my new art work

 

ini dia artwork terbayu, kayanya ini mewakili banget karakter aku ( i hope so???!!! )

hope it could inspire you too ^_^

under the big bright yellow sun live @ decora_jakarta

tas gendong pertamaku!! ^_^

ada setumpuk pakaian layak pakai tersimpan rapi di lemari tapi udah gak muat lagi di badan ( mengingat berat badan naik..wehehehee...) jadilah sebagian besar di kasiin ke orang dan sebagian lagi yang motifnya rada lumayan bagus di simpen, entah mau di apain tadinya. pas begitu ngeliat ada rok jeans panjang warna cream bekas waktu kuliah di D3 dulu,ekapun berkata pada diri sendiri, "wah AKU PUNYA IDE bagus nich!!".....eka jadiin tas punggung ajah!!
yahh, mengingat eka butuh juga tas punggung yang besar, biar buku sketsa A3, cat air+kuas juga laptop masuk. jadilah dengan imajinasi di buatlah tas punggung ala eka.......gak pake mesin jait( padahal mesin merk AUSTIN yang udah turun temurun di wariskan dari alm. nenek nongkrong di sudut rumah ).......jadi eka ngejaitnya di kecos, alias manual!! ( kalo kata dini, temen-mah dibilangnya ...NIATAN!! ) hehehehe......

ngerjainnya cukup lama, ampe seharian penuh.....
beginilah hasilnya :

setelah jadi, tas ini lebih keliatan kaya ransel buat naik gunung daripada ransel biasa...saking besarnya.....
kalo kalian mau bikin sendiri, ah gunakanlah imajinasi kalian untuk membuatnya, dan ingat lakukan karena suka dan lagi iseng, karena kalo gak....NGAPAIN BIKIN TAS DI KECOS ALIAS MANUAL SENDIRI??? weheheheheheheeeee... :P
 

dan malam itu kini telah berbintang

Malam itu kini telah berbintang

Indah menyapa sang bulan

Narkoleptik ku mulai menghilang

Di ganti dengan dering telepon percakapan

Pagi siang dan sore hari yang biasa hampa

Kini telah berubah menjadi penantian yang pasti

mmmm….. dulu ku tak pernah percaya dengan cerita cinta

sekarang …. Cerita itu telah menceritakan diriku dan dirinya.

Terimaksih atas cinta yang KAU titipkan ini

Semoga ku bisa menjaganya dan dia bisa merawatnya

Sampai jumpa di surga 

Me n her beuty sleep mind J

04 05 11

this poem made by my boyfreind to me, while i was sleeping .......
thanx my dear

 

post rock

Post-rock Stylistic origins Progressive rock, krautrock, ambient, electronica, minimalism, shoegazing Cultural origins Late 1980s to early 1990s in United Kingdom, Canada and United States Typical instruments Guitar, bass, drums, violin and cello. Other instruments occasionally used include vocals, woodwind instruments, glockenspiels, or keyboards. Mainstream popularity Limited, steadily increasing since 2000. Fusion genres Post-metal Regional scenes Montreal, Iceland, Chicago, Louisville, and Glasgow.   Origin of the term The term "post-rock" is believed to have been coined by critic Simon Reynolds in his review of Bark Psychosis' album Hex, published in the March 1994 issue of Mojo magazine.[6] Reynolds expanded upon the idea later in the May 1994 issue of The Wire.[2][7] He used the term to describe music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbre and textures rather than riffs and power chords". He further expounded on the term, “ Perhaps the really provocative area for future development lies... in cyborg rock; not the wholehearted embrace of Techno's methodology, but some kind of interface between real time, hands-on playing and the use of digital effects and enhancement. ” Reynolds, in a July 2005 entry in his blog, claimed he had used the term "post-rock" before using it in Mojo, previously using it in music newspaper Melody Maker.[8] He also said he later found the term to not be of his own creation, saying in his blog, "although I genuinely believed I was coining the term, I discovered many years later it had been floating around for over a decade." The term was used by American journalist James Wolcott in a 1975 article about musician Todd Rundgren, although with a different meaning.[9] It was also used in the Rolling Stone Album Guide to name a style roughly corresponding to "avant-rock" or "out-rock".[8] Another pre-1994 example of the term in use can be found in an April 1992 review of '90s noise-pop band The Earthmen by Steven Walker in Melbourne music publication Juke, where he describes a "post-rock noisefest".[10] [edit] Historical development [edit] Early precedents Post-rock appears to take a heavy influence from late 1960s U.S. group The Velvet Underground and their "dronology" — "a term that loosely describes fifty percent of today's post rock activity".[11] British group Public Image Ltd (PiL) were also pioneers, described by the NME[12] as "arguably the first post-rock group". Their second album Metal Box (1979) almost completely abandoned traditional rock and roll structures in favor of dense, repetitive dub- and krautrock-inspired soundscapes and John Lydon's cryptic, stream-of-consciousness lyrics. The year before Metal Box was released, PiL bassist Jah Wobble declared, "rock is obsolete".[13] Flowers of Romance (1981), their third album, was an even more radical departure, emphasizing rattling percussion and abstract tape music. [edit] 1990s post-rock Bands from the early 1990s, such as Slint, or earlier, such as Talk Talk, were later recognized as influential on post-rock.[3] Slint's Spiderland[3] and Talk Talk's 1988 Spirit of Eden[14] are credited as giving birth to post-rock.[4] Post-rock group Mogwai performs at a 2007 concert. Originally used to describe the music of English bands such as Stereolab,[15] Laika,[16] Disco Inferno,[17] Moonshake,[18] Seefeel,[3] Bark Psychosis, and Pram,[2] post-rock grew to be frequently used for a variety of jazz and krautrock influenced, largely instrumental, and electronica-tinged music made after 1994.[3][4] Post-rock group Do Make Say Think performs at a May 2007 concert. Groups such as Cul de Sac, Tortoise, Labradford, Bowery Electric and Stars of the Lid are cited as founders of a distinctly American post-rock movement.[19] The second Tortoise LP Millions Now Living Will Never Die, made the band a post-rock icon.[3][20] Many bands (e.g., Do Make Say Think) began to record music inspired by the "Tortoise-sound".[21] In the late 1990s, Chicago was the home base for a variety of post-rock associated performers. Both John McEntire of Tortoise and Jim O'Rourke of Brise-Glace and Gastr del Sol were important producers for many of the groups.[22] One of the most eminent post-rock locales is Montreal, where Godspeed You! Black Emperor and similar groups, including A Silver Mt. Zion, Do Make Say Think, and Fly Pan Am record on Constellation, a notable post-rock record label.[23] These groups are generally characterized by an aesthetic rooted in, among other genres, musique concrète, chamber music, and free jazz.[24] Godspeed You! Black Emperor and Scottish group Mogwai were among some of the influential post-rock groups to continue their music career or end before the turn of the 21st century.[4][25][dead link] [edit] 2000s post-rock In the early 2000s, the term had started to fall out of favour.[26] It became increasingly controversial as more critics outwardly condemned its use.[4] Some of the bands for whom the term was most frequently assigned, including Cul de Sac,[27][28] Tortoise,[26] and Mogwai,[5] rejected the label. The wide range of styles covered by the term, they and others have claimed, rob it of its usefulness.[29] Today, despite criticism of the term, post-rock has maintained its prominence. Sigur Rós, with the release of Ágætis byrjun in 1999, has become among the most well known post-rock bands of the 2000s. In part this has been due to the use of many of their tracks, particularly their 2005 single "Hoppípolla", in TV soundtracks and film trailers, including the BBC's Planet Earth. Their popularity can at least somewhat be attributed to a move towards a more rock oriented sound with simpler song structures and increasing utilization of pop hooks.[30] Explosions in the Sky, This Will Destroy You, Do Make Say Think, and Mono are some of the more popular post-rock bands of the 2000s.[31] With a few exceptions, most notably Sigur Rós and Mogwai (album Mr.Beast in particular), the post-rock of the 21st century has generally eliminated vocals from its repertoire. [edit] Musical characteristics Post-rock group Sigur Rós performs at a 2005 concert in Reykjavík. The post-rock sound incorporates characteristics from a variety of musical genres, including ambient, jazz, electronica, and experimental.[4] Early post-rock groups also often exhibited strong influence from the krautrock of the '70s, particularly borrowing elements of "motorik", the characteristic krautrock rhythm.[4][24][32][33] Post-rock compositions often make use of repetition of musical motifs and subtle changes with an extremely wide range of dynamics. In some respects, this is similar to the music of Steve Reich, Philip Glass, and Brian Eno, pioneers of minimalism.[24] Typically, post-rock pieces are lengthy and instrumental, containing repetitive build-ups of timbre, dynamics and texture.[2] Vocals are often omitted from post-rock; however, this does not necessarily mean they are absent entirely. When vocals are included, the use is typically non-traditional: some post-rock bands employ vocals as purely instrumental efforts and incidental to the sound, rather than a more traditional use where "clean", easily-interpretable vocals are important for poetic and lyrical meaning.[4] When present, post-rock vocals are often soft or droning and are typically infrequent or present in irregular intervals. Sigur Rós, a band known for their distinctive vocals, fabricated a language that critics call "Hopelandic" ("Vonlenska" in Icelandic, a term even used by the band), which has been described by the band as "a form of gibberish vocals that fits to the music and acts as another instrument."[34] However, in lieu of typical rock structures like the verse-chorus form, post-rock groups generally make greater use of soundscapes. As Simon Reynolds states in his "Post-Rock" from Audio Culture, "A band's journey through rock to post-rock usually involves a trajectory from narrative lyrics to stream-of-consciousness to voice-as-texture to purely instrumental music".[35] Reynolds' conclusion defines the sporadic progression from rock, with its field of sound and lyrics to post-rock, where samples are stretched and looped. Some bands, such as Rachel's and Clogs, combine post-rock with classical music[citation needed], while others such as Godspeed You! Black Emperor and Fly Pan Am are so far removed from popular music in their sparseness of arrangement and use of repetition, that they are frequently compared to minimalism.[4] Wider experimentation and blending of other genres have recently taken hold in the post-rock scene. Cult of Luna, Isis, Russian Circles and Pelican have fused metal with post-rock styles. The resulting sound has been termed post-metal. More recently, Sludge metal has grown and evolved to include (and in some cases fuse completely with) some elements of post-rock. This second wave of sludge metal has been pioneered by bands such as Giant Squid and Battle of Mice. This new sound is often seen on the label of Neurot Recordings.[36] Similarly, bands such as Altar of Plagues, Lantlôs and Agalloch blend between post-rock and black metal, incorporating elements of the former while primarily using the latter.[37] In some cases, this sort of experimentation and blending has gone beyond the fusion of post-rock with a single genre, as in the case of post-metal, in favor of an even wider embrace of disparate musical influences.

ROYAL SADNESS

Waktu	09 Juli · 18:00 - 23:00
Tempat	Ruang Putih Jln. Bungur No.37 Karangsetra Bandung, Indonesia
Dibuat oleh	Loud For Goodness Record
Info Selengkapnya	ROYAL SADNESS Press Release Musik sedih sering kali dikatakan indah dan sangat menyentuh, terutama kekuatan aransemen musik yang diciptakan oleh para musisi/seniman secara jujur. Hal ini memungkinkan untuk apresiasi terhadap emosi-emosi yang sering tersembunyi. Mendengarkan musik sedih merupakan alternatif yang memungkinkan orang sedih untuk merasa dimengerti dan dapat menekan emosi kesedihan mereka untuk bangkit dari keterpurukan.../kesedihan. Berdasarkan itulah Loud For Goodness Record Event Division menggelar event “Royal Sadness“ yang merupakan sebuah gelaran D.I.Y gigs/event musik yang rencana akan berlangsung regular. Event ini merupakan sebuah wadah komunitas independen yang mendukung pergerakkan local scene dengan mengusung konsep Sadness Music . Tidak hanya itu misi yang kita ambil dari pergerakkan ini tentunya untuk mengapresiasikan karya – karya dari para musisi yang mengusung genre shoegaze, dreampop, postrock, dark ambient, dan sebagainya (yang bisa di linierkan dengan sadness music ) dengan memperdengarkan secara langsung karya mereka kepada khalayak. Acara “ROYAL SADNESS” akan diadakan di Ruang Putih pada hari Sabtu, tanggal 9 July 2011. Dalam event yang di organized oleh Loud For Goodness Record Event Division ini, akan diisi oleh : Aksi dan Reaksi (JKT) http://www.facebook.com/aksidanreaksi?sk=info Fuentes (JKT) http://www.facebook.com/fuentesindonesia?sk=info Folkaholic (JKT) http://www.facebook.com/Folkaholic?sk=info Slylab (BDG) http://www.facebook.com/pages/SLYLAB/73607869264?sk=info my violaine morning (BDG) http://www.facebook.com/pages/my-violaine-morning/44779536530?sk=info Perfect Angel (BDG) http://www.myspace.com/perfectangel154 Sparkle Afternoon (BDG) http://www.facebook.com/pages/sparkle-afternoon/49487434515?sk=app_178091127385 Under The Big Bright Yellow Sun (BDG) http://www.facebook.com/underthebigbrightyellowsun?sk=info Kita dari pihak panitia dan juga semua yang terlibat dalam event ini, mengharapkan partisipasi dari semua untuk terus mendukung, mengangkat, dan mempertahankan local scene ini. Contact Person Irvan 085624418081 www.loudforgoodness.wordpress.com

Apa yang Saya Ketahui Tentang Arsitektur Lanskap

Tugas MPD lagi. Apa yang kamu ketahui tentang Arsitektur Lanskap? Setelah searching-searching dimana-mana (kalimat yang tidak efektif) akhirnya saya merangkum sesingkat-singkatnya, yang  penting memenuhi syarat dua halaman. Inilah hasilnya:

“Lanskap adalah wajah atau karakter lahan dari permukaan bumi baik itu alami maupun buatan, yang merupakan total dari lingkungan hidup manusia beserta makhluk hidup lainnya. Lanskap memiliki beberapa sub antara lain: kota (town-sape), jalan (street-scape), lapangan golf dan sejenisnya (lawn-scape), sungai (river-scape), atap bangunan (roof-scape), pantai dan pemandangan laut lainnya (sea-scape), area industri (industrial-scape), pemukiman (residential-scape), pedesaan (rural-scape), daerah (regional-scape), dan lainnya.

Arsitektur Lanskap adalah bidang ilmu dan seni yang mempelajari pengaturan ruang dan massa di alam terbuka, dengan mengkomposisikan elemen-elemen lanskap baik alami maupun buatan. Tujuannya agar tercipta sebuah keteraturan, terciptanya suatu karya lingkungan yang fungsional serta berestetika, sehingga tercapai kepuasan manusia, namun tetap selaras dengan alam.

Arsitek Lanskap adalah seseorang profesional yang mendapatkan pendidikan dalam bidang ilmu dan seni arsitektur lanskap serta aktif dalam kegiatan perancangan tanaman (landscape planning), perencanaan tapak (site planning), serta perencanaan detail taman (detail landscape design). Peran arsitek lanskap dalam kehidupan sangat penting, dalam mewujudkan suatu taman yang indah tak hanya cukup dengan sekedar indah namun harus juga difikirkan bagaimana fungsionalitasnya, selain itu kesesuaian antara komponen (contoh, tanaman) dengan habitatnya juga harus dipertimbangkan karena tidak semua tanaman bisa hidup baik dalam semua kondisi lahan. Arsitek lanskap lah yang paling paham dalam mengkombinasikan beberapa hal tersebut demi terciptanya sebuah taman yang fungsional serta bernilai estetika tinggi.

Peran seorang arsitek lanskap di era 90-an semakin banyak peminatnya. Masyarakat perkotaan pada umumnya mulai membuka mata akan kebutuhan lahan hijau yang sebelumnya tidak terlalu dipedulikan. Selain itu isu pemanasan global juga memicu naiknya minat masyarakat dalam melakukan perombakan lahan terbukanya menjadi lahan hijau, proses modernisasi juga mempengaruhi pola pikir masyarakat dalam mewujudkan lahan hijau tak hanya sekedar punya. Namun masyarakat menginginkan keindahan dalam lahan hijaunya. Sayangnya Banyak perusahan jasa konstruksi di kota-kota besar malah kekurangan jasa arsitek lanskap, bahkan tak jarang dalam memenuhi kebutuhannya para perusahaan menggunakan jasa tenaga asing. Hal tersebut dikarenakan SDM yang kompeten dalam bidang ini tak banyak dihasilkan, tak banyak universitas yang menyediakan program studi arsitektur lanskap. IPB beruntung karena memiliki program studi ini, dan IPB merupakan salahsatu penghasil Arsitek-arsitek lanskap terbaik negeri.

Arsitektur Lanskap di IPB dimulai dari minor Departemen Agronomi. Pelopornya adalah Ir. Zain Rachman (alm.) pengembangannya dilakukan melalui penelitian dan praktek lapang atau keterampilan profesi. Tahun 1985 adalah awal mula didirikan program studi Arsitektur Pertamanan oleh Ir. Zain Rachman,  Ir. Nurhajati A. Mattjik, Ir. Siti Nurisjah, MSLA, Dr. Ir. Harry Hardjakusumah, MSLA, Ir. Aris Munandar, Ir. Hadi Susilo Arifin, Ir. Iswari Saraswati Dewi, Ir. Nurhayati, Ir. Bambang Sulistyantara, Ir. Nizar Nasrulloh, dan Ir. Andi Gunawan, dan didukung oleh Prof. Dr. Ir. Ahmad Surkati M.Sc. dan Prof. Dr. IrSri Setyati Harjadi, M.Sc. Pada angkatan pertama Program studi Arsitektur Pertamanan menerima duabelas mahasiswa (IPB Angkatan 21)

Pada tahun 1999/2000 terjadi perubahan nama dari Arsitektur Pertamanan menjadi Arsitektur Lanskap. Lalu Program Studi Arsitektur Lanskap membuka program lanjutan untuk strata dua yang masih dibawah Progam Studi Agronomi. Tahun berikutnya Program Studi ARL Fakultas Pascasarjana-IPB sudah berdiri sendiri. Sejak awal berdiri, program studi Arsitektur Lanskap memiliki kompetensi yang berbeda dengan program studi lainnya di Departemen Agronomi. Selain itu matakuliah kompetensinya juga terhitung cukup banyak. Arsitektur Lanskap memiliki mata kuliahnya sangat signifikan dan mempunyai kompetensi tersendiri dibandingkan denga Program Studi Agronomi, Pemuliaan Tanaman dan Teknologi Benih, dan Holtikultura. Akhirnya pada tahun 2005 Program studi ini menjadi Departemen sendiri dengan Program Studi Arsitektur Lanskap sebagai mayornya.

Departemen Arsitektur Lanskap memiliki pembagian yaitu: Bagian Perencanaan Lanskap, Bagian Desain Lanskap, Bagian Pengelolaan Lanskap, dan Bagian Tanaman Lanskap.



*dari berbagai sumber.”