Triyanto -
Gedung B5 Lantai 2, Kampus Sekaran, Gunungpati, Semarang, Indonesia 50229

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WARAK NGENDOG: SIMBOL AKULTURASI BUDAYA PADA KARYA SENI RUPA -, Triyanto; Rokhmat, Nur; -, Mujiyono
Jurnal Komunitas: Research and Learning in Sociology and Anthropology Vol 5, No 2 (2013): Tema Edisi: Model-Model Pemberdayaan Masyarakat dan Pendidikan Karakter Bangsa
Publisher : Jurnal Komunitas: Research and Learning in Sociology and Anthropology

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AbstrakWarak Ngendog merupakan kreativitas budaya lokal yang menjadi maskot dalam tradisi ritual Dugderan masyarakat Kota Semarang.  Penelitian ini bertujuan  mengkaji masalah maskot seni rupa  tersebut  sebagai simbol akulturasi budaya  melalui analisis intra estetik dan ekstra estetik. Hasil penelitian menunjukkan bahwa dari aspek intra estetik, perwujudan Warak Ngendog sebagai maskot Dugderan merepresentasikan hewan rekaan berkaki empat yang bersifat enigmatik, unik, eksotik, dan ekspresif. Dari aspek  ekstra estetik, maskot tersebut  secara simbolik mencerminkan  akulturasi budaya Jawa, Arab, dan Cina yang merefleksikan pesan-pesan edukatif ajaran moral Islami serta nilai harmoni kehidupan masyarakat multikultur. Interaksi sistemik unsur-unsur ulama, pemerintah, masyarakat,  ritual Dugderan, dan maskot seni rupa Warak Ngendog sebagai simbol akulturasi budaya dapat berperan secara sinergis sebagai model dalam membangun integrasi budaya.AbstractWarak Ngendog, a mascot of Semarang City in Dugderan ritual tradition, is a symbolically laden cultural creativity. This research aims to study visual artwork of a mascot as a symbol of cultural accuturation through intra-aesthetic and extra-aesthetic analysis. The result of the research showed that, from intra-aesthetic aspect, the actualization of Warak Ngendog as Dugderan mascot presents fictional four-legged animal which were enigmatic, unique, exotic, and expressive. In addition, from extra-aesthetic aspects, the mascot symbolically mirrors Javanese, Arabic, and Chinese cultural acculturation reflecting educational messages of Islamic morals and invitation for harmony in a multicultural society. Creating systemic interaction between ulama, government, society, Dugderan ritual and its mascot plays important roles as a model for developing harmony and cultural integrity.© 2013 Universitas Negeri Semarang
MODEL PERTANGGUNGJAWABAN HUKUM PELAKSANAAN CORPORATE SOSIAL RESPONSIBILITY (CSR) UNTUK MENINGKATKAN KESEJAHTERAAN MASYARAKAT -, Pujiyono; Wiwoho, Jamal; -, Triyanto
Yustisia Jurnal Hukum Vol 5, No 1: JANUARY-APRIL 2016
Publisher : Faculty of Law, Universitas Sebelas Maret

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AbstractCorporate Social Responsibility (CSR) is an obligation that imposed on a company under Article 74 of Law No. 40 Year 2007 regarding Limited Liability Company (UUPT). CSR implementation has some problems because of the lack of regulations (UUPT) that thera no sanctions for the companies that do not implement CSR. Currently, many companies that do not implement CSR maximally. So that the implementation of CSR is currently less of legal responsibility. Therefor,  it is necessary to formulate a model of CSR’s accountability in order to fill the legal vacuum that occurs at this time in order to improve the welfare of society. This research used research and development / R&D method. The location of research consits of PT Pertamina Hulu Energi (PHE) in Jakarta and some companies in Surakarta. The data used is derived from the primary data from informants, while secondary data in the form of journals, papers, reports, results of previous studies and other relevant publications. The Instrument collecting data using interviews, questionnaires, focus group discussions (FGD) and literature study. For the analysis used qualitative analysis techniques.Keywords : CSR, Legal responsibility, the welfare of society.AbstrakTanggung jawab sosial perusahaan atau Corporate Social Responsibility (CSR) merupakan kewajiban yang dibebankan kepada suatu perusahaan berdasarkan Pasal 74 Undang-Undang Nomor 40 Tahun 2007 tentang Perseroan Terbatas (UUPT). Pelaksanaan CSR masih menjadi persoalan karena belum adanya peraturan pelaksanaan dari UUPT tentang pengawasan dan sanksi bagi perusahaan yang tidak melaksanakan CSR. Saat ini banyak perusahaan hanya melakukan CSR secara suka-suka tanpa ada pedoman yang jelas. Sehingga pelaksanaan CSR saat ini kurang dapat dipertanggungjawabkan secara hukum. Untuk itu perlu dirumuskan model pertanggungjawaban pelaksanaan CSR guna mengisi kekosongan hukum yang terjadi saat ini guna meningkatkan kesejahteraan masyarakat. Penelitian ini menggunakan metode penelitian dan pengembangan (research and development / R&D). Lokasi penelitian meliputi PT Pertamina Hulu Energi (PHE) di Jakarta dan beberapa Perusahaan di Surakarta. Data yang dipergunakan yakni data primer berasal dari informan, sedangkan data sekunder berupa jurnal, makalah, laporan, hasil penelitian terdahulu dan publikasi lainnya yang relevan. Instrumen pengumpul data menggunakan wawancara, kuesioner, Focus Group Discussion (FGD) dan studi kepustakaan. Untuk analisis digunakan teknik analisis kualitatif.Kata kunci: CSR, Pertanggungjawaban Hukum, Kesejahteraan Masyarakat
CERAMICS ENCULTURATION OF ARTISANS’ COMMUNITY IN MAYONG LOR VILLAGE: ADAPTATION STRATEGIES IN THE PRESERVATION AND CONTINUATION OF LOCAL CULTURE CREATIVE POTENTIAL -, Triyanto; Rohidi, Tjetjep Rohendi; Sumaryanto, Totok; Thohir, Mudjahirin
The Journal of Educational Development Vol 3 No 2 (2015): November 2015
Publisher : The Journal of Educational Development

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The facts showed that traditional ceramic arts are one of the local cultural heritages in which their existence is not easily maintained and continued because of competition with modern industrial products in market. The opposite condition occurs in Mayong Lor village that this local cultural heritage is still well maintained and developed from generation to generation for about six centuries in communities. Thus, a fundamental question arises why and how this phenomenon occurs. This study examines ceramics enculturation problems of crafters in Mayong Lor village communities, Jepara as the manifestation of adaptation strategies in the preservation and continuation of local culture creative potential. Two approaches used as the basis of assessment strategies. First, the theoretical approach was applied through the approach of culture, aesthetics, structural functionalism, adaptation, and education. Next, the methodological approach was used through anthropological research approach operated by using qualitative research method. The results show that the ceramics enculturation of artisans’ in Mayong Lor village communities naturally appear to function as a cultural mechanism of ceramics traditional activities in the environment of crafter families. This cultural mechanism is the form of informal education as the manifestation of adaptation strategies in maintaining and continuing creative potential of ceramics culture in the community, across generations since 15th to 21th century. The local culture stakeholders are recommended to adopt or adapt the findings of this study as a model in determining policies for the development of conservation programs and local culture potential in their respective regions.
WARAK NGENDOG: SIMBOL AKULTURASI BUDAYA PADA KARYA SENI RUPA -, Triyanto; Rokhmat, Nur; -, Mujiyono
KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Vol 5, No 2 (2013): Tema Edisi: Model-Model Pemberdayaan Masyarakat dan Pendidikan Karakter Bangsa
Publisher : Universitas Negeri Semarang

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Abstract

AbstrakWarak Ngendog merupakan kreativitas budaya lokal yang menjadi maskot dalam tradisi ritual Dugderan masyarakat Kota Semarang. Penelitian ini bertujuan mengkaji masalah maskot seni rupa tersebut sebagai simbol akulturasi budaya melalui analisis intra estetik dan ekstra estetik. Hasil penelitian menunjukkan bahwa dari aspek intra estetik, perwujudan Warak Ngendog sebagai maskot Dugderan merepresentasikan hewan rekaan berkaki empat yang bersifat enigmatik, unik, eksotik, dan ekspresif. Dari aspek ekstra estetik, maskot tersebut secara simbolik mencerminkan akulturasi budaya Jawa, Arab, dan Cina yang merefleksikan pesan-pesan edukatif ajaran moral Islami serta nilai harmoni kehidupan masyarakat multikultur. Interaksi sistemik unsur-unsur ulama, pemerintah, masyarakat, ritual Dugderan, dan maskot seni rupa Warak Ngendog sebagai simbol akulturasi budaya dapat berperan secara sinergis sebagai model dalam membangun integrasi budaya.AbstractWarak Ngendog, a mascot of Semarang City in Dugderan ritual tradition, is a symbolically laden cultural creativity. This research aims to study visual artwork of a mascot as a symbol of cultural accuturation through intra-aesthetic and extra-aesthetic analysis. The result of the research showed that, from intra-aesthetic aspect, the actualization of Warak Ngendog as Dugderan mascot presents fictional four-legged animal which were enigmatic, unique, exotic, and expressive. In addition, from extra-aesthetic aspects, the mascot symbolically mirrors Javanese, Arabic, and Chinese cultural acculturation reflecting educational messages of Islamic morals and invitation for harmony in a multicultural society. Creating systemic interaction between ulama, government, society, Dugderan ritual and its mascot plays important roles as a model for developing harmony and cultural integrity. 2013 Universitas Negeri Semarang
SINTESIS DAN KARAKTERISASI NUKLEOTIDA BERTANDA [a-32P]ATP Rahman, Wira Yusril; Sarmini, Endang; -, Herlina; -, Abidin; -, Triyanto; -, Hambali; Nurbaiti, Santi
Jurnal Riset Kimia Vol 12, No 2 (2019): March
Publisher : Universitas Andalas

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The utilization of nuclear technology in health sector with molecular techniques is increasingly developed today, especially in Indonesia.  One of which is nucleotide compound marked with [α-32P]ATP, this compound has been used as tracer for deoxyribonucleic acid (DNA)/ ribonucleic acid (RNA) in the study of various physiological and pathological processes. [α-32P]ATP is synthesized through several stages of continuous reaction in one reaction vessel. It begins with synthesis of [γ-32P]ATP through an enzymatic reaction, using H332PO4 and ADP, and enzymes  of lactate dehydrogenase, 3-phosphoglycerate phosphokinase and glyceraldehide 3-phospho  dehydrogenase; followed by phosphorilation of 3’AMP with T4 polinucleotide kinase enzyme to produce 3’-[5’-32P]ATP. The result is hydrolyzed with nuclease P1 enzyme to produce [5’-32P]AMP. The unreacted [γ-32P] is degraded by the addition of hexokinase enzyme and glucose. At the final stage of the reaction, the [5’-32P]AMP is  phosphorilated using phosphoenol-piruvat, piruvat kinase, and myokinase to produce [α-32P]ATP. The test results show that the every stage of reaction is characterized using TLC method, PEI cellulose paper as stationary phase and KH3PO4 0,5 M pH 3,5 as mobile phase. At the end of reaction, the yield of [α-32P]ATP reaches 71,7%, at Rf = 0,2.