Готові списки джерел за темами / Art – Indonesia

Добірка наукової літератури з теми "Art – Indonesia"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 10 лютого 2022

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Статті в журналах з теми "Art – Indonesia"

1

Dawami, Angga Kusuma. "Pop Art di Indonesia." Jurnal Desain 4, no. 03 (October 17, 2017): 143. http://dx.doi.org/10.30998/jurnaldesain.v4i03.1356.

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2

Dhani, Kurnia Rahmad. "EMPTY BENCH IN INDONESIAN PERFORMING ARTS STUDIES: AUDIENCE." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, no. 2 (September 13, 2021): 83–91. http://dx.doi.org/10.24821/tnl.v18i2.5886.

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Many Indonesian performing art experts have stated that audience studies were conducted in minimal numbers. However, the exact number of research on performing art audiences in Indonesia remains unclear. The factors that influence it are still not known in detail. This paper used a literature review on seven nationally accredited performing arts journals from art institutes in Indonesia over the past ten years. The results showed that only 3 out of 1034 journal titles focusing on performing art audiences in the last ten years. From these findings, we can conclude that the study on the audiences is so scarce. This research theme is not interesting for performing art experts in Indonesia. Indonesian performing art experts and academicians have left the importance of audience studies. This paper also discusses the factors that influence the negligible of performing arts audience studies in Indonesia.
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3

Murwanti, Aprina. "Mapping Strategy of Practicing Visual Art for Academic Purpose: a Perspective from Indonesia." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 291–96. http://dx.doi.org/10.18844/prosoc.v4i11.2884.

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Practice-based research was formally introduced in western academic institutions after the emergence of PhD visual art practice in early 1980 in Australia. This practice-based research approach became an alternative for artists to claim equality of art practice as research for academic purposes. Utilising Graeme Sullivan’s framework, ‘Art Practice as Research’, this paper maps visual art practice perceived as research in Indonesia. Interviews and focus group discussions from a total of 27 participants were analysed to map the symptoms of practice-based research approach in Indonesian visual art practice. This paper gives the strengths and weaknesses in the way participants (artists, curator, lecturer, undergraduate and postgraduate students as well as art manager) in Indonesia approach the practice of visual art in the academic context. Through this research, traces on how visual art is practiced in the academic context reveal the distinct Indonesian visual art practice at the higher education institution level. Keywords: Practice-based research, visual art practice, academic.
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4

Aubert, M., A. Brumm, M. Ramli, T. Sutikna, E. W. Saptomo, B. Hakim, M. J. Morwood, G. D. van den Bergh, L. Kinsley, and A. Dosseto. "Pleistocene cave art from Sulawesi, Indonesia." Nature 514, no. 7521 (October 2014): 223–27. http://dx.doi.org/10.1038/nature13422.

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5

Kurniawan, Iwan Jaconiah. "Intercultural Interaction: Indonesia and Soviet Society in the Sphere of Art Paintings in the Second Half of the XXth Century." Contemporary problems of social work 6, no. 2 (June 29, 2020): 65–71. http://dx.doi.org/10.17922/2412-5466-2020-6-2-65-71.

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the paper studies the problem of defining an intercultural interaction. The authors analyzed scientific works to identify and classify the Indonesian social realism art painting. In the second half of the XXth century, Indonesian artists had a close relationship with the Soviet Society in the sphere of fine art. The true influence can be found in the social-realism art movement between 1950–1965s in Indonesia during the first President Soekarno era. But the social-realism art movement was no longer because of the horizontal political conflict on September 30, 1965 as well-known as revolution. During the President Soeharto regime (1965–1999), all social realism fine art was destroyed. Socialist and communist ideology was banned in Indonesia. That’s why they represented socialism and communism style not growing freely until now. However, some paintings can be saved abroad by Russian scientists and art collectors. Since 2016, more than 30 Indonesian social-realism paintings were conserved, served, and shown into a historical exhibition in the State Museum of Moscow Oriental Art. These paintings became important in Indonesian social realism art history
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6

Novenanty, Wurianalya Maria. "THE LEGAL ASPECT OF CREDIT WITHOUT COLLATERAL IN INDONESIA (ASPEK HUKUM KREDIT TANPA AGUNAN DI INDONESIA)." Veritas et Justitia 4, no. 1 (June 28, 2018): 111–30. http://dx.doi.org/10.25123/vej.2838.

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Using a legal normative approach,it can be stated that Act no. 10 of 1998 (amending Act No. 7 of 1992 re. Banking), in the event Bank considers loans or other financial schemes application, they are under the obligation, in accordance with Art. 8 of Act no. 10 of 1998, conduct a thorough analysis of the debtor’s good faith, financial ability and willingness, and on that basis determine the risk of non-payment. In short, implement due care principles. The elucidation of Art. 8 elaborated on the bank’s duties: to decide wisely with due care in order to minimize the risk of default, that is by evaluating debtor’s character, capital in his/her possession, collateral offered, and economical/financial condition. In legal practice, however, it is possible for Banks to offer loans without collateral. In such case, only two articles of the Indonesian Civil Code (arts. 1131 and 1132) would be applicable to offer protection against possible default. This paper discusses the above legal discrepancy in light of the role and function of collateral as protection against non-payment.
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7

Larassati, Hana, Riwanti Estiasari, Reyhan E. Yunus, and Paul M. Parizel. "State-of-the-Art Review: Demyelinating Diseases in Indonesia." Multiple Sclerosis International 2021 (June 23, 2021): 1–13. http://dx.doi.org/10.1155/2021/1278503.

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Demyelinating diseases are more common in Indonesia than previously believed. However, it is still a challenge for a country such as Indonesia to implement the scientific medical advances, especially in the diagnostic process of demyelinating diseases, to achieve the best possible outcome for these groups of patients, within the constraints of what is socially, technologically, economically, and logistically achievable. In this review, we address the 4 major classes of demyelinating disease: multiple sclerosis (MS), neuromyelitis optica (NMO), anti-MOG-associated encephalomyelitis (MOG-EM), and acute disseminated encephalomyelitis (ADEM), and discuss their prevalence, demographics, clinical diagnosis workup, and imaging features in the Indonesian population, as well as the challenges we face in their diagnosis and therapeutic approach. We hope that this overview will lead to a better awareness of the spectrum of demyelinating diseases of the central nervous system in Indonesia.
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Küster, Volker. "The Christian Art Scene in Yogyakarta, Indonesia." International Bulletin of Mission Research 40, no. 2 (March 25, 2016): 133–51. http://dx.doi.org/10.1177/2396939316638339.

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GEORGE, KENNETH M. "ETHICS, ICONOCLASM, AND QUR’ANIC ART IN INDONESIA." Cultural Anthropology 24, no. 4 (November 2009): 589–621. http://dx.doi.org/10.1111/j.1548-1360.2009.01041.x.

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Novitasari, Dwi, and Putu Satria Udyana Putra. "PERANCANGAN PORTABLE ART DISPLAY STMIK STIKOM INDONESIA." Jurnal Patra 2, no. 1 (May 2, 2020): 1–6. http://dx.doi.org/10.35886/patra.v2i1.57.

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Pameran merupakan salah satu kegiatan penting bagi mahasiswa desain grafis agar mendapat apresiasi serta kritik dan saran, dari hasil proses pembelajaran beberapa mata kuliah seperti ilustrasi, fotografi, digital vector, nirmana, dan lain- lain. Saat ini keterbatasan tempat dan ruang merupkan faktor utama yang mempengaruhi kurangnya kegiatan pameran karya desain grafis di kampus STMIK STIKOM Indonesia. Penelitian ini bertujuan untuk merancang sarana berupa display atau tempat untuk memajang karya yang efektif, sebagai solusi keterbatasan ruang yang ada. Portable art display merupakan stand pameran yang di fungsikan untuk memajang karya dengan desain sederhana, mudah di bongkar pasang dan pindah tempat (moveable) namun tidak menggangu fungsi ruang di sekitarnya. Metode penelitian yang digunakan berdasarkan metode Bryan Lawson dari tahap first insight hingga tahap Verification dengan konsep modern minimalis yang disesuaikan dengan bangunan kampus STMIK STIKOM Indonesia sehingga menghasilkan rak lipat dan standing panel yang dapat mewadahi kebutuhan ruang serta tempat untuk memajang beberapa karya saat pameran berlangsung.Kata Kunci: Perancangan, Portable art display, STMIK STIKOM Indonesia
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Дисертації з теми "Art – Indonesia"

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Ingham, Susan Helen School of Art History &amp Theory UNSW. "Powerlines: alternative art and infrastructure in Indonesia in the 1990s." Awarded by:University of New South Wales. School of Art History and Theory, 2007. http://handle.unsw.edu.au/1959.4/31257.

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This thesis investigates why an alternative visual art and arts infrastructure developed in Indonesia during the 1990s. Initially alternative exhibition spaces developed in response to a lack of outlets through the existing commercial galleries and in reaction to the cultural hegemony of Suharto???s regime, which failed to provide infrastructure for modern art. ???Alternative??? will be extended here to describe an art and an arts infrastructure that became an influential system of power, the gatekeeper for the Indonesian arts community to the international art forum. The background of Alternative art is considered, its sources being in the protest of the New Art Movement, Gerakan Seni Rupa Baru, in the 1970s and an on-going art student rebellion against the modern and decorative art taught in the art academies. Contemporary artists sought content that reflected the many issues confronting Indonesian society, and rejected that art focusing on formal properties particularly in painting, which, by avoiding contention, served the purposes of Suharto???s regime. Particular examples are explored to define the lines of power that evolved: firstly the alternative gallery, Cemeti, and secondly the curator, Jim Supangkat and his theoretical justification for Indonesian contemporary art for the international forum. Finally the career structure of Heri Dono is examined to identify the mechanisms for artistic success through international contacts. This investigation concludes that power and influence became dependent on recognition in the international forum. Western and later Asian institutions, in selecting work for the high profile survey exhibitions proliferating in the 1990s, worked almost exclusively with this network. Their preference was for installation art that reflected the socio-political context in which it was made, and the few artists who were selected developed careers very different from their colleagues in Indonesia, some becoming nomadic art stars. This relationship between the Indonesian and the international art network has gained recognition for Indonesian contemporary art and an outlet for suppressed issues and marginalised people, but did not provide a fully balanced representation of Indonesian culture and reiterated the systems and paradigms of the West in relation to Asian art.
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Wilson, Lee. "Unity or diversity : the constitution of a national martial art in Indonesia." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614228.

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Roper, Robyn Christine. "Traditional arts, contemporary artists a study of influence and change in Irian Jaya, Indonesia /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ44787.pdf.

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4

Bruhn, Katherine L. "Art and Youth Culture of the Post-Reformasi Era: Social Engagement, Alternative Expression, and the Public Sphere in Yogyakarta." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1364899327.

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Kim, Bo-Young. "Indefinite boundaries reconsidering the relationship between Borobudur and Loro Jonggrong in Central Java /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467888511&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Dudley, Jennifier Ann. "Traversing the boundaries? Art and film in Indonesia with particular reference to Perbatasan / boundaries: Lucia Hartini, paintings from a life." Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090716.145044.

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Анотація:
The repressive political conditions of the New Order state and the social dislocation caused by rapid industrial and technological development unquestionably affected the nature of artistic and cultural production in Indonesia. This thesis considers the dynamic of these conditions within a focused long-term study of the art and life of Indonesian “Surealis” painter, Lucia Hartini. My doctoral dissertation comprises this thesis and the forty-two minute documentary film Perbatasan / Boundaries: Lucia Hartini, Paintings from a Life (1999 – 2002) which I filmed in Indonesia and presents Lucia Hartini and her art in the context of her times from the historical standpoint of Reformasi and millennial change. Art historically, this thesis informs us of a wider journey, that of selected twentieth century Indonesian contemporary artists exploring concepts of simulacra, hyper-reality, the meta-real and the surreal through the stylistic use of photo-realism. Lucia Hartini is known for her “Beautiful Surrealism”. A founding member of the “Surealis Yogya”, formed in 1985, she was the only woman from the original group to continue painting professionally from the late 1970s, throughout the New Order, and into the era of Reform. The consideration of Lucia Hartini’s work in this thesis acknowledges the gradual shift in her concerns. Lucia’s paintings respond to her natural and social environment, as well as to the challenges and dramatic changes in her life. This thesis charts the journey of her artistic maturation, so richly embodied in her third solo exhibition, “Irama Kehidupan / The Spirit of Life”, in January 2002. Through a critical commentary on paintings selected from her oeuvre and the textual analysis of Perbatasan / Boundaries, I discuss Lucia Hartini’s subject matter, unique systems of image formation and use of detail, her particular contribution to the characteristic qualities of Indonesian “Surealisme”. I regard the techniques, conceptual approaches and processes of filmmaking as intrinsic to this exploration, a methodological perspective arising from Hendro Wiyanto (2001) observation that Indonesia’s “Surealis” artists present us with “reality bundled as a dream”. Lucia Hartini’s work raises questions of gender and personal transformation. This thesis argues that, for many years, the tensions created by the contrary forces of political repression and social transformation characterising much of New Order Indonesia, were reflected in her art. In a microcosmic-macrocosmic sense, Lucia and her art quietly contributed to attitudinal and social change in Indonesia. Works painted between 1986 and 1996 autobiographically chart a shift from personal distress to a growing sense of empowerment, followed by life-changing spiritual growth. I contextualize these paintings socially by studying the changing interstices between Lucia Hartini’s private life, her professional creative practice and the public persona she adopted in Indonesia’s emergent civilian society. My approach is informed by a conceptual framework based on difference, hybridity and its transformations, on the psychology of borderlands, negotiation and the transcendence of boundaries, witnessed through a study of the spiritual practice and quest for religious tolerance important to Lucia and evident in her art. This thesis reveals those boundaries which were transcended and those which remain negotiable. Twice filming Lucia Hartini’s art, I was also affected by the dramatically different conditions of production prevailing in 1992 in New Order Indonesia and those possible between 1999 and 2001 during Reformasi. These differences are highlighted in the textual analysis of Perbatasan / Boundaries. Engaging comparisons between contemporary Indonesian art and Indonesian documentary and feature films, I discuss important attempts to solve the problems associated with restrictions on freedom of expression in paintings made prior to Reformasi. I consider the different uses of figurative realism to depict subjects deemed controversial by the state, and the creation of credible representations in art and convincing characterisations in filmmaking. The dramatically real yet poetic work of the Indonesian Neo-realist filmmakers of the 1950s exemplified one such solution. Their films and ideas prompted comparisons with the photo-realism, poetic intent and dramatic juxtapositional image making of the “Surealis Yogya”. The relationship I perceive between Neo-realist cinematic practice and contemporary international documentary filmmaking encouraged me to make a documentary about Lucia rather than a purely creative or experimentally surreal work. Because of Reformasi and the changes wrought by Lucia’s personal development, Perbatasan / Boundaries: Lucia Hartini, Paintings from a Life (1999 – 2002) is the documentary which my first short experimental video, Pusaran / Vortex: From the Kitchen to Outer Space (1992 - 1993), made during the New Order, could not be.
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Dudley, Jennifer Ann. "Traversing the boundaries? : art and film in Indonesia with particular reference to Perbatasan/Boundaries : Lucia Hatini, paintings from a life /." Murdoch University Digital Theses Program, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090716.145044.

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8

Sbeghen, Jo-Anne Maree. "An analysis of the sculpture of Candi Sukuh in Central Java : its meanings and religious functions 1437-1443 C.E. / Jo-Anne Maree Sbeghen." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18558.pdf.

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Harple, Todd S. "Controlling the dragon : an ethno-historical analysis of social engagement among the Kamoro of South-West New Guinea (Indonesia Papua/Irian Jaya)." View thesis entry in Australian Digital Theses Program, 2000. http://thesis.anu.edu.au/public/adt-ANU20030401.173221/index.html.

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Swift, Ann. "The road to Madiun : the Indonesian communist uprising of 1948 /." Ithaca (N.Y.) : Cornell Modern Indonesia project, Southeast Asia program, Cornell university, 1989. http://catalogue.bnf.fr/ark:/12148/cb37484830s.

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Книги з теми "Art – Indonesia"

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editor, Kumar Bachchan 1958, and Indira Gandhi National Centre for the Arts, eds. The art of Indonesia. Delhi: B.R. Publishing Corporation, 2014.

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2

ID--contemporary art Indonesia. Berlin: regiospectra Verlag, 2010.

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3

(Indonesia), Museum Nasional. Icons of art. Edited by Miksic John N. [Menteng, Jakarta]: BAB Pub. Indonesia, 2006.

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(Indonesia), Museum Nasional. Icons of art. [Menteng, Jakarta]: BAB Pub. Indonesia, 2006.

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5

Irianto, Asmudjo Jono. Recent art from Indonesia: Contemporary art turn. Singapore: S. Bin Art Plus, 2010.

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6

Siahaan, Febe Riri. Bazaar art Jakarta, 2011: Indonesia Art Fair. Jakarta]: Harper Bazaar Indonesia, 2011.

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7

Shanghai dang dai yi shu guan, ed. Contemporaneity: Contemporary art in Indonesia. Hong Kong: Timezone B Limited, 2010.

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8

Supangkat, Jim. Srihadi dan seni rupa Indonesia: Srihadi and art in Indonesia. Jakarta, Indonesia: Art: 1 New Museum, 2012.

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9

Galleries, Asia Society, and Arthur M. Sackler Gallery (Smithsonian Institution), eds. Court arts of Indonesia. New York: Asia Society Galleries in association with H.M. Abrams, 1990.

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10

Widyosiswoyo, Supartono. Sejarah seni rupa Indonesia. Jakarta: Penerbit Universitas Trisakti, 2001.

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Частини книг з теми "Art – Indonesia"

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Reichle, Natasha. "Continuities and Change: Shifting Boundaries in Indonesian Art History." In Producing Indonesia, edited by Eric Tagliacozzo, 69–80. Ithaca, NY: Cornell University Press, 2018. http://dx.doi.org/10.7591/9781501718977-008.

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Mohammed, Sharifah Faizah Syed. "Threats to the Art World." In Musical Nationalism in Indonesia, 183–91. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6950-4_14.

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Wright, Astri. "The Arc of My Field is a Rainbow with an Expanding Twist and All 105 Kinds of Creatures Dancing: The Growing Inclusivity of Indonesian Art History." In Producing Indonesia, edited by Eric Tagliacozzo, 105–32. Ithaca, NY: Cornell University Press, 2018. http://dx.doi.org/10.7591/9781501718977-010.

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4

Salan, Rudy, and Thomas W. Maretzki. "Folkhealer — Patient Interaction in Indonesia." In Psychiatry The State of the Art, 679–84. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_108.

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Santoso, Nanda Trio, and Surenggono. "Predicting Financial Statement Fraud with Fraud Diamond Model of Manufacturing Companies Listed in Indonesia." In State-of-the-Art Theories and Empirical Evidence, 151–63. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-6926-0_9.

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Harun, Azahar, Mohamed Razeef Abd Razak, Ariff Ali, Muhammad Nur Firdaus Nasir, and Lili Eliana Mohd Radzuan. "Anthropomorphism in Political Cartoon: Case Study of the 1965 Malaysia-Indonesia Confrontation." In International Colloquium of Art and Design Education Research (i-CADER 2014), 53–60. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-332-3_6.

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Utoyo, Arsa Widitiarsa. "The Significance of Enjoy Jakarta Logo as a City Branding Strategy for Tourism in Indonesia." In Proceedings of the Art and Design International Conference (AnDIC 2016), 143–51. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0487-3_17.

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Tjoa-Bonatz, Mai Lin. "Idols and Art: Missionary Attitudes toward Indigenous Worship and the Material Culture on Nias, Indonesia, 1904–1920." In Casting Faiths, 105–28. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230235458_5.

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Hancock, James F. "Ancient south east Asian maritime trade." In Spices, scents and silk: catalysts of world trade, 107–21. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789249743.0009.

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Анотація:
Abstract This chapter entails fourteen subchapters that detail the course of the South East Asian maritime trade. The subsections are about the beginning of Indonesian trade, the origin of trade between India and South East Asia, maritime trade of the Anuradhapura Kingdom, the Indianization of Indonesia, China's slow entry into the South East Asia trade network, Java becomes the nucleus of Indonesia, the Chinese Pilgrims - Chroniclers of the ancient spice and silk routes, early trade in the outer reaches of Indonesia, the Golden Peninsula, the first great trading empire: Funan, South East Asian trading spheres in the early first century CE, European connections, the two ways to Rome, and finally, the first direct contact between Rome and China.
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Soemantri, Hilda. "Modem Indonesian Ceramic Art." In Studies in Southeast Asian Art, edited by Nora A. Taylor, 74–85. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-006.

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Тези доповідей конференцій з теми "Art – Indonesia"

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Vickers, Adrian. "The Impossibility of Art History in Indonesia." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338679.

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Kusmayati, A. M. Hermien, and Raharja. "The Attractive and Adaptable Indonesia Traditional Performing Art." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008763402810287.

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Atmadiredja, Genardi, Herman Hendrik, and Ihya Ulumuddin. "The Management of State-Owned Visual Artworks in Indonesia: Conservation of Visual Artworks in Indonesia." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338647.

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4

Mu’minah, Afifah, and Adhi Nugraha. "Values of Traditional Baby Carrier in Indonesia." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338654.

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5

Rahayuningtyas, Wida, Jazuli Jazuli, Tjetjep Rohendi Rohidi, and Totok Sumaryanto. "Inheriting the Values of Mask Puppet Dance-Drama in Malang, Indonesia." In Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.55.

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6

Iksan, Nur, and Mayang Anggrian. "Inter-territorial Creativity of Tyaga Art Management: Acts of Art in Empowering Public Health." In 1st International Seminar on Cultural Sciences, ISCS 2020, 4 November 2020, Malang, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.4-11-2020.2308911.

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7

Tressyalina, Tressyalina, Ena Noveria, Ermawati Arief, and Nindy Leona. "Speech Act of Refusal In Indonesian Talk Show As Art of Rhetoric." In Proceedings of the 2nd International Conference on Language, Literature and Education, ICLLE 2019, 22-23 August, Padang, West Sumatra, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.19-7-2019.2289535.

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"The Efforts of Revitalizing and Increasing the Appreciation towards Siti Zubaidah Performance Art." In Jan. 31-Feb. 1, 2017 Bali (Indonesia). EIRAI, 2017. http://dx.doi.org/10.17758/eirai.f0117509.

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"Corporate Social Responsibility Settings in Indonesia and India As A Comparison." In International Conference of Science Management Art Research Technology. RSF Press & RESEARCH SYNERGY FOUNDATION, 2020. http://dx.doi.org/10.31098/ic-smart.v1i1.40.

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Alimin, Nurhayatu, Mulyadi Mulyadi, and Iik Endang Ningsih. "History and Transformation of Interior Design in Indonesia." In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294881.

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Звіти організацій з теми "Art – Indonesia"

1

CALIFORNIA UNIV SAN DIEGO LA JOLLA. Helium, Argon and Methane Studies: The Sunda-Banda Arc, Indonesia. Fort Belvoir, VA: Defense Technical Information Center, June 1989. http://dx.doi.org/10.21236/ada213666.

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2

Goode, Kayla, and Heeu Millie Kim. Indonesia’s AI Promise in Perspective. Center for Security and Emerging Technology, August 2021. http://dx.doi.org/10.51593/2021ca001.

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The United States and China are keeping an eye on Indonesia’s artificial intelligence potential given the country’s innovation-driven national strategy and flourishing AI industry. China views Indonesia as an anchor for its economic, digital, and political inroads in Southeast Asia and has invested aggressively in new partnerships. The United States, with robust political and economic relations rooted in shared democratic ideals, has an opportunity to leverage its comparative advantages and tap into Indonesia’s AI potential through high-level agreements.
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3

Jagannathan, Shanti, and Dorothy Geronimo. Reaping the Benefits of Industry 4.0 through Skills Development in Indonesia. Asian Development Bank, January 2021. http://dx.doi.org/10.22617/spr200327.

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This report explores the implications of the Fourth Industrial Revolution (4IR) on the future of the job market in Indonesia. It assesses how jobs, tasks, and skills are being transformed in food and beverage as well as in automotive manufacturing. These two industries have high relevance to 4IR technologies and both are important to Indonesia’s national employment, economic growth, and international competitiveness. They are also likely to benefit considerably from the transformational effect of 4IR, if there is adequate investment in jobs, skills, and training. The report is part of series developed from an Asian Development Bank study on trends in skills demand in Cambodia, Indonesia, the Philippines, and Viet Nam.
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4

Yusgiantoro, Luky A., Akhmad Hanan, Budi P. Sunariyanto, and Mayora B. Swastika. Mapping Indonesia’s EV Potential in Global EV Supply Chain. Purnomo Yusgiantoro Center, June 2021. http://dx.doi.org/10.33116/br.004.

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• Energy transition in the transportation sector is indicated by the gradual shifting from the use of internal combustion engine (ICE) vehicles to electric vehicles (EVs) globally. • The transportation sector consumed 43% of total global energy and emitted 16.2% of total global emissions in 2020. Similarly, the transportation sector in Indonesia consumed 45% of the total energy and contributed to 13.6% of CO2 emission in 2019. • Global EV development and utilization are increasing exponentially, especially in developed countries, and there were 10 million EVs in 2020 worldwide. • China has successfully dominated global EVs, both in EV utilization and manufacturing with 45% global EVs Stock and 77% global EV batteries production. • Geopolitically, the abundance of Indonesian nickel reserves provides Indonesia a great opportunity to be one of the main players in EV battery manufacturing. • With an annual average growth of 6%, the projected motorized vehicles growth in Indonesia will reach 214 million in 2030. The right government policies would make Indonesia become the Southeast Asia EV market hub as Indonesia has the largest automotive sales and production market among ASEAN countries. • Measurable and realistic national EV development targets and plans supported by executing policies such as fiscal incentives and hardware standardization, sufficient EV charging infrastructure, and other supporting infrastructures are key elements that drive successful EV development in several countries. • Insufficient domestic industries and technology, and the absence of policies that comprehensively cover the customers and producers directly to support EV development and utilization in Indonesia, resulting in the achieved number of EVs and EV infrastructures in Indonesia are far from the updated target or even the initial target (RUEN, 2017).
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5

Revina, Shintia, Rezanti Putri Pramana, Rizki Fillaili, and Daniel Suryadarma. Systemic Constraints Facing Teacher Professional Development in a Middle-Income Country: Indonesia’s Experience Over Four Decades. Research on Improving Systems of Education (RISE), November 2020. http://dx.doi.org/10.35489/bsg-rise-wp_2020/054.

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Despite government efforts to reform teacher professional development (TPD) in the past four decades, Indonesian teacher quality remains low. Why have the improvement efforts failed? In the present study we investigate what caused these reforms to fail from two angles. First, we examine the efficacy of the latest teacher professional development (TPD) initiative in Indonesia, Pengembangan Keprofesian Berkelanjutan or PKB (Continuing Professional Development), and identify the factors affecting its efficacy. We found that some essential features of effective TPD are missing in PKB. The PKB programme has not targeted teachers based on years of experience, has not followed up teachers with post-training activities, has not incorporated teaching practice through lesson enactment, and has not built upon teacher existing practice. Second, our analysis demonstrates that PKB's weaknesses have existed in Indonesia's previous TPD initiatives as far back as four decades ago. This indicates that the long-term problem of TPD’s ineffectiveness is driven by different elements of the education system beyond the TPD’s technical and operational aspects. Our system-level analysis points out that merely improving the technical aspects of TPD would be insufficient given the Indonesian education system’s lack of coherence surrounding teacher quality. The problems surrounding the provision of effective TPD is more complex than simply a matter of replacing the “old” with the “new” initiative. The change requires a reorientation of the education system to produce high-quality teachers.
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6

Revina, Shintia, Rezanti Putri Pramana, Rizki Fillaili, and Daniel Suryadarma. Systemic Constraints Facing Teacher Professional Developmentin a Middle-Income Country: Indonesia’s Experience Over Four Decades. Research on Improving Systems of Education (RISE), November 2020. http://dx.doi.org/10.35489/bsgrisewp_2020/054.

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Анотація:
Despite government efforts to reform teacher professional development (TPD) in the past four decades, Indonesian teacher quality remains low. Why have the improvement efforts failed? In the present study we investigate what caused these reforms to fail from two angles. First, we examine the efficacy of the latest teacher professional development (TPD) initiative in Indonesia, Pengembangan Keprofesian Berkelanjutan or PKB (Continuing Professional Development), and identify the factors affecting its efficacy. We found that some essential features of effective TPD are missing in PKB. The PKB programme has not targeted teachers based on years of experience, has not followed up teachers with post-training activities, has not incorporated teaching practice through lesson enactment, and has not built upon teacher existing practice. Second, our analysis demonstrates that PKB's weaknesses have existed in Indonesia's previous TPD initiatives as far back as four decades ago. This indicates that the long-term problem of TPD’s ineffectiveness is driven by different elements of the education system beyond the TPD’s technical and operational aspects. Our system-level analysis points out that merely improving the technical aspects of TPD would be insufficient given the Indonesian education system’s lack of coherence surrounding teacher quality. The problems surrounding the provision of effective TPD is more complex than simply a matter of replacing the “old” with the “new” initiative. The change requires a reorientation of the education system to produce high-quality teachers.
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7

Abdellatif, Omar S., Ali Behbehani, and Mauricio Landin. Indonesia COVID-19 Governmental Response. UN Compliance Research Group, March 2021. http://dx.doi.org/10.52008/idn0501.

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The International Health Regulations (2005) are legally binding on 196 States Parties, Including all WHO Member States. The IHR aims to keep the world informed about public health risks, through committing all signatories to cooperate together in combating any future “illness or medical condition, irrespective of origin or source, that presents or could present significant harm to humans.” Under IHR, countries agreed to strengthen their public health capacities and notify the WHO of any such illness in their populations. The WHO would be the centralized body for all countries facing a health threat, with the power to declare a “public health emergency of international concern,” issue recommendations, and work with countries to tackle a crisis. Although, with the sudden and rapid spread of COVID-19 in the world, many countries varied in implementing the WHO guidelines and health recommendations. While some countries followed the WHO guidelines, others imposed travel restrictions against the WHO’s recommendations. Some refused to share their data with the organization. Others banned the export of medical equipment, even in the face of global shortages.The UN Compliance Research group will focus during the current cycle on analyzing the compliance of the WHO member states to the organizations guidelines during the COVID-19 pandemic.
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8

Diprose, Rachael, Primatia Wulandari, Elena Williams, and Levriana Yustriani. Bureaucratic Reform in Indonesia: Policy Analyst Experiences. University of Melbourne with Knowledge Sector Initiative (KSI), 2020. http://dx.doi.org/10.46580/124364.

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In recent years, Indonesia has introduced reforms to its bureaucracy in response to critiques of the quality of government policy design and delivery. The Grand Design of Bureaucratic Reform strategy seeks to reduce the number of civil servants employed in administrative or managerial positions (structural appointments) in favour of skills-based recruitment into ‘functional’ positions. Specifically, the introduction of the ‘policy analyst’ position as a functional position in the civil service has sought to improve evidence-based policy making and the quality of policy outcomes, by incorporating merit-based recruitment, appointment and promotion. The role of functional policy analysts (Jabatan Fungsional Analis Kebijakan or JFAKs) is to assist policy makers in identifying policy issues, analyse evidence available on these issues, and ultimately make policy recommendations. This report overviews the recent experiences of different policy analyst cohorts since the role’s creation in 2015. It investigates these experiences to better understand the extent to which policy analysts are playing the role intended for them, and the factors enabling or inhibiting this.
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9

Diprose, Rachael, Amalinda Savirani, Annisa Sabrina Hartoto, and Ken M. P. Setiawan. Pathways of Change through Women’s Collective Action: How Women are Overcoming Barriers and Bucking Trends to Influence Rural Development in Indonesia. University of Melbourne with Universitas Gadjah Mada and MAMPU, 2020. http://dx.doi.org/10.46580/124329.

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This overview to the edited volume is structured to briefly explore the following key points that emerge in the case analysis of how women’s collective action has created changes for both women’s well-being and the implementation of the Village Law, as well as how such change has been supported by a wide range of CSOs across different contexts and sectors. First, we identify variation in the diversity of priorities and initiatives that villages have introduced as a result of women’s influence on the implementation of the Law. Such initiatives go beyond infrastructure and economic development projects (although women have also prioritised these kinds of initiatives) and traverse multiple sectoral issues in seeking to address challenges for villagers, particularly women, through village development. Second, we identify the different types of changes that are evident in the case studies that have implications for women’s everyday wellbeing, as well as their influence on structures of power, decision making and village development at the individual and institutional levels, and in broader contexts. Third, we discuss how changes have come about for rural village women and what factors have contributed to the changes that are illustrated through the case studies. This includes a discussion of how context dynamics constrain or enable women’s influence, variation in core challenges (or sectoral issues) for women, and how collective action has contributed to forging these changes as is illustrated by the case studies. Fourth, we explore the temporal dimensions of change. And finally, we explore some of the pathways by which such changes have occurred in the research areas, that being different contexts.
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10

Diprose, Rachael, Amalinda Savirani, Annisa Sabrina Hartoto, and Ken M. P. Setiawan. Pathways of Change through Women’s Collective Action: How Women are Overcoming Barriers and Bucking Trends to Influence Rural Development in Indonesia. University of Melbourne with Universitas Gadjah Mada and MAMPU, 2020. http://dx.doi.org/10.46580/124329.

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Анотація:
This overview to the edited volume is structured to briefly explore the following key points that emerge in the case analysis of how women’s collective action has created changes for both women’s well-being and the implementation of the Village Law, as well as how such change has been supported by a wide range of CSOs across different contexts and sectors. First, we identify variation in the diversity of priorities and initiatives that villages have introduced as a result of women’s influence on the implementation of the Law. Such initiatives go beyond infrastructure and economic development projects (although women have also prioritised these kinds of initiatives) and traverse multiple sectoral issues in seeking to address challenges for villagers, particularly women, through village development. Second, we identify the different types of changes that are evident in the case studies that have implications for women’s everyday wellbeing, as well as their influence on structures of power, decision making and village development at the individual and institutional levels, and in broader contexts. Third, we discuss how changes have come about for rural village women and what factors have contributed to the changes that are illustrated through the case studies. This includes a discussion of how context dynamics constrain or enable women’s influence, variation in core challenges (or sectoral issues) for women, and how collective action has contributed to forging these changes as is illustrated by the case studies. Fourth, we explore the temporal dimensions of change. And finally, we explore some of the pathways by which such changes have occurred in the research areas, that being different contexts.
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