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Haeruddin, Haeruddin, Achmad Muhtadin, and Muhammad Hafizh Naufal Yahya. "Eksplorasi Etnomatematika Konsep Transformasi Geometri Translasi pada Motif Kerajinan Manik-Manik Suku Dayak Kenyah." Jurnal Ilmiah Pendidikan Matematika Al Qalasadi 7, no. 1 (June 27, 2023): 22–29. http://dx.doi.org/10.32505/qalasadi.v7i1.5587.
Повний текст джерелаАнотація:
Abstract
This study aims to explore the Dayak Kenyah tribe's bead crafts through motifs that found and relatedto geometry transformation’s concept. This kind research is the qualitative research thorough an ethnography approach. Data were collected through observation, interview and documentation. The subject of this research is bead crafts and the object of this research is the geometry transformation’s that found in the motifs of bead crafts’s made. The data obtained in this research came from derived from direct observation of interview results, the results of interview, and the results of documentation. Based on the results of the exploration, it was found that the ten bead bening, saungaban, anjat, besunung, batuksapei, beluko letto, sepeiinoq, avet, and ta’a) studied had a connection to five motifs (fern’s motif, asoq’s motif, bang bekat’s motif, pun’s motif, and silung kelunan’s motif) were used which became examples the application of geometry transformation’s concept in translation.
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Prabowo, Rahayu Adi, and Sri Marwati. "VISUALISASI TIGA DIMENSIONAL MOTIF BATIK PADA MEDIA KAYU." Acintya Jurnal Penelitian Seni Budaya 12, no. 1 (August 3, 2020): 80–87. http://dx.doi.org/10.33153/acy.v12i1.3149.
Повний текст джерелаАнотація:
ABSTRACT The beauty of batik as one form of visual culture in Indonesia is one of the priceless inheritance which has a philosophical symbolic meaning that regulates the social relationship between human and the human relationships with the God. The history of batik never revealed when batik began to exist and who created it. Batik in Indonesia has been known since the era of the Majapahit Kingdom and continues to grow until the emergence of the next kingdoms. Exploration of visual culture in Indonesia becomes a challenge in its learning and its realization. The reason is that every culture has its own social norm / custom that is very strong and influences the people's lives.The diverse application of batik motifs on various products greatly influences the strength of the existence of batik as one form of art in Indonesia which, of course, can also move the economic side of the creation of creativity that always emerges and develops in society. This artistic research of batik motifs richness that is applied into a wood carving motif is proposed to support the development of batik. This research uses a method of motifs exploration by bringing up traditional batik motifs that are packaged in a semi relief wood carving by applying a new motif patterned in accordance to the wood carving techniques. This method conveys traditional batik motifs with a three-dimensional style and in different size in order to bring up the three-dimensional style. Keywords: Exploration, Batik Motifs, Wood Carving. ABSTRAK Keindahan batik sebagai salah satu wujud budaya rupa di Indonesia adalah merupakan salah satu warisan tak ternilai harganya, yang mempunyai kandungan makna simbolis filsafati yang mengatur hubungan sosial antar manusia serta hubungan manusia dengan Dzat Yang Maha Agung. Dalam kesejarahan tentang keberadaan batik tidak pernah diungkap kapan kali pertama muncul dan siapa yang menciptakannya. Namun batik di Indonesia telah dikenal sejak zaman Kerajaan Majapahit dan terus berkembang hingga munculnya kerajaan-kerajaan berikutnya. Ekplorasi sebuah kekayaan budaya rupa di Indonesia merupakan sebuah tantangan dalam hal pembelajaran dan perwujudannya. Hal tersebut dikarenakan setiap kekayaan budaya diiringi sebuah norma/adat sosial yang sangat kuat dan berpengaruh dalam sendi kehidupan masyarakat. Aplikasi motif batik yang beragam pada berbagai produk ini sangat mempengaruhi kekuatan keberadaan batik sebagai salah satu wujud seni rupa di Indonesia, yang tentunya juga dapat mengerakkan sisi ekonomi dari terciptanya kreativitas yang selalu muncul dan berkembang di masyarakat. Sebagai salah satu dukungan dalam perkembangan wujud seni batik ini, maka diusulkan sebuah penelitian kekaryaan (artistik) tentang kekayaan motif batik yang mengaplikasikan ke dalam sebuah motif ukir kayu yang selama ini belum pernah dilakukan. Sajian penelitian ini menggunakan metode eksplorasi motif, yaitu memunculkan motif-motif batik tradisi yang dikemas dalam tampilan ukir kayu semi relief dengan mengaplikasikan pola motif garapan baru sesuai dengan ranah teknik ukir kayu. Metode ini menuangkan motif batik tradisi namun dengan gaya tiga dimensi yang terdapat sedikit gubahan ukuran sebagai upaya memunculkan kekuatan tiga dimensionalnya. Kata Kunci : Ekplorasi, Motif Batik, Ukir Kayu.
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TANZIL, MARINI YUNITA. "PENERAPAN INSPIRASI FAUNA DAN FLORA SUMATERA TERHADAP PERANCANGAN MOTIF TEKSTIL KONTEMPORER." Serat Rupa Journal of Design 2, no. 2 (July 25, 2018): 130. http://dx.doi.org/10.28932/srjd.v2i2.781.
Повний текст джерелаАнотація:
Indonesian has a very rich, unique, and priceless biodiversity and natural resources. Featuring this national treasure is the aim of this research, especially the fauna and flora endemic to Sumatra Island. This research is executed through descriptive qualitative method by exploration and literature study for the first stage and design implementation for the second stage. The first stage contains exploration on Sumatran flora and fauna, batik motifs, contemporary textile design, color composition and trend. The finding of the research is presented at the second stage through contemporary textile motif as the design implementation that can be applied to fashion products. Expectantly, this research can provide guideline and inspiration for textile and fashion designers in developing contemporary textile motifs that take inspirations from the nature and culture of Indonesia.
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PANGESTU, ANGGA GILANG, and RATNA ENDAH SANTOSO. "PERANCANGAN MOTIF BURUNG MURAI DENGAN TEKNIK ECOPRINT KOMBINASI SULAM UNTUK OUTWEAR." Melayu Arts and Performance Journal 4, no. 2 (October 20, 2021): 182. http://dx.doi.org/10.26887/mapj.v4i2.2038.
Повний текст джерелаАнотація:
Textile dyeing in this modern era, many industries use synthetic materials which will have a negative impact on the environment. To overcome this, start making textile coloring using environmentally friendly substances or even with natural dyes. One example is ecoprint. Ecoprint is widely known as a textile dyeing method using plants as a substitute for synthetic dyes. The resulting motifs are leaves, flowers, or other plant parts that can produce color. Exploration of motifs can still be developed again by processing leaves into other motifs. This design aims to create a new innovation in presenting the novelty of ecoprint motifs by processing leaves to form new motifs. This new motif will later add to the appeal of ecoprint products. The formation of this ecoprint motif can be done by taking a form that can be applied in the ecoprint technique. The shape should not be arbitrary because it can affect how the ecoprint results will be. The process of making this ecoprint needs to go through several stages that have been explained by S.P Gustami's theory, namely: exploration, design and embodiment which will lead to the design of products that have new ideas and developments from previous designs.Keywords: Ecoprint; embroidery; motif; outwear AbstrakPewarnaan tekstil pada zaman modern ini banyak industri yang menggunakan bahan sintetis yang akan berdampak buruk terhadap lingkungan. Untuk mengatasi hal tersebut mulailah dibuat pewarnaan tekstil menggunakan zat yang ramah lingkungan atau bahkan dengan pewarnaan alam. Salah satu contohnya adalah ecoprint. Ecoprint ini sudah banyak dikenal adalah metode pewarnaan tekstil dengan memanfaatkan tumbuh-tumbuhan sebagai pengganti zat warna sintetis. Motif yang dihasilkan adalah daun, bunga,atau bagian tumbuhan lain yang dapat menghasilkan warna. Eksplorasi motif masih dapat dikembangkan lagi dengan mengolah daun menjadi bentuk motif lain. Dalam perancangan ini bertujuan untuk membuat sebuah inovasi baru dalam menghadirkan kebaruan motif ecoprint dengan mengolah daun agar membentuk motif baru. Motif baru ini nantinya akan menambah daya tarik pada produk ecoprint. Pembentukan motif ecoprint ini dapat dilakukan dari mengambil sebuah bentuk yang dapat diaplikasikan dalam teknik ecoprint. Bentuk tidak boleh sembarangan karena dapat mempengaruhi bagaimana hasil ecoprint nanti. Proses membuat ecoprint ini perlu melewati beberapa tahapan yang sudah dijelaskan oleh teori S.P Gustami yaitu: eksplorasi, perancangan dan perwujudan yang akan mengantarkan perancangan pada produk yang memiliki kebaruan ide dan perkembangan dari perancangan sebelumnya.Kata Kunci: Ecoprint; sulam; motif; outwear
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Ajadi, Michael Olaniyi. "Identification and Stylistic Analysis of the Artistic Expression on Opa, Yoruba Sculptural Verges." Yoruba Studies Review 8, no. 1 (May 6, 2023): 163–82. http://dx.doi.org/10.32473/ysr.8.1.134092.
Повний текст джерелаАнотація:
Opa is an emblematic Yoruba sculptural verge and preserved transcendence expressional art amongst the social group in order to describe hierarchical structure in ranking chiefs, religious cults’ priests/priestesses and aged right. Significantly, time-scale conscious and in-depth exploration of the hierarchical motifs on diverse verges and artistic formats of integrated motifs have not been considered using deco-hierarchical structures analysis. The visual artistic expression of verges sculptural forms demands contextual exploration to give meaningful time-scale oriented written reports that could clear up vague impressions towards different structures. For this conspicuous fact, a study of Yoruba sculpturesque verges will crystallize metonymical written explanations of motifs that suggest the power structure of the life of the Yoruba. The paper, therefore, examines the class-conscious format of images, motifs, and symbols unified on diverse emblematic verges for exploration of distinctive features of chieftains’ status, stylistic expression and interpretation of cults’ art in the Yoruba culture. Analytical review and critical appraisal methodologies were utilized for diverse verges; pictures were collated for critical examination of stratified motifs and symbols with the objectives of contextual and conceptual analyses. Findings unveiled artists’ expression towards this symbol of superiority which exists within the hierarchical structure of chieftaincy and religious cults’ orientations of Yoruba gods. However, it is apparent from studied verges that fastidiously effort given to the balance of patterns, motifs, and forms through professionalism and prowess suggest Yoruba ways of life.
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Kawaji, H., C. Schonbach, Y. Matsuo, J. Kawai, Y. Okazaki, Y. Hayashizaki, and H. Matsuda. "Exploration of Novel Motifs Derived from Mouse cDNA Sequences." Genome Research 12, no. 3 (February 15, 2002): 367–78. http://dx.doi.org/10.1101/gr.193702.
Повний текст джерела
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Kawaji, H. "Exploration of Novel Motifs Derived from Mouse cDNA Sequences." Genome Research 12, no. 3 (February 15, 2002): 367–78. http://dx.doi.org/10.1101/gr.193702.
Повний текст джерела
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Schreiber, F., and H. Schwobbermeyer. "MAVisto: a tool for the exploration of network motifs." Bioinformatics 21, no. 17 (July 14, 2005): 3572–74. http://dx.doi.org/10.1093/bioinformatics/bti556.
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Anyanwu, Chinwe, Chris Chinedu Chukueggu, and Sotonye Allen Orubu. "Textile design and traditional cultural properties in Nigeria: A batik textile exploration." Journal of African History, Culture and Arts 2, no. 2 (June 20, 2022): 104–9. http://dx.doi.org/10.57040/jahca.v2i2.218.
Повний текст джерелаАнотація:
The rapidity of moral degeneracy and bankruptcy in Nigeria and elsewhere is only symptomatic of the apparent fact that African cultures have been under serious threat, through the invectives of alien cultures through globalization. Efforts must therefore be made at arresting the drifting cultural values through the conservation and preservation of traditional cultural properties, such as traditional motifs and their cultural meanings. However, there have been scanty in-depth research to establish a possible nexus between textile design and preservation of motifs of cultural artefacts. This study examined the exploration of the utility of textile design as a veritable instrument in achieving the clarion call by Traditional Cultural Properties (TCP). In this study the Igbo oji isi ato and ududo motifs and their cultural significance were highlighted. The practice led research approach was adopted. The results showed that the batik textile design could be adopted in the preservation of traditional cultural properties in Nigeria. The oji isi ato and ududo batiks were specifically explored and found to be a veritable mechanism that could be leveraged upon in the preservation of symbols and motifs of traditional cultural properties. It is therefore recommended that scholars should explore more areas to achieve the conservation and preservation of motifs of cultural artefacts and traditional cultural properties to arrest the drift in moral values among the youth.
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Wardani, Laksmi Kusuma, Sriti Mayang Sari, and Ronald Hasudungan Irianto Sitinjak. "Bajang Ratu Temple as Idea Resource for Batik Motif Creation." Mudra Jurnal Seni Budaya 33, no. 3 (September 27, 2018): 321. http://dx.doi.org/10.31091/mudra.v33i3.519.
Повний текст джерелаАнотація:
Indonesian batik is rich in decorative motifs that are developing vastly to meet the current needs of the market. Batik has become a resource for creativity that supports the commodity of creative industries. This research is an experimental study on batik creations conducted through three stages: exploration, design and implementation. Bajang Ratu temple in Mojokerto, East Java Province in Indonesia has been used as the idea resource for creating batik. The objective of this research is to create new motifs that can be used for clothing or fashion. From the experiments conducted, several compositions of batik motifs have been produced such as those with motifs of animals, plants and man-made objects. Through this research, it is hoped that the results of the batik creations may increase the development of small to medium creative business units in Mojokerto.Batik Indonesia memiliki kekayaan motif hias yang semakin berkembang dan tetap eksis menjawab kebutuhan masa kini. Batik menjadi sumber kreativitas yang mendukung perkembangan komoditas industri kreatif. Penelitian ini merupakan penelitian eksperimen penciptaan batik yang dilakukan secara ilmiah melalui tiga tahap, yakni eksplorasi, perancangan, dan perwujudan. Candi Bajang Ratu yang berada di Mojokerto, Jawa Timur Indonesia digunakan sebagai sumber gagasan penciptaann. Tujuan khusus yang ingin dicapai yakni terciptanya motif baru yang digunakan sebagai bahan kain sandang atau fesyen. Berdasarkan eksperimen yang telah dilakukan, dihasilkan karya batik dengan komposisi motif binatang, tumbuhan, dan benda buatan manusia. Hasil ciptaan diharapkan berpeluang untuk meningkatkan industri kreatif unit usaha kecil menengah masyarakat Mojokerto di Jawa Timur Indonesia.
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Ratnadewi, Ratnadewi, Agus Prijono, and Ariesa Pandanwangi. "Geometry Learning Through Batik Reconstruction." JTAM (Jurnal Teori dan Aplikasi Matematika) 6, no. 4 (October 7, 2022): 1004. http://dx.doi.org/10.31764/jtam.v6i4.9964.
Повний текст джерелаАнотація:
In this world, the shapes of objects, including Batik motifs in Indonesia, are regular and irregular. One of the regular Batik motifs is Surya Kawung Batik from Mojokerto. The purpose of this research is to observe the ability of the Electrical Engineering Department students in Maranatha Christian University to study and reconstruct the geometric shapes of Surya Kawung Batik. In the making of the Batik motifs, the research methods employed are survey, observation, exploration, testing, and improvement, while in the learning process, the method applied is descriptive qualitative, in which the researchers check the data credibility. Turtle graphics algorithm and mathematical calculations are used to form Batik geometric motifs. The result of this research shows an increase in the students' ability to learn the geometric shapes and to reconstruct digital Batik motifs which resemble the original Batik motifs and which can be stored using a smaller memory. If the memory for storing motifs is small, the required storage space will be more efficient.
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Ervinawati, Yulia. "Ethnomathematics: Mathematical Exploration on Batik Gedog Tuban." Jurnal Riset Pendidikan dan Inovasi Pembelajaran Matematika (JRPIPM) 3, no. 1 (October 10, 2019): 24. http://dx.doi.org/10.26740/jrpipm.v3n1.p24-35.
Повний текст джерелаАнотація:
Batik Gedog Tuban is a famous Batik in Tuban. This batik has a variety of motifs/patterns with a variety of colors. This research is a qualitative descriptive with an ethnographic approach, and this research aims to analyze the mathematical value within Batik Gedog Tuban. Data collections were conducted by the study of literature, observation, interview, note, and documentation. The results show that there are several mathematical concepts contained in Batik Gedog Tuban, such as geometry concepts, geometry transformation, and congruence.
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Dreyer, Florian. "Erzählmotive im Zeitzeugeninterview." Paragrana 27, no. 1 (August 28, 2018): 183–201. http://dx.doi.org/10.1515/para-2018-0013.
Повний текст джерелаАнотація:
AbstractTo speak about the horror of the Holocaust is still extremely difficult. An exploration of our data, a video testimony of a female survivor of the Ghetto in Łódź, showed that she employs certain styles of narration (narrative motifs). This paper first examines some of those motifs and suggests that they might function as a means of self-regulation. In our data they either assist in preventing retraumatization or facilitate the re-experiencing of the dreadful past. The features of those motifs are analysed on a semantic, a prosodic and an embodied level through the usage of Conversation Analysis, PRAAT and Multimodal Analysis.
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Amalia, Devita, Dwi Noviani, M. Fadil Djamali, and Imam Rofiki. "Exploring Mathematical Concepts and Philosophical Values in Jember Batik." Abjadia 6, no. 2 (December 26, 2021): 144–59. http://dx.doi.org/10.18860/abj.v6i2.13119.
Повний текст джерелаАнотація:
Ethnomathematics are different ways of doing mathematics taking into account the academic mathematical knowledge developed by different sectors of society as well as taking into account the different modes in which different cultures negotiate their mathematical practices (ways of grouping, counting, measuring, designing tools, or playing). Based on this research, this study aims to describe the results of ethnomathematics exploration in Jember batik motifs. The method of analysis used in this research was a qualitative approac with an ethnographic design. Data collection techniques were observation, documentation, and interviews. This research was conducted at Rumah Batik Rolla Jember and Rezti'z Batik Tegalsari Ambulu Jember. The research was conducted for one week. The results of this study indicate that the ethnomathematics in the Jember batik motif has a philosophical value that describes the natural wealth of Jember Regency in each of its motifs, and there are mathematical concepts in the form of geometric transformation concepts (reflection, translation, rotation, and dilation) along with the concept of number patterns.
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PUTRA, I. WAYAN YOGIK ADNYANA, and PUTU SURYA TRIANA DEWI. "APLIKASI UNSUR VISUAL BENTUK DAN WARNA MOTIF KAIN TRADISIONAL INDONESIA TIMUR PADA PERANCANGAN FURNITUR MODERN." GANEC SWARA 17, no. 2 (June 1, 2023): 685. http://dx.doi.org/10.35327/gara.v17i2.474.
Повний текст джерелаАнотація:
Indonesia is rich in a diversity of cultural crafts, one of which is traditional fabrics that are spread throughout the Indonesian archipelago. The traditional cloth has a spiritual and translingual dimension, which shows the very high level of Indonesian culture. These fabrics are full of symbolic meanings as well as spiritual values contained in the motifs inside. These motifs present various decorative patterns such as geometric, human, animal, plant, natural objects, technological objects, and calligraphy. The purpose of this study is to classify cloth motifs from Eastern Indonesia, which are sacred motifs and which can be explored further. The purpose of this research is to provide an educational basis when these motifs are innovated and applied to a product such as furniture. This study uses a descriptive qualitative analysis method through literature exploration and interviews with craftsmen or community activists for the preservation of Indonesian fabrics. From the research results, it was obtained twenty-four motifs that could be explored and ten motifs that were switchable so that they could not be explored. For motifs that can be explored, it is continued by making a sampling of one of the motifs using the laser cutting method which can then be applied to space elements, one of which is furniture.
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Rohim, Dhina Cahya. "Eksplorasi Etnomatematika Pada Motif Batik Troso Jepara Sebagai Bahan Ajar Bagi Siswa di Sekolah Dasar." Jurnal Review Pendidikan Dasar : Jurnal Kajian Pendidikan dan Hasil Penelitian 7, no. 2 (July 14, 2021): 98–104. http://dx.doi.org/10.26740/jrpd.v7n2.p98-104.
Повний текст джерелаАнотація:
This study aims to describe the results of mathematical exploration of the Jepara Troso batik motif which can be used as teaching material for students in elementary schools. This study uses a qualitative research method with an ethnographic approach. Data collection techniques using observation, interviews and documentation.The results showed that some of the Jepara troso woven batik motifs can be used as a medium to introduce mathematical concepts, especially geometric concepts to elementary school students. This is in accordance with the variety of tenu troso fabric motifs which are usually made with nuances of flora and fauna as well as geometric motifs. The geometric concept contained in the batik troso motif is in the form of a flat shape concept. This shows that mathematics is present in all aspects of life, including culture. The use of cultural elements in introducing mathematical concepts can provide meaningful learning for students. The concept of mathematics in this form can be used as teaching material for students in the form of printed, visual, and other teaching materials as needed.Keywords: Ethnomatematics, batik troso, teaching materials.ABSTRAKPenelitian ini bertujuan untuk mendeskripsikan hasil eksplorasi matematika pada motif batik troso Jepara yang dapat dijadikan sebagai bahan ajar bagi siswa di sekolah dasar. Penelitian ini menggunakan metode penelitian kualitatif dengan pendekatan etnografi. Teknik pengumpulan data menggunakan observasi, wawancara dan dokumentasi. Hasil penelitian menunjukkan bahwa beberapa motif batik kain tenun troso Jepara dapat dijadikan sebagai media untuk mengenalkan konsep matematika terutama konsep geometri pada siswa sekolah dasar. Hal ini sesuai dengan ragam motif kain tenu troso yang biasanya dibuat bernuansa flora fauna maupun motif geometris. Konsep geometri yang terdapat pada motif batik troso berupa konsep bangun datar. Hal ini menunjukkan bahwa matematika terdapat di semua aspek kehidupan termasuk budaya. Penggunaan unsur budaya dalam mengenalkan konsep matematika dapat memberikan pembelajaran yang bermakna bagi siswa. Konsep matematika berupa ini dapat dijadikan sebagai bahan ajar bagi siswa dalam bentuk bahan ajar cetak, visual maupun bentuk lain sesuai dengan kebutuhan.Kata Kunci: Etnomatematika, batik troso, bahan ajar
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Afrizal, Afrizal, and Rahayu Adi Prabowo. "PENERAPAN MOTIF UKIR TRADISI PADA BLOK MESIN SEPEDA MOTOR." Acintya : Jurnal Penelitian Seni Budaya 14, no. 1 (June 22, 2022): 1–16. http://dx.doi.org/10.33153/acy.v14i1.4320.
Повний текст джерелаАнотація:
ABSTRAKSeni ukir di Indonesia telah mengalami kemajuan dengan adanya ragam jenisnya, mulai dari pengembangan motif, media, teknik, dan aspek pengembangan lainnya. Dikenal di masyarakat luas bahwa seni ukir adalah sebuah tindakan pengolahan media dengan teknik cukil, gores, coret, dan pahat yang diterapkan pada media kayu, kulit, dan logam. Kekayaan seni ukir logam di Indonesia perlu ada pengembangan-pengembangan yang akan menambah ekspresi seni untuk para pengrajin dan para pegiat seni ukir logam. Pengembangan seni ukir logam diharapkan mampu memberi dampak yang nyata dalam rangka memberikan gambaran tentang alternatif pengembangan dari seni ukir yang berkembang selama ini. Fokus penerapan seni ukir logam pada sajian tulisan ini diaplikasikan pada bentuk benda yang sudah ada yaitu blok mesin sepeda motor. Sajian penelitian ini menggunakan metode aplikasi eksplorasi motif, yaitu memunculkan motif ukir tradisi yang dikemas dalam penerapannya pada blok mesin sepeda motor dengan mengaplikasikan pola motif garapan baru sesuai dengan ranah teknik ukir motif tradisi. Metode ini menuangkan motif tradisi Surakarta dan Mataram dengan gubahan pada pola mengikuti bentuk dari blok mesin sepeda motor. Kata Kunci : Seni Ukir, Logam, Blok Mesin ABSTRACTThe art of carving in Indonesia has progressed with various types, ranging from the development of motifs, media, techniques, and other aspects of development. It is known in the wider community that the art of carving is an act of media processing with the technique of cutting, scratching, scribbling, and chiseling which is applied to wood, leather, and metal media. The wealth of metal carving in Indonesia needs developments that will add artistic expression to craftsmen and metal carving activists. The development of metal carving is expected to have a real impact in order to provide an overview of the alternative development of carving that has developed so far. The focus of the application of metal carving in the presentation of this paper is applied to the shape of an existing object, namely the motorcycle engine block. This research presentation uses the application method of motif exploration, namely bringing up traditional carving motifs that are packaged in their application to motorcycle engine blocks by applying new patterned motifs in accordance with the realm of traditional motif carving techniques. This method expresses the traditional motifs of Surakarta and Mataram with compositions in a pattern following the shape of the motorcycle engine block. Keywords: Carving, Metal, Machine Block
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Ajiginni, Margaret, and Bakare Olayinka Olumide. "Ibiebe Alphabet and Ideograms as Motifs for Fabric Embellishment." Advances in Social Sciences Research Journal 8, no. 10 (November 7, 2021): 545–55. http://dx.doi.org/10.14738/assrj.810.11077.
Повний текст джерелаАнотація:
The invented Bruce Onobrakpeya’s Ibiebe alphabet and ideogram (writing system) have not been explored maximally and redesigned as recurring motifs to embellish contemporary fabric. These are artistic codified graphical images that represent the visual translation of myths, legends, ideal concepts, and the philosophies of the Urhobo cultural heritage from Delta State. They are mostly explored in paintings and sculptural pieces for aesthetic and refinement purposes. Whereas, it is pertinent to encourage the integration of the creative potential of indigenous culture as visual concepts into contemporary works, since art is a potent medium for cultural dialogue. Therefore, this paper seeks to redesign the versatility and ingenuity embedded in Bruce Onobrakpeya’s formation as a recurring motif for fabric embellishment. It is essentially to provoke creativity, the development of knowledge, skills, in-studio experimentation/exploration, and the creation of new design possibilities with a diverse visual relationship. The Aesthetic theory propounded by Alexander Gottlieb Baumgarten (1714-1762) and the Modern Creativity theory by Kanematsu, H. and Barry, D. M. (2016) were adopted. The approach is exploratory and descriptive and relies on literal information. It will serve as an encyclopedia of redesigned motifs that cut across visual history.
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Deepa, P., R. Vijay Solomon, S. Angeline Vedha, P. Kolandaivel, and P. Venuvanalingam. "The nature of hydrogen bonding inR22(8) crystal motifs – a computational exploration." Molecular Physics 112, no. 24 (July 17, 2014): 3195–205. http://dx.doi.org/10.1080/00268976.2014.937780.
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Henderson, John, Vi Ly, Shawn Olichwier, Pranik Chainani, Yu Liu, and Benjamin Soibam. "Accurate prediction of boundaries of high resolution topologically associated domains (TADs) in fruit flies using deep learning." Nucleic Acids Research 47, no. 13 (May 3, 2019): e78-e78. http://dx.doi.org/10.1093/nar/gkz315.
Повний текст джерелаАнотація:
Abstract Genomes are organized into self-interacting chromatin regions called topologically associated domains (TADs). A significant number of TAD boundaries are shared across multiple cell types and conserved across species. Disruption of TAD boundaries may affect the expression of nearby genes and could lead to several diseases. Even though detection of TAD boundaries is important and useful, there are experimental challenges in obtaining high resolution TAD locations. Here, we present computational prediction of TAD boundaries from high resolution Hi-C data in fruit flies. By extensive exploration and testing of several deep learning model architectures with hyperparameter optimization, we show that a unique deep learning model consisting of three convolution layers followed by a long short-term-memory layer achieves an accuracy of 96%. This outperforms feature-based models’ accuracy of 91% and an existing method's accuracy of 73–78% based on motif TRAP scores. Our method also detects previously reported motifs such as Beaf-32 that are enriched in TAD boundaries in fruit flies and also several unreported motifs.
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He, Yurong, Wei Liu, Zhihao Huang, Jishuai Huang, Yanghong Xu, Qiannan Zhang, and Jun Hu. "Genome-Wide Analysis of the Rice Gibberellin Dioxygenases Family Genes." Agronomy 12, no. 7 (July 7, 2022): 1627. http://dx.doi.org/10.3390/agronomy12071627.
Повний текст джерелаАнотація:
Gibberellins (GAs), a pivotal plant hormone, play fundamental roles in plant development, growth, and stress response. In rice, gibberellin-dioxygenases (GAoxes) are involved in the biosynthesis and deactivation of gibberellins. However, a comprehensive genome-wide analysis of GA oxidases in rice was not uncovered. Here, a total of 80 candidate OsGAox genes were identified and 19 OsGAox genes were further analyzed. Studies on those 19 OsGAox genes, including phylogenetic tree construction, analysis of gene structure, exploration of conserved motifs and expression patterns, were conducted. Results showed that the GAox genes in Arabidopsis and rice were divided into four subgroups and shared some common features. Analysis of gene structure and conserved motifs revealed that splicing phase and motifs were well conserved during the evolution of GAox genes in Arabidopsis and rice, but some special conserved motifs possessed unknown functions need to be further studied. Exploration of expression profiles from RNA-seq data indicated that each GAox gene had tissue-specific expression patterns, although they varied greatly. The expression patterns of these genes under GA3 treatment revealed that some genes, such as OsGA2ox1, OsGA2ox3, OsGA2ox4, OsGA2ox7, OsGA20ox1, and OsGA20ox4, may play a major role in regulating the level of bioactive GA. Taken together, our study provides a comprehensive analysis of the GAox gene family and will facilitate further studies on their roles in rice growth and development so that these genes can be better exploited.
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Hawkins-Hooker, Alex, Henry Kenlay, and John E. Reid. "Projection layers improve deep learning models of regulatory DNA function." F1000Research 8 (February 5, 2019): 151. http://dx.doi.org/10.12688/f1000research.17125.1.
Повний текст джерелаАнотація:
With the increasing application of deep learning methods to the modelling of regulatory DNA sequences has come an interest in exploring what types of architecture are best suited to the domain. Networks designed to predict many functional characteristics of noncoding DNA in a multitask framework have to recognise a large number of motifs and as a result benefit from large numbers of convolutional filters in the first layer. The use of large first layers in turn motivates an exploration of strategies for addressing the sparsity of output and possibility for overfitting that result. To this end we propose the use of a dimensionality-reducing linear projection layer after the initial motif-recognising convolutions. In experiments with a reduced version of the DeepSEA dataset we find that inserting this layer in combination with dropout into convolutional and convolutional-recurrent architectures can improve predictive performance across a range of first layer sizes. We further validate our approach by incorporating the projection layer into a new convolutional-recurrent architecture which achieves state of the art performance on the full DeepSEA dataset. Analysis of the learned projection weights shows that the inclusion of this layer simplifies the network’s internal representation of the occurrence of motifs, notably by projecting features representing forward and reverse-complement motifs to similar positions in the lower dimensional feature space output by the layer.
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Bahari, Nooryan, Dyah Yuni Kurniawati, and Sigit Purnomo Adi. "PLEXIGLAS AS PAINTING MEDIA." VISUALITA 8, no. 1 (August 10, 2019): 15–23. http://dx.doi.org/10.33375/vslt.v8i1.1235.
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The research aim of art creation and presentation is to revitalize traditional glass painting in Indonesia by utilizing plexiglas flexibility as a medium in fine artwork. This is due to the use of glass as a medium is very heavy and easily broken when moved or taken for display. The research method used in the creation of art uses experimental method with the order of exploration stage, design stage, and realization stage. Exploration stage is an exploration activity that explores the source of ideas, including exploring plexiglass materials using various types of water-based and oil-based paints, as well as gravur and grinder techniques to erode the surface. Next is collecting data and references, as well as processing and analyzing data which results are used as the basic for making designs. Design Stage visualizes exploration results into various design alternatives which then the best is chosen and used as references in making works. Realization Stage is the process of manifesting the chosen design into the real work. Research showed that the use of plexiglass material as a medium of traditional glass painting has a very good results, and plexiglas can fully replace glass in terms of aplicable to various paint types, even plexiglas has excellence over ordinary glass that is water-based acrylic paint can be applied better in plexiglas and can fused (compound). Exploration of works visualization using plexiglas as medium has a very good result, as applied to ordinary glass. Exploration of works visualization has a very good result, some works still use traditional motifs and symbols combined with modern motifs and symbols with illustrative, expressionist and pop art style.
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Gullotto, Danilo. "Fine tuned exploration of evolutionary relationships within the protein universe." Statistical Applications in Genetics and Molecular Biology 20, no. 1 (February 1, 2021): 17–36. http://dx.doi.org/10.1515/sagmb-2019-0039.
Повний текст джерелаАнотація:
Abstract In the regime of domain classifications, the protein universe unveils a discrete set of folds connected by hierarchical relationships. Instead, at sub-domain-size resolution and because of physical constraints not necessarily requiring evolution to shape polypeptide chains, networks of protein motifs depict a continuous view that lies beyond the extent of hierarchical classification schemes. A number of studies, however, suggest that universal sub-sequences could be the descendants of peptides emerged in an ancient pre-biotic world. Should this be the case, evolutionary signals retained by structurally conserved motifs, along with hierarchical features of ancient domains, could sew relationships among folds that diverged beyond the point where homology is discernable. In view of the aforementioned, this paper provides a rationale where a network with hierarchical and continuous levels of the protein space, together with sequence profiles that probe the extent of sequence similarity and contacting residues that capture the transition from pre-biotic to domain world, has been used to explore relationships between ancient folds. Statistics of detected signals have been reported. As a result, an example of an emergent sub-network that makes sense from an evolutionary perspective, where conserved signals retrieved from the assessed protein space have been co-opted, has been discussed.
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Setiyo, Joko, Ratna Daniar Paramita, and Riza Bahtiar Sulistyan. "Exploration Community Empowerment of Lumajang Typical Batik Enterprises for Culture Preservation." IJEBD (International Journal of Entrepreneurship and Business Development) 4, no. 3 (May 31, 2021): 351–55. http://dx.doi.org/10.29138/ijebd.v4i3.1392.
Повний текст джерелаАнотація:
Purpose: This study aims to explore the existing batik culture in Lumajang district and to find out the obstacles faced during the production process.
Design/methodology/approach: This research uses a qualitative approach. The data collection method used interviews, observations, and documentation which were carried out in the batik-producing area in Lumajang Regency
Findings: The results showed that batik entrepreneurs in Lumajang district, apart from preserving culture, were also used to improve the economy of the surrounding community. The batik culture is in the form of regional motifs such as the batik motif of the great banana, sand, and semeru mountain which are applied to the cloth with the batik process which will later be used as uniforms for the Lumajang Regency Government. Increasing the capacity of batik craftsmen also needs improvement through training activities.
Research limitations/implications: This research is limited to cases that exist in batik craftsmen in Lumajang district.
Practical implications: This research can be used as input for interested parties to increase batik production. In addition, it can also increase the sense of belonging to the culture around us..
Originality/value: This paper is original
Paper type: Research paper
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Fathikhin, Nurul, and Pradnyo Wijayanti. "Exploration of Ngawi Batik Ethnomatematics to Unlock Philosophy Values and Mathematics Concepts." Journal Intellectual Sufism Research (JISR) 3, no. 1 (November 24, 2020): 26–37. http://dx.doi.org/10.52032/jisr.v3i1.81.
Повний текст джерелаАнотація:
Ethnomathematics is mathematics that is developed and applied by certain cultural groups by local culture by considering other knowledge, one of the cultures that developed in Ngawi is Batik. The purpose of this study was to obtain a description of the ethnomathematics of Ngawi batik in UMKM Widi Nugraha and a description of the use of ethnomathematics in Ngawi's typical batik in mathematics learning. To achieve these objectives, researchers used qualitative research methods with ethnographic methods. The results show that Ngawi batik has several philosophical values, namely the history of the name Ngawi which is reflected in Ancient Human batik with a combination of bamboo motifs, preservation in the discovery of ancient fossils stored in the Trinil museum reflected in the batik motifs of Early Man and Batik Kawung Gading, as well as there are flora and fauna found in Ngawi such as, Srigati Series batik and, Teh Jamus batik. In terms of the use of ethnomathematics, namely as a source of information on the batik tradition of the Ngawi community and can be used as a reference in designing realistic mathematics learning in schools. This learning material is in the form of material on symmetry, transformation, and congruence
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Ramli, Sharulnizam, Mohd Khairul Azahari Abdul Rani, and Zarlina Mohd Zamari. "Exploration of Batik Lukis Motifs as a Medium of Art Communication in Pahang." Jurnal Komunikasi, Malaysian Journal of Communication 33, no. 1 (March 28, 2017): 173–83. http://dx.doi.org/10.17576/jkmjc-2017-3301-12.
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Cheatham, Thomas. "41 A full exploration of the conformational ensembles of nucleic acid structural motifs." Journal of Biomolecular Structure and Dynamics 33, sup1 (May 18, 2015): 28. http://dx.doi.org/10.1080/07391102.2015.1032590.
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Li, Chao, Qiming Yang, Bowen Pang, Tiance Chen, Qian Cheng, and Jiaomin Liu. "A Mixed Strategy of Higher-Order Structure for Link Prediction Problem on Bipartite Graphs." Mathematics 9, no. 24 (December 10, 2021): 3195. http://dx.doi.org/10.3390/math9243195.
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Link prediction tasks have an extremely high research value in both academic and commercial fields. As a special case, link prediction in bipartite graphs has been receiving more and more attention thanks to the great success of the recommender system in the application field, such as product recommendation in E-commerce and movie recommendation in video sites. However, the difference between bipartite and unipartite graphs makes some methods designed for the latter inapplicable to the former, so it is quite important to study link prediction methods specifically for bipartite graphs. In this paper, with the aim of better measuring the similarity between two nodes in a bipartite graph and improving link prediction performance based on that, we propose a motif-based similarity index specifically for application on bipartite graphs. Our index can be regarded as a high-order evaluation of a graph’s local structure, which concerns mainly two kinds of typical 4-motifs related to bipartite graphs. After constructing our index, we integrate it into a commonly used method to measure the connection potential between every unconnected node pair. Some of the node pairs are originally unconnected, and the others are those we select deliberately to delete their edges for subsequent testing. We make experiments on six public network datasets and the results imply that the mixture of our index with the traditional method can obtain better prediction performance w.r.t. precision, recall and AUC in most cases. This is a strong proof of the effectiveness of our exploration on motifs structure. Also, our work points out an interesting direction for key graph structure exploration in the field of link prediction.
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Sari, Tri, and Sri Marwati. "TERUMBU KARANG SEBAGAI MOTIF HIAS PADA DESAIN TAS RANSEL." Ornamen 19, no. 1 (November 30, 2022): 7–16. http://dx.doi.org/10.33153/ornamen.v19i1.3898.
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Sadranan Beach is one of the beaches in the Special Region of Yogyakarta precisely in Gunung Kidul Regency. Sadranan Beach is famous for its rich coral reefs on its coastline. The beauty of the coral reefs found in Sadranan Beach is not found on other beaches because of the beauty of the coral reefs. However, many fishermen deliberately hunt coral reefs and are used as raw materials for buildings, ornaments, and retrieval of coral animals that use gathul which results in damage to coral reefs. Based on the above events the author is interested in creating a backpack design work with the use of coral reefs as ornamental motifs. The design of the backpack in the Final Task includes four stages of the process of designing and manufacturing a product as well as three stages and six steps of workmanship. The four stages are the feasibility study stage of the design project, the process stage of analysis of aspects of design and design concept, the stage of the process of drafting and making a plan, and the manufacturing process stage. The three stages and six steps of the work, namely the exploration stage, the planning stage and the embodiment stage. The process and results of the design work of this Final Task has three achievements, the first is to be able to design decorative motif designs from coral reefs. The second achievement is being able to design a backpack with ornamental coral reef motifs. The third achievement is to be able to realize the prototype of a backpack with ornamental motifs of coral reefs. The result of this backpack design work is in the form of 4 (four) backpack designs and two (two) prototype backpacks with coral reef decorative motifs. In 4 (four) designs it has the names montipora, acropora, acropoda, and sidesratra.
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Stripeikis, Caterina Anush. "Θεσσαλίᾳ στέφανον τεύχων: Epinician motifs in Theotimos’ funerary Epigram ('CEG' 637)". Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos 30 (9 червня 2020): 111–23. http://dx.doi.org/10.5209/cfcg.68478.
Повний текст джерелаАнотація:
The aim of the present essay is to draw some parallelisms between Pindaric Epinikia and a funerary inscription praising a fallen warrior named Theotimos. Through the study of these parallelisms we intend not only to highlight common rhetorical and literary features but also similar socio-cultural dynamics underlying the dedication of funerary epigrams for fallen warriors and the composition of victory odes. In this sense special attention will be paid to the exploration of motifs such as the glory conferred on to the city and the practice of dedicating crowns.
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Kolbuszewski, Jacek. "Uwagi o początkach „literatury górskiej”." Góry, Literatura, Kultura 14 (August 17, 2021): 11–48. http://dx.doi.org/10.19195/2084-4107.14.3.
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One of characteristic phenomena in contemporary Polish literary culture is the emergence of a niche phenomenon of mountain literature. The term “mountain literature” has become part of colloquial discourse, also aspiring to be present in the language of literature studies (including literary criticism), which previously featured terms like “Alpine literature”, “mountaineering literature”, “Tatra literature”, “Tatra prose”. Other commonly used terms were “mountain climbing literature” and “exploration literature”. The term “Alpine literature” was introduced into scholarly discourse by Claire-Éliane Engel (1903–1976). The author of the present study points to links between the history of mountain literature, and the history of mountain exploration as well as history of tourism and mountaineering, referring to the literary traditions of various mountain ranges: the Alps, the Tatras, Karkonosze (Giant Mountains), Bieszczady, Gorce, Beskids, Góry Świętokrzyskie (Holy Cross Mountains). In addition, there are strands of research dealing with a typological analysis of mountain motifs and their function. The significance of such studies lies in the fact that they demonstrate in a clear manner the introduction of mountain motifs into literature and the evolution of the artistic forms of their expression. However, transformations in the literary approach to the mountains cannot be documented only by means of a territorial selection of specific motifs, and the whole question of depicting mountains and responding to them cannot be locked within the limited framework of the various national literatures. What is useful in this respect is a comprehensive comparative approach to the subject matter, interpreted both in the synchronic (formation of attitudes) and diachronic perspective (so-called influences, impact of models, borrowing of poetics also in connection with changes in tourist or mountaineering styles). What becomes of crucial significance here is the use of more general categories and comprehensive collective terms — mountain literature, mountaineering literature, mountain climbing literature. These categories encompass works dealing primarily with the mountains and human interactions with them. They bring in a supranational and supraterritorial understanding of the subject of mountains, without limiting the role of territorial detail in the construction of literary motifs and images. In defining mountain literature the author uses the classification of the function of nature motifs in literary works presented by Tadeusz Makowiecki in Sprawozdania Towarzystwa Naukowego w Toruniu in 1951, in his article “Funkcja motywu przyrody w dziele literackim” (Function of a nature motif in a literary work).1 On the other hand, when it comes to the phenomena discussed in the study, what is representative of fiction is a type of narrative genre known as mountain novel (roman de montagne, Bergroman). Referring to archetypic formulas of mountain literature (Dante, Petrarch, Salomon Gessner, Jean A. Deluc, H.B. de Saussure), the author points to their formal aspects: thematic-substantive, linguistic and genological. In addition, he discusses the emergence of mountaineering literature (Edward Whymper, Leslie Stephen, Polish mountaineers’ prose).
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Ningsih, Indah Erda, Dini Yanuarmi, Rahmad Washinton, Mirda Aryadi, and Fadri Rahmat. "MOTIF TANAMAN KOPI PADA BAJU TALUAK BALANGO." Style : Journal of Fashion Design 2, no. 1 (January 19, 2023): 26. http://dx.doi.org/10.26887/style.v2i2.3267.
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The coffee plant has a taproot, straight down, short and strong. The taproot is approximately 45-50 cm long, which basically has 4-8 side roots that descend down 23 cm. Coffee leaves are long, striped to the sides, wavy, dark green, and tapered at the ends. Leaves grow and are arranged side by side in the armpits of the stems, branches and twigs. A pair of leaves located in the same plane and branches that grow horizontally.The shape of the coffee plant that has been described, the creators make it as a source of ideas as an ornamental motif. The coffee plants that are used as motifs are the flower parts, leaves, fruit, and twigs that are applied to the balango taluak. Taluak balango is clothing for men in Minangkabau, the hallmark of the taluak balango shirt is using seams on the side of the shirt where there is a siba with a length below the waist, a round neck without a collar and slightly slit to the chest. The balango taluak shirt is usually worn with a trouser suit, worn in events, traditional ceremonies, religious and other formal events. The method used in the creation of this work is the method of exploration, design and embodiment with an aesthetic approach. This work is expected to be able to contribute to the wider community, by introducing the depiction of coffee plant motifs on balango taluak. The balango taluak used and used in the Minangkabau area does not have specific provisions related to its decorative motifs.
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Geng, Nisha, Tiange Bi, Niloofar Zarifi, Yan Yan, and Eva Zurek. "A First-Principles Exploration of NaxSy Binary Phases at 1 atm and Under Pressure." Crystals 9, no. 9 (August 24, 2019): 441. http://dx.doi.org/10.3390/cryst9090441.
Повний текст джерелаАнотація:
Interest in Na-S compounds stems from their use in battery materials at 1 atm, as well as the potential for superconductivity under pressure. Evolutionary structure searches coupled with Density Functional Theory calculations were employed to predict stable and low-lying metastable phases of sodium poor and sodium rich sulfides at 1 atm and within 100–200 GPa. At ambient pressures, four new stable or metastable phases with unbranched sulfur motifs were predicted: Na2S3 with C 2 / c and Imm2 symmetry, C 2 -Na2S5 and C 2 -Na2S8. Van der Waals interactions were shown to affect the energy ordering of various polymorphs. At high pressure, several novel phases that contained a wide variety of zero-, one-, and two-dimensional sulfur motifs were predicted, and their electronic structures and bonding were analyzed. At 200 GPa, P 4 / m m m -Na2S8 was predicted to become superconducting below 15.5 K, which is close to results previously obtained for the β -Po phase of elemental sulfur. The structures of the most stable M3S and M4S, M = Na, phases differed from those previously reported for compounds with M = H, Li, K.
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Mahyuddin, Muhammad Haris, and Kazunari Yoshizawa. "DFT exploration of active site motifs in methane hydroxylation by Ni-ZSM-5 zeolite." Catalysis Science & Technology 8, no. 22 (2018): 5875–85. http://dx.doi.org/10.1039/c8cy01441h.
Повний текст джерелаАнотація:
DFT calculations suggest [Ni2(μ-O)2]2+ and [Ni3(μ-O)3]2+ species as two possible active sites in methane hydroxylation by Ni-ZSM-5 zeolite. Both of them are predicted to activate methane and desorb the formed methanol with low activation and desorption energies.
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Rahman, Zehra, and Mark Hicar. "Exploration of shared antibody motifs in Kawasaki Disease (KD) and COVID-19 related Multisystem Inflammatory Syndrome of Childhood (MIS-C)." Journal of Immunology 208, no. 1_Supplement (May 1, 2022): 125.13. http://dx.doi.org/10.4049/jimmunol.208.supp.125.13.
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Abstract Amidst the COVID-19 pandemic, there have been several studies elucidating the immune responses of individuals who have been infected with the SARS-CoV-2 virus. Antibodies (Abs) from different individuals that share the same variable gene and are highly similar in their third complementarity determining regions (CDR3) are termed public clonotypes. Eleven such public clonotypes for SARS-CoV-2 related neutralizing Abs have been proposed. MIS-C was initially confused with KD as both conditions predominantly affect children and can have cardiac manifestations. KD has been previously associated with common cold coronaviruses and a shared immune response has been proposed. Here we compare previously published neutralizing Abs in SARS-CoV-2 to Abs of pediatric patients with KD, acute COVID-19 and MIS-C in order to identify shared antibody motifs between the two immune responses. Meme analysis of B cell plasmablast derived heavy chain sequences were compared to published Sars-CoV-2 Ab datasets. Shared CDR3 sequence motifs were shown in seven instances in acute COVID-19, two instances in MISC, and none were shown in KD that appeared beyond shared D segment usage. We then compared Abs from MIS-C and KD with published public clonotypes of SARS-COV-2. We identified two of these in the total B cell sequences from MISC and none in the KD total B cell sequences. Data suggests one proposed SARS-CoV-2 public clonotype, that relies on a mid-CDR3 YDSSG motif, is not specific. This study further supports that KD and MISC are distinct conditions not related by similar antigen driven immune response, which has implications for challenging the current therapeutic approach. Supported by The Wildermuth Foundation and the Variety Club of Buffalo
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Nur Hidayat, Wahyu, and Aan Sudarwanto. "DEWI SARASWATI DALAM GAUN MALAM." Ornamen 19, no. 1 (November 30, 2022): 48–60. http://dx.doi.org/10.33153/ornamen.v19i1.3906.
Повний текст джерелаАнотація:
Dewi Saraswati in this evening gown visualizes the shapes, forms and symbols attached to the figure of Dewi Saraswati into a batik motif which is formed into an evening gown. Dewi Saraswati is the goddes of knowledge or veda. The idea of creation will be focused on (1) how to explore, make sketches, draw designs that come from the shapes, forms and symbols attached to Dewi Saraswati into the new creation batik motifs for evening gown designs? (2) How to create written batik based on a design that has been designed with the motif created by Dewi Saraswati? (3) How are the results of the new batik-patterned fabrics being formed into evening gown? The method used in this approach is to use the creation method which includes the exploration stage, the design stage and the work creation stage. Execution of the process of creating the work The final project is carried out in two stages, namely the batik making process and the evening gown making process. The creation of this work aims to explore the concept of form, appearance, decorative motifs, colors and symbols attached to Dewi Saraswati which is formed into written batik which is then applied to evening gown. The color used for the creation of this final project refers to the color of the Surakarta style batik tradition. The finished batik work is then applied to the evening gown. Evening Gown is a gown worn at night parties with a glamorous look, has sparkling details and is elegantly cut.
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Sari, Suci Mayang, Putri Yulia, and Nur Rusliah. "Aspek etnomatematika pada anyaman bambu Desa Bunga Tanjung Kabupaten Kerinci." PYTHAGORAS: JURNAL PROGRAM STUDI PENDIDIKAN MATEMATIKA 12, no. 1 (May 3, 2023): 36–48. http://dx.doi.org/10.33373/pythagoras.v12i1.5029.
Повний текст джерелаАнотація:
Abstrak. Desa Bunga Tanjung Kabupaten Kerinci memiliki kearifan lokal berupa anyaman bambu, dibalik proses dan hasil karya kerajinan anyaman yang tercipta terdapat unsur matematika yang disebut etnomatematika yang sebagian besar masyarakat disana tidak mengetahui akan hal itu. Jenis penelitian yang digunakan dalam penelitian ini adalah penelitian kualitatif dengan pendekatan etnografi. Subjek dalam penelitian ini adalah masyarakat khususnya pengrajin anyaman bambu desa Bunga Tanjung Kerinci. Teknik pengumpulan data dalam penelitian ini yaitu observasi, wawancara, dan dokumentasi. Hasil dari penelitian ini adalah aspek-aspek matematika yang terdapat pada anyaman bambu Desa Bunga Tanjung Kabupaten Kerinci adalah a) mengukur, aspek etnomatematika mengukur terdapat pada saat pengrajin menentukan ukuran bambu, ketebalan bambu, jarak dan sudut saat membuat pola atau motif anyaman. b) menghitung, aspek etnomatematika menghitung terdapat pada saat pengeringan bambu yang membutuhkan perhitungan waktu atau durasi, juga pada saat membuat pola yang membutuhkan perhitungan dengan langkah yang sistematis. c) mendesain, aspek etnomatematika mendesain terdapat pada saat pengrajin membuat pola atau motif anyaman, seperti pada saat pengrajin mendesain motif atau pola angkat satu, angkat tiga, motif padat dan motif matahari dan membuat pola bentuk karya anyaman yang diinginkan.d) menjelaskan, aspek etnomatematika menjelaskan terdapat pada makna atau arti dari anyaman ataupun motif anyaman.Kata kunci: Eksplorasi, Etnomatematika, Anyaman Bambu Abstract. Bunga Tanjung Village, Kerinci Regency has local wisdom in the form of woven bamboo, behind the process and the results of the woven crafts that are created there is a mathematical element called ethnomathematics which most of the people there do not know about. The type of research used in this study is qualitative research through an ethnographic approach. The subjects in this study were the community, especially woven bamboo craftsmen in Bunga Tanjung Kerinci village. Data collection techniques in this study are observation, interviews, and documentation. The results of this study are that the mathematical aspects contained in woven bamboo in Bunga Tanjung Village, Kerinci Regency are a) measuring, the ethnomathematics aspect of measuring occurs when the craftsman determines the size of the bamboo, the thickness of the bamboo, the distance and the angle when making the pattern or motif of the woven. b) counting, the ethnomathematics aspect of counting occurs when drying bamboo which requires calculation of time or duration, also when making patterns which require calculations in systematic steps. c) designing, the ethnomathematics aspect of designing occurs when craftsmen make woven patterns or motifs, such as when craftsmen design one, three, solid motifs and sun motifs and make patterns of the desired form of woven work. d) explains aspects Ethnomatematics explains that it is found in the meaning or meaning of the woven or woven motifsKeywords: Exploration, Ethnomathematics, Bamboo Weaving
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Gaur, Pankaj, Sagarika Dev, Sunil Kumar, Mahesh Kumar, Anuj A. Vargeese, Pramod Soni, Prem Felix Siril, and Subrata Ghosh. "Dendritic Polynitrato Energetic Motifs: Development and Exploration of Physicochemical Behavior through Theoretical and Experimental Approach." ACS Omega 2, no. 11 (November 20, 2017): 8227–33. http://dx.doi.org/10.1021/acsomega.7b00880.
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Mahire, Vilas N., and Pramod P. Mahulikar. "Facile one-pot clean synthesis of benzimidazole motifs: Exploration on bismuth nitrate accelerated subtle catalysis." Chinese Chemical Letters 26, no. 8 (August 2015): 983–87. http://dx.doi.org/10.1016/j.cclet.2015.04.012.
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Parker, Alan L., Louise Collins, Xiaohong Zhang, and John W. Fabre. "Exploration of peptide motifs for potent non-viral gene delivery highly selective for dividing cells." Journal of Gene Medicine 7, no. 12 (2005): 1545–54. http://dx.doi.org/10.1002/jgm.809.
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Safitri, Dewi Diana, and Tiwi Bina Affanti. "PERANCANGAN TEKSTIL PAKAIAN DENGAN PEWARNA DARI SAMPAH MANGROVE DAN PENERAPAN MOTIFNYA DENGAN PADUAN TEKNIK IKAT CELUP DAN ECO PRINTING." Ornamen 19, no. 2 (December 1, 2022): 121–31. http://dx.doi.org/10.33153/ornamen.v19i2.4590.
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The background of this design, there is an exploration of manual textile techniques among textile designers, this is in line with the demands of the times, namely, the development of existing trends in order to meet the needs of consumers and the market. The combination of tie-dying and eco-printing techniques attracts attention to be explored again using natural dyes with the addition of embroidery techniques on Bemberg cloth media, which will produce textiles with novelty in their aesthetic motifs. The purpose of this design is to produce clothing textiles with novelty in their unique motif aesthetics among textile designers to meet the needs of consumers and the market. The novelty value offered in this design is the design of clothing textiles according to fashion patterns with a combination of dyeing and eco printing techniques with embroidery techniques. Natural coloring using extraction from mangrove waste. Composing motifs using natural dyes from mangrove waste with two fixations of quicklime and tunjung to obtain varied visual aesthetics in one natural coloring. The media used in this blend of tie-dying and eco-printing techniques is bemberg cloth. Bemberg cloth material was chosen because it has very good absorption. The design method uses the SP Gustami theory. This design produces 6 unique designs with visual ideas of line, plane and color, which can be achieved by a combination of tritik, jumputan tie-dyed and eco printing techniques, three of which are applied to sheets of cloth measuring 200cm long and 120cm wide. It is hoped that the "Design of Clothing Textiles with Dye from Mangrove Waste and the Application of its Motifs with a Combination of Ikat Dip and Eco Printing Techniques" can add variety to fashion products that have unique, distinctive and limited edition characters.
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Amalia, Nur, and Urip Wahyuningsih. "Penerapan Hiasan Motif Daun Kelapa dengan Menggunakan Teknik Bordir dan Payet pada Busana Pengantin." BAJU: Journal of Fashion & Textile Design Unesa 2, no. 1 (June 15, 2022): 1–8. http://dx.doi.org/10.26740/baju.v2n1.p1-8.
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Tujuan penulisan ini adalah untuk mengetahui proses penerapan hiasan motif daun kelapa dengan teknik bordir dan payet, dan untuk mengetahui hasil jadi penerapan hiasan motif daun kelapa pada busana pesta malam. Dalam penelitian ini menggunakan metode A Three-Stage Design Process, dalam 3 tahap yang terdiri dari, problem definition, and research, creative exploration, implementation. Penelitian ini melakukan eksplorasi pada pembuatan hiasan dengant teknik bordir dan payet. Desain Busana pengantin ini merupakan desain busana two piece dengan siluet mermaid ekor yang terpisah. Desain warna pada busana yaitu coklat membuat gaun terlihat elegant dan anggun. Bahan busana pembuatan daun kelapa menggunakan kain organza, dan satu bahan utama yang digunakan adalah kain Jaguard. Hasil Jadi penerapan hiasan motif daun kelapa dengan menggunakan teknik bordir dan payet menghasilkan busana yang terlihat elegant saat dikenakan, dengan Siluet busana mermaid yang mebuat gaun tampak lebih cantik. Hasil hiasan motif daun kelapa yang diterapkan pada busana tampak berbinar saat terkena cahaya sehingga membuat busana terlihat mewah. Penelitian ini dapat menambah referensi dalam bidang busana khususnya karya tulis tentang penerapan hiasan daun kelapa dengan Teknik bordir dan payet.
The purpose of this writing is to find out the process of applying coconut leaf motif decoration with embroidery and sequin techniques and to find out the results of applying coconut leaf motif decorations in tonight's party fashion. This study uses the A Three-Stage Design Process method, in 3 stages consisting of, problem definition and research, creative exploration, and implementation. This research conducted an exploration of the manufacture of decorations with embroidery and sequin techniques. This bridal fashion design is a two-piece fashion design with a separate mermaid tail silhouette. The colour design in fashion, namely brown makes the dress look elegant and elegant. The fashion material for making coconut leaves uses organza fabric, and one of the main materials used is Jaguard fabric. So the application of coconut leaf motif decoration using embroidery and sequin techniques produces clothes that look elegant when worn, with mermaid fashion silhouettes that make dresses look more beautiful. The results of the decoration of coconut leaf motifs applied to fashion seem to sparkle when exposed to light to make fashion look luxurious. This research can add references in the field of fashion, especially writing on the application of coconut leaf decoration with embroidery and sequin techniques.
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Paramita, Ni Gusti Ayu, I. Wayan Mudra, and Anak Agung Gede Rai Remawa. "CENGKEH SEBAGAI INSPIRASI PENGEMBANGAN MOTIF BATIK BERBASIS DIGITAL DI KABUPATEN BULELENG." Gorga : Jurnal Seni Rupa 11, no. 2 (December 17, 2022): 426. http://dx.doi.org/10.24114/gr.v11i2.38894.
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Batik is one of the textile products that began to develop in Buleleng Regency. The presence of batik in the Buleleng district is used as an alternative for souvenirs and souvenirs that have an attraction for tourists. However, the lack of innovation in the creation of batik motifs and limited human resources have urged the creation of innovations to maintain the existence of batik, especially in the Buleleng Regency. Along with the growth of technology in the current digital era, batik must be able to grow without eroding its philosophical meaning of batik. This study aims to maintain the existence of batik, especially in Buleleng Regency by applying digital design in the design of motifs so that it can accelerate the process of making batik. The method used in this study uses a qualitative method with a three-stage approach to the creation of works of art, namely exploration, design, and embodiment. In the design process, the motifs used took inspiration from the clove plant in the Buleleng district in collaboration with the typical Buleleng motif, Singaraja. This motif was designed using the Adobe Illustrator application with the final result in the form of a batik design mockup. This research is expected to develop the potential of batik in Buleleng Regency by developing variations of the typical motifs of Buleleng Regency. The application of digital technology in designing batik is carried out to accelerate the batik production process to meet market demand.Keywords: cloves, motif development, digital based. AbstrakBatik menjadi salah satu produk tekstil yang mulai berkembang di Kabupaten Buleleng. Hadirnya batik di Kabupaten Buleleng dijadikan alternatif cenderamata maupun oleh-oleh yang mempunyai daya tarik untuk turis. Namun inovasi yang kurang dalam penciptaan motif batik serta keterbatasan SDM mendesak penciptaan inovasi baru guna mempertahankan keberadaan batik khususnya di Kabupaten Buleleng. Seiring dengan pertumbuhan teknologi di era digital sekarang, batik wajib bisa bertumbuh tanpa mengikis makna filosofi dari batik. Penelitian ini bertujuan untuk mempertahankan eksistensi batik khususnya di Kabupaten Buleleng dengan menerapkan desain digital dalam perancangan motif sehingga dapat mempercepat proses pembuatan batik. Metode yang digunakan pada penelitian ini menggunakan metode kualitatif dengan pendekatan 3 tahapan penciptaan karya seni, yakni eksplorasi, perancangan dan perwujudan. Pada proses perancangan, motif yang digunakan mengambil inspirasi dari tanaman cengkeh di Kabupaten Buleleng yang dikolaborasikan dengan motif khas Buleleng yakni singaraja. Motif ini dirancang menggunakan aplikasi Adobe Illustrator dengan hasil akhir berupa mockup desain batik. Penelitian ini diharapkan dapat mengembangkan potensi batik di Kabupaten Buleleng dengan mengembangkan variasi motif khas Kabupaten Buleleng. Penerapan teknologi digital dalam mendesain batik ini dilakukan agar dapat mempercepat proses produksi batik guna memenuhi permintaan pasar.Kata Kunci: cengkeh, pengembangan motif, berbasis digital. Authors:Ni Gusti Ayu Paramita : Institut Seni Indonesia DenpasarI Wayan Mudra : Institut Seni Indonesia DenpasarAnak Agung Gede Rai Remawa : Institut Seni Indonesia Denpasar References:Data Statistik Kabupaten Buleleng. (2017). Statistik Jumlah Produksi Komuniti Cengkeh Kabupaten Buleleng. https://bulelengkab.bps.go.id/staticta (diakses tanggal 17 April 2022).Natalia, D. A. W. N., Budhyani, I. D. A. M., & Angendari, M. D. (2019). Batik Bali pada Industri Sari Amerta Batik Collection di Desa Batubulan Kecamatan Sukawati Kabupaten Gianyar. Jurnal BOSAPARIS: Pendidikan Kesejahteraan Keluarga, 9(2), 76-87.Gustami, S. P. (2004). Proses Penciptaan Seni Kriya: Untaian Metodelogis. Yogyakarta: Program Pascasarjana S2 Penciptaan Dan Pengkajian Seni ISI Yogyakarta.
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Kluge, Sofie. "Topologisk poetik i Viktor Šklovskijs Prosateorien." K&K - Kultur og Klasse 45, no. 123 (August 28, 2017): 55–68. http://dx.doi.org/10.7146/kok.v45i123.96829.
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Though not explicitly addressed as such, the literary topos plays a crucial role in Russian literary theorist Victor Shklovsky’s Theory of Prose (1925). On the backdrop of a critical discussion of the ‘symbolist’ conception of literature and of the ‘ethnographical school’s’ exploration of literary motifs, Shklovsky here presents what can be understood as a genuine topological poetics: A poetics bent on the ‘formulaic’ as quintessential literary device. Rather than a figuration of the author’s ideas literary images are, according to Shklovsky, conventional formulas that circulate in language. Rather than collective commemorations of original customs literary motifs exhibit literature’s revitalization of ‘automatized’ language. Thus redefined as topoi in this most basic sense – as commonplaces or repetitions of existing forms – literary images and motifs become key to understanding ‘literariness’ itself as a redeeming ‘estrangement’ of dead language forms and to conceptualizing literary history as a chain of successive estrangements. Qualifying the topos as self-referential, estranging device, Theory of Prose thus presents an original if also thought-provoking contribution to topology. However, it ultimately rest on a today questionable literary philosophical premise: The idea of literature as a privileged discursive space where the lost ideality of the life-world is recreated.
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Zhou, Dawei, Si Zhang, Mehmet Yigit Yildirim, Scott Alcorn, Hanghang Tong, Hasan Davulcu, and Jingrui He. "High-Order Structure Exploration on Massive Graphs." ACM Transactions on Knowledge Discovery from Data 15, no. 2 (April 2021): 1–26. http://dx.doi.org/10.1145/3425637.
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Modeling and exploring high-order connectivity patterns, also called network motifs, are essential for understanding the fundamental structures that control and mediate the behavior of many complex systems. For example, in social networks, triangles have been proven to play the fundamental role in understanding social network communities; in online transaction networks, detecting directed looped transactions helps identify money laundering activities; in personally identifiable information networks, the star-shaped structures may correspond to a set of synthetic identities. Despite the ubiquity of such high-order structures, many existing graph clustering methods are either not designed for the high-order connectivity patterns, or suffer from the prohibitive computational cost when modeling high-order structures in the large-scale networks. This article generalizes the challenges in multiple dimensions. First ( Model ), we introduce the notion of high-order conductance, and define the high-order diffusion core, which is based on a high-order random walk induced by the user-specified high-order network structure. Second ( Algorithm ), we propose a novel high-order structure-preserving graph clustering framework named HOSGRAP , which partitions the graph into structure-rich clusters in polylogarithmic time with respect to the number of edges in the graph. Third ( Generalization ), we generalize our proposed algorithm to solve the real-world problems on various types of graphs, such as signed graphs, bipartite graphs, and multi-partite graphs. Experimental results on both synthetic and real graphs demonstrate the effectiveness and efficiency of the proposed algorithms.
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Putri, Alfatichah Okvanda, and Theresia Widyastuti. "PERANCANGAN BATIK CAP DENGAN CORAK BURUNG MURAI BATU MENGGUNAKAN PENGGAYAAN ANIMASI." Gorga : Jurnal Seni Rupa 11, no. 2 (December 2, 2022): 319. http://dx.doi.org/10.24114/gr.v11i2.36521.
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Batik is a cultural heritage that must be preserved. Its development can be done through its techniques, whether written, stamped, or painted, and its patterns are now taking many modern forms. In this design, the development of motifs is specifically for children who use the figurative way of drawing characters. The method used in this design is the Collin Clipson method which includes the exploration stage through observation and data collection related to the design theme; the stage of making alternative motif designs depicted in the form of character figures to be used as batik stamps. This stamped batik uses remasol dye with smock coloring technique. This stamped batik with the main motif of a stone magpie was made with the aim of adding an alternative to the smock stamped batik motif which is intended for children aged 7-11 years. This stamped batik with character-described motifs for children. Keywords: stamped batik, stone magpie. AbstrakBatik merupakan warisan budaya yang harus terus dilestarikan. Pengembangannya dapat dilakukan melalui tekniknya, baik tulis, cap, maupun lukis, dan coraknya yang saat ini sudah banyak mengambil bentuk modern. Pada perancangan ini pengembangan motif dikhususkan untuk anak-anak yang memanfaatkan cara gambar karakter secara figuratif. Metode yang digunakan dalam perancangan ini adalah metode Collin Clipson yang mencakup tahap eksplorasi melalui pengamatan dan pengumpulan sumber data yang berkaitan dengan tema perancangan; tahap membuat alternatif desain motif yang digambarkan dalam bentuk figur karakter untuk dijadikan cap batik. Batik cap ini menggunakan bahan pewarna remasol dengan teknik pewarnaan smock. Batik cap dengan motif utama burung murai batu ini dibuat dengan tujuan untuk menambahkan alternatif motif batik cap smock yang ditujukan untuk anak usia 7-11 tahun. Batik cap dengan motif yang digambarkan secara karakter ini ditujukan agar anak-anak.Kata Kunci: batik cap, burung murai batu. Authors:Alfatichah Okvanda Putri : Universitas Sebelas MaretTheresia Widyastuti : Universitas Sebelas Maret References: Darmaningsi., D., & Sunaryati, I. (1985). Pembuatan Busana Bayi dan Anak. Jakarta: Depdikbud Direktorat Pendidikan Menengah Kejuruan.Gunawan, H. (2012). Pedoman Lengkap Menangkar dan Mencetak Murai Batu Kelas Jawara. Yogyakarta: Pustaka Baru Press.Lailia, N. A. (2018). Perancangan Motif Batik Cap Untuk Kain Seragam. Tea House Bale Branti, 15(1), 74-76.Munir, M. (2013). Multimedia Dan Konsep Aplikasi Dalam Pendidikan. Bandung: Penerbit Alfabet.Rizali, N. (2012). Metode Perancangan Tekstil. Surakarta: UNS Press.Withrow, S. (2007). Character Design For Graphic. USA: Rotovision.Wulandari, A. (2011). Batik Nusantara Makna Filosofi, Cara Pembuatan, dan Industri Batik. Yogyakarta: Andi.
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Sulistyorini, Urip Wahyuningsih, Rani. "Eksplorasi Perintang Warna Alami pada Kualitas Batik." TEKNOBUGA: Jurnal Teknologi Busana dan Boga 9, no. 2 (November 30, 2021): 85–94. http://dx.doi.org/10.15294/teknobuga.v9i2.30746.
Повний текст джерелаАнотація:
Exploration is important because it has the potential to increase creativity in the use of natural materials that are able to maintain the existence of written batik without reducing the essence of written batik itself. The method used is a literature study. This study aims to describe natural materials that can be used as color barriers, determine the results and quality of batik motifs produced from natural color barriers, and determine the process and results of batik coloring on natural color barriers. The natural ingredients explored are cassava peel and canna starch. The batik motifs produced by the two barriers depend on the drying time, the thickness of the paste application and the applicator used. In the use of natural cassava peel ingredients, the color barrier can block the color well when using a triangular plastic applicator because the quality obtained is good, namely the lines are firm and clear. Meanwhile, when using natural canna starch, the color barrier can block the color well when using the vinegar bottle applicator because the results of the imitation batik motifs produced are neat, even, and firm. The natural ingredients for cassava peel are dylon and wantex dyes, while the canna starch is used for napthol dyes.
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Waschburger, Edgar Luis, Frank Guzman, and Andreia Carina Turchetto-Zolet. "Genome-Wide Identification and Analysis of DOF Gene Family in Eugenia uniflora L. (Myrtaceae)." Genes 13, no. 12 (November 28, 2022): 2235. http://dx.doi.org/10.3390/genes13122235.
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Eugenia uniflora is a Brazilian native plant species with great ecological and economic importance. It is distributed throughout the Atlantic forest, where two distinct populations show local adaptation to the contrasting conditions of restinga and riparian forest. Among various TFs described in plants, the DOF TF family has been reported to affect flowering and vascular development, making them promising candidates for characterization in E. uniflora. In this study, 28 DOF genes were identified by a genome-wide analysis, of which 20 were grouped into 11 MCOGs by Bayesian phylogeny, suggesting a shared functionallity between members. Based on RNA-seq experiments, we have detected eight drought responsive genes, and SNPs identification revealed population unique polymorphisms, implying a role in local adapatation mechanisms. Finally, analysis of conserved motifs through MEME revealed 15 different protein motifs, and a promoter region analysis returned 40 enriched TF binding motifs, both reporting novel biological functions circa the DOF gene family. In general, the DOF family is found to be conserved both in sequence and expression. Furthermore, this study contributes to both DOF literature and the genetic exploration of native species, elucidating their genetic potential and bringing to light new research topics, paving the way to future studies.
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Millar, Pat. "The tension between emotive/aesthetic and analytic/scientific motifs in the work of amateur visual documenters of Antarctica's Heroic Era." Polar Record 53, no. 3 (March 9, 2017): 245–56. http://dx.doi.org/10.1017/s003224741700002x.
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ABSTRACTVisual documenters made a major contribution to the recording of the Heroic Era of Antarctic exploration. By far the best known were the professional photographers, Herbert Ponting and Frank Hurley, hired to photograph British and Australasian expeditions. But a great number of images – photographs and artworks – were also produced by amateurs on lesser known European expeditions and a Japanese one. These amateurs were sometimes designated official illustrators, often scientists recording their research. This paper offers a discursive examination of illustrations from the Belgian Antarctic Expedition (1897–1899), German Deep Sea Expedition (1898–1899), German South Polar Expedition (1901–1903), Swedish South Polar Expedition (1901–1903), French Antarctic Expedition (1903–1905) and Japanese Antarctic Expedition (1910–1912), assessing their representations of exploration in Antarctica in terms of the tension between emotive/aesthetic and systematic analytic/scientific motifs. Their depictions were influenced by their illustrative skills and their ‘ways of seeing’, produced from their backgrounds and the sponsorship needs of the expedition.