.Nanang, & Tarjo. (2018). Belajar dan Pembelajaran Seni Rupa. 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Abstract. Only very few long-term records of formaldehyde (HCHO) exist that are suitable for trend analysis. Furthermore, many uncertainties remain as to its diurnal cycle, representing a large short-term variability superimposed on seasonal and inter-annual variations that should be accounted for when comparing ground-based observations to, e.g., model results. In this study, we derive a multi-decadal time series (January 1988–June 2015) of HCHO total columns from ground-based high-resolution Fourier transform infrared (FTIR) solar spectra recorded at the high-altitude station of Jungfraujoch (Swiss Alps, 46.5° N, 8.0° E, 3580 m a. s. l. ), allowing for the characterization of the mid-latitudinal atmosphere for background conditions. First we investigate the HCHO diurnal variation, peaking around noontime and mainly driven by the intra-day insolation modulation and methane (CH4) oxidation. We also characterize quantitatively the diurnal cycles by adjusting a parametric model to the observations, which links the daytime to the HCHO columns according to the monthly intra-day regimes. It is then employed to scale all the individual FTIR measurements on a given daytime in order to remove the effect of the intra-day modulation for improving the trend determination and the comparison with HCHO columns simulated by the state-of-the-art GEOS-Chem v9-02 chemical transport model. Such a parametric model will be useful to scale the Jungfraujoch HCHO columns on satellite overpass times in the framework of future calibration/validation efforts of space-borne sensors. GEOS-Chem sensitivity tests suggest then that the seasonal and inter-annual HCHO column variations above Jungfraujoch are predominantly led by the atmospheric CH4 oxidation, with a maximum contribution of 25 % from the anthropogenic non-methane volatile organic compound precursors during wintertime. Finally, trend analysis of the so-scaled 27-year FTIR time series reveals a long-term evolution of the HCHO columns in the remote troposphere to be related to the atmospheric CH4 fluctuations and the short-term OH variability: +2.9 % year−1 between 1988 and 1995, −3.7 % year−1 over 1996–2002 and +0.8 % year−1 from 2003 onwards.

In recent years, STEAM (Science, Technology, Engineering, Art, and Mathematics) has received wide attention. STEAM complements early childhood learning needs in honing 2nd century skills. This study aims to introduce a loose section in early childhood learning to pre-service teachers and then to explore their perceptions of how to use loose parts in supporting STEAM. The study design uses qualitative phenomenological methods. FGDs (Focus Group Discussions) are used as data collection instruments. The findings point to two main themes that emerged from the discussion: a loose section that supports freedom of creation and problem solving. Freedom clearly supports science, mathematics and arts education while problem solving significantly supports engineering and technology education. Keywords: Early Childhood Educators, Loose-part, STEAM References: Allen, A. (2016). Don’t Fear STEM: You Already Teach It! Exchange, (231), 56–59. Ansberry, B. K., & Morgan, E. (2019). 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Eeuwijk, P. Van, & Zuzana, A. (2017). How to Conduct a Focus Group Discussion ( FGD ) Methodological Manual. Flannigan, C., & Dietze, B. (2018). Children, Outdoor Play, and Loose Parts. Journal of Childhood Studies, 42(4), 53–60. https://doi.org/10.18357/jcs.v42i4.18103 Fleer, M. (1998). The Preparation of Australian Teachers in Technology Education : Developing The Preparation of Australian Teachers in Technology Education : Developing Professionals Not Technicians. Asia-Pacific Journal of Teacher Education & Development, 1(2), 25–31. Freitas, H., Oliveira, M., Jenkins, M., & Popjoy, O. (1998). The focus group, a qualitative research method: Reviewing the theory, and providing guidelines to its planning. In ISRC, Merrick School of Business, University of Baltimore (MD, EUA)(Vol. 1). Gomes, J., & Fleer, M. (2019). The Development of a Scientific Motive : How Preschool Science and Home Play Reciprocally Contribute to Science Learning. 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Studio Muljati Ceramic Room sells various types of local ceramics of good quality. However, Ruang Keramik Studio Mulyojati does not have a brand that can give the impression of a strong character in marketing, and can bring out advantages and differences from its competitors. Therefore, this study intends to increase the selling and introduce to the foreign visitors of the Ceramic Studio Room by providing their own brand. This study used a qualitative method with a brainstorming approach and a communication approach. The data analysis used a mind-mapping data analysis. The initial stages of designing the Ruang Keamik Studio logo were done by making alternative sketches, then digitizing them using appropriate visual elements. The result of this study concluded that the concept in designing the identity of the Ceramic Studio Room was "STUDIO KERAMIC" (taking ceramics) for making and selling various ceramic models. Logos, stationery sets, promotional media, packaging, and uniforms are the media used in designing the visual identity of the ceramic studio space. Keywords: art, ceramics, identity, visual. AbstrakRuang Keramik Studio Muljati menjual berbagai macam jenis keramik lokal dengan kualitas yang tidak kalah dengan kualitas keramik dari luar negeri. Namun, dalam pemasarannya, Ruang Keramik Studio Mulyojati belum memiliki brand yang dapat memberikan kesan karakter yang kuat, serta dapat memunculkan kelebihan dan perbedaan dengan kompetitornya. Oleh karena itu, peneliti bermaksud ingin meningkatkan nilai jual dan mengenalkan ke masyarakat mancanegara mengenai Ruang Keramik Studio dengan memberikan brand tersendiri yang berbeda dengan yang lainnya. Penelitian ini menggunakan metode kualitatif dengan pendekatan brainstorming dan pendekatan komunikasi. Analisis data yang digunakan adalah analisis data mindmaping. Tahapan awal perancangan logo Ruang Keamik Studio dilakukan dengan pembuatan sketsa alternatif, kemudian proses digitalisasi dengan menggunakan elemen-elemen visual yang sesuai. Hasil yang diproleh dari penelitian ini dapat diambil kesimpulan konsep dalam mendesain identitas Ruang Keramik Studio adalah “STUDIO KERAMIK” (mengambil keramik) yang merupakan tempat pembuatan serta penjualan berbagai model keramik. Logo, stationery set, media promosi, packaging, dan seragam merupakan media yang digunakan dalam mendesain identitas visual ruang studio keramik.Kata Kunci: seni, keramik, identitas, visual. Authors: Muhammad Redintan Justin : Institut Informatika dan Bisnis DarmajayaRohiman : Institut Informatika dan Bisnis DarmajayaAbdi Darmawan : Institut Informatika dan Bisnis Darmajaya References: Christine Suharto Cenadi. (1999). Corporate Identity Sejarah Dan Aplikasinya. Nirmana, 1(2), 71–78. Davison, J. (2009). Icon, iconography, iconology: Visual branding, banking and the case of the bowler-hat. Accounting, Auditing and Accountability Journal, 22(6), 883–906. Devi, L. S., Trinawindu, I. B. K., & Dewi, A. K. (2020). Perancangan Corporate Identity Canggu Center Di Kuta Oleh Pt. Domisan Karya Utama. Amarasi: Jurnal Desain Komunikasi Visual, 1(02), 157–177.Farhana, M. (2012). Brand Elements Lead to Brand Equity: Differentiate or Die. Information Management and Business Review, 4(4), 223–233.Firmansyah, M. A. (2019). Buku Pemasaran Produk dan Merek. In Buku Pemasaran Produk dan Merek (Issue August, p. 336).Hidayati, U., Supardi, L., & Indahwati, R. (2019). Pengaruh Penerapan Metode Pembelajaran Brainstorming Dengan Soal Open-Ended Pada Materi Segi Empat. Sigma, 5(1), 16.Kirk, L. E. (2013). Visual Branding In Graphic Design. 127. http://aquila.usm.edu/honors_theses.Kusrianto. (2007). Pengantar Desain Komunikasi Visual. Jakarta: Kencana Press.Lianasari, D., & Purwanto, E. (2016). 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Abstract Background: Previous studies have shown that rapid autopsies (RA) provide a unique opportunity for tissue collection from patients who succumb to the disease. Because cancer patients are unable to donate their organs to other people, this program provides the patient an opportunity to leave a legacy by donating their body to research. These donations are vital for advancing breast cancer research. The UPMC/Pitt RA group revamped an existing program in 2018 through the formation of a larger multidisciplinary team that includes breast cancer laboratory and clinical researchers, pathologists, nurses, bioinformaticians, and tissue bankers. Because recruitment to the RA program was a challenge, we recently added patient advocates to the team to provide their essential perspective, and a dedicated research coordinator who serves as an ambassador for the program. Methods: Autopsy is performed by the Autopsy and Forensic Pathology Center of Excellence/Decedent Affairs Service of UPMC. Samples are banked in the Pitt Biospecimen Core (PBC), in addition to immediate processing including preparing of samples for sequencing and growing of organoids in the laboratory. Immunohistochemical (IHC) analysis is performed by UPMC/Magee Pathology. Results: The research coordinator quickly became an integral part of the program and closely interacts with care providers, patients and their families, pathologists on call, and manages interactions with transport services. Five breast cancer advocates have been instrumental in advising on additional changes to the program. The advocates attend regular team meetings and have formulated patient considerations for the the RA program, including appropriate and sensitive recruitment of patients, the role of physicians in decision making by the patient, registration for more than one RA program, potential issues with transporting a body across state lines and more. The advocates also developed the name for the program - “Hope for OTHERS” with Others standing for “Our Tissue Helping Enhance Research & Science”. As of June 2022, the team has completed 26 autopsies, and an additional 20 patients have consented to the program. The completed autopsies include patients with breast tumors representing different molecular and histological classes, ethnicities, and genders. The average disease-free survival and overall survival of patients that underwent autopsy was 81.6 and 127.8 months, respectively. Most patients passed outside the hospital (86%), with 62% in home hospice and 24% in inpatient hospice. Average time between death and start and end of autopsy was 4.56 hrs and 7.09 hours, respectively. The most common metastatic sites from which specimens are collected are liver, lung and lymph nodes. Per patient we collect on average specimens from 4 different organs. In addition to the metastatic lesions, we have access to primary tumor tissue and liquid biopsies obtained during the breast cancer disease progression for 44% and 73% of the patients, respectively. For a subset of the patients, tissue has been grown as patient-derived organoids or xenograft models. Preliminary IHC and sequencing analysis has provided insight into inter- and intra-patient and intra-tumor heterogeneity. Further molecular studies are ongoing. Conclusion In summary, over the last 5+ years, we have established a successful post-mortem tissue collection program, by addressing a series of barriers through the formation and work of a multi-disciplinary well-coordinated team. We are currently expanding our omics studies using state-of-the-art technologies to improve understanding how intra- and inter-tumor heterogeneity play a role in the clinical course of advanced breast cancer, to increase diversity of the patients enrolled in the RA program, and to support the successful implementation of other RA programs nationwide and worldwide. Citation Format: Steffi Oesterreich, Lori Miller, Margaret Q. Rosenzweig, Tanner L. Bartholow, Megan Yates, Ashuvinee Elangovan, Laura Savariau, Allison N. Casey, Nolan Priedigkeit, Kai Ding, Abdalla Wedn, Jie Bin Liu, Daniel D. Brown, Tara Hyder, Geoffrey Pecar, Neil Carleton, Humberto Trejo Bittar, Daniel Geisler, Oscar Lopez-Nunez, Amanda M. Clark, Alan Wells, Partha Roy, Shannon Puhalla, Naomi Howard, Christine Needles, Susan Trent, Stephanie Walker, Christine Hodgdon, Rohit Bhargava, Jennifer M. Atkinson, Adrian V. Lee. Hope for OTHERS – An organ donation program for metastatic breast cancer research [abstract]. In: Proceedings of the 2022 San Antonio Breast Cancer Symposium; 2022 Dec 6-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2023;83(5 Suppl):Abstract nr P6-14-02.

A Educação à Distância (EaD), baseada numa prática pedagógica mediada pela tecnologia e interatividade, vem passando por constantes evoluções no Brasil no que se refere ao campo tecnológico, educacional e político. O Programa Viver sem Limites/MEC, constituído como parte do Plano Nacional dos Direitos da Pessoa com Deficiência, consiste em uma das formas de possibilitar a plena cidadania das pessoas com deficiência no Brasil, oportunizando direitos, cidadania para todas as pessoas e seu acesso e permanência no ensino superior, na modalidade a distância. Este artigo apresenta uma reflexão sobre os desafios e as possibilidades de elaboração de material didático de Língua Portuguesa escrita para alunos surdos de um curso a distância de Licenciatura em Pedagogia, dentro de um contexto bilíngue de ensino – LIBRAS (L1) e Língua Portuguesa (L2) do Instituto Nacional de Educação de Surdos - INES. Resultados mostram a importância da conscientização do professor conteudista no sentido de preparar material bilíngue, dialógico e interativo que valorize, primeiramente, a L1 do aprendiz, estimulando-o a ler e produzir textos escritos de forma autônoma e autêntica, respeitando-se as estruturas gramaticais da LIBRAS e da LP.Referências:ALMEIDA-FILHO, J. C. P. Identidades e caminhos no ensino de Português para estrangeiros. Campinas: Ed. UNICAMP, 1992.BAKHTIN, M. Estética da criação verbal. São Paulo: Martins Fontes, 1992.BRASIL.Lei nº 10.436, de 24 de abril de 2002. Dispõe sobre a Língua Brasileira de Sinais – LIBRAS e dá outras providências. Disponível em:http:www.planalto.gov.br Acesso em: 07.01.2015.BRASIL.Congresso Nacional. Lei de Diretrizes e Bases da Educação (Lei 9.394/96). Brasília, Centro Gráfico, 1996.BRASIL. Decreto Nº 5.626. Regulamenta a Lei nº 10.436, de 24 de abril de 2002, que dispõe sobre a Língua Brasileira de Sinais – LIBRAS, e o art. 18 da Lei nº 10.098, de 19 de dezembro de 2000. Publicada no Diário Oficial da União em 22/12/2005.FELIPE, T. A. Introdução à gramática de LIBRAS. Rio de Janeiro: FENEIS, 1997.FERNANDES, S. Educação bilíngue para surdos: identidades, diferenças, contradições e mistérios. Curitiba, 2003. Tese (Doutorado em Letras), Universidade Federal do Paraná.FERNANDES, S. Práticas de letramento na educação bilíngue para surdos. Curitiba: SEED/SUED/DEE, 2006.FERREIRA-BRITO, L. Por uma gramática da língua de sinais. Rio de Janeiro: Tempo Brasileiro, 1995.LACERDA, C. B.F.;LODI, A. C. B. A difícil tarefa de promover uma inclusão escolar bilíngue para alunos surdos. GTEducação Especialn.15 Anped, 2008.LIMA, M S. C. Surdez, bilinguismo e inclusão: Entre o dito, o pretendido e o feito. Tese de doutorado - Unicamp, Campinas. 2004LODI, A.C.B. HARRISON, K.M.P.; CAMPOS, S.R.L. Leitura e escrita no contexto da diversidade. Porto Alegre: Editora Mediação, 2002.LODI, A.C.B.; LACERDA, C.B.F. Uma escola, duas línguas: letramento em língua portuguesa e língua de sinais nas etapas iniciais de escolarização. Porto Alegre: Editora Mediação, 2008.KLEIMAN, A. B. (org.) Os significados do letramento: uma nova perspectiva sobre a prática social da escrita. Campinas : Mercado de Letras, 1995.INSTITUTO NACIONAL DE EDUCAÇÃO DE SURDOS. Manual do Professor-autor. Rio de Janeiro: INES, 2016.MULLER, C. R. Professor surdo no Ensino Superior: Representações da prática docente. Dissertação de Mestrado – UFSM, Santa Maria, RS. 2009.PEREIRA,M.C.C. Papel da língua de sinais na aquisição da escrita por estudantes surdos. In: LODI, A.C.B.; HARRISON, K.M.P.; CAMPOS, S.R.L.; TESKE, O Letramento e minorias. Porto Alegre: Editora Mediação, 2002.PEREIRA,M.C.C. Leitura, escrita e surdez. São Paulo: Secretaria de Educação do Estado de São Paulo, 2003.QUADROS, R. M. Educação de surdos: a aquisição da linguagem. Porto Alegre: Artmed,1997.QUADROS, R. M. de; KARNOP, L. Língua de sinais brasileira: Estudos linguísticos. ArtMed. Porto Alegre. 2004.QUADROS, R. M., SCHMIEDT, M. L. P. Ideias para ensinar português para alunos surdos. Brasília: MEC, SEESP, 2006.SALAMANCA, Declaração. Sobre Princípios, Políticas e Práticas na Área das Necessidades Educativas Especiais. Disponível em: http: portal.mec.gov.br seesparqiuivospdfsalamancapdf Acesso em 07.01.2015.SKLIAR, C. Bilinguismo e biculturalismo: Uma Análise sobre as narrativas tradicionais na educação dos surdos. Revista Brasileira de Educação N°8, Mai/Jun/Jul/Ago 1999.SOARES, M. B. Letramento: um tema em três gêneros. Belo Horizonte: Autêntica, 1988. Recebido em 08-10-2018.Aceito em 14-02-2019.

The author starts from the concepts and understanding of the art of M. Bakhtin and L. Vygotsky, which he analyzed in his other works. For a better understanding of the theses, three cases are examined and analyzed — the novel by Israeli writer Meir Shalev “Two bears came out of the forest”, a poem by Marina Tsvetaeva and the process of opening an artistic image by a small child. Several issues are discussed: problems that could worry Shalev and his readers, some features of the author's work that made it possible to create the artistic reality of this work, the features of artistic reality, the mental mechanism that generates strong emotions of readers. The techniques and means of expression used by Shalev in the course of creating his novel are analyzed. The factors (semiotic, personal, cultural) that determine the independent existence of artistic reality, as well as the naturalness and realism of its events are analyzed. These events are more real and natural because Shalev opens the way for the reader to the events of artistic reality, allows him to see the whole, emphasizes the most important. An important role is played by the genius of Shalev as a storyteller, his wonderful language. It is concluded that the necessary conditions for the creation of artistic reality and the living of its events are the semiosis of art and a special form of human life in art (leisure according to Aristotle, “non-utilitarian form of life” according to the author).