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All Journal HAYATI Journal of Biosciences Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Authentic Research of Global Fisheries Application Journal (Aurelia Journal) Arwana: Jurnal Ilmiah Program Studi Perairan Agrikan: Jurnal Agribisnis Perikanan Sanggitarupa
I Nyoman Suyasa
Acintya Jurnal Penelitian Seni Budaya
Agriculture, Biological Sciences & Forestry Arts Humanities Chemical Engineering, Chemistry & Bioengineering Earth & Planetary Sciences Environmental Science

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Population Structure, Site Fidelity, and Residency Patterns of Whale Sharks (Rhincodon typus) in Botubarani Waters, Gorontalo Province, Indonesia Rahman, Rahman; Suyasa, I Nyoman; Syamsuddin, Awaludin; Pahlevi, Reza Shah
HAYATI Journal of Biosciences Vol. 32 No. 4 (2025): July 2025
Publisher : Bogor Agricultural University, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.4308/hjb.32.4.908-919

Abstract

Whale shark (Rhincodon typus) is the largest fish species in the world and is classified as endangered. This study is crucial for the conservation of this species and developing effective conservation strategies. The research was conducted in the Botubarani waters, Gorontalo Province. Individual whale shark identification was performed using Photo ID, including the identification of sex and wound location. Photo IDs were processed using the Interactive Individual Identification System (I3S) software and includes information related to the ID, body length, and the time the individual was previously identified. Monitoring of the location, number, timing of whale shark presences and water parameters, was carried out through direct field observations. The results showed that 5 whale shark individuals were identified, all of which were male, with lengths ranging from 4.5 to 4.8 meters, and 1 individual had visible wounds. From 78 days of monitoring, Whale sharks were observed for 70 days and not observed for 8 days. The frequency of whale shark appearances ranged from 1 to 4 individuals per day. Whale sharks in Botubarani waters exhibited site fidelity and a mixed migration pattern. The intensity of their presence is quite high. This intensity is supported by ecological conditions that are optimal for the life of whale sharks, particularly those of juvenile age. The measured water parameters significantly influence their presence.
CITRA TUBUH WANITA SEBAGAI SUMBER INSPIRASI KARYA SENI LUKIS Vilanda, Avita Risqi; Suyasa, I Nyoman
Sanggitarupa Vol. 2 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sanggitarupa.v2i2.4752

Abstract

This final project have to understand the image of woman’s body as a source of inspiration for painting. Through this final project I want the perfection of body appearance does not have standard but instead becomes a form of diversity. Difference in body shape, skin color, and body size should be things in human life that are generally accepted and not a form of problem such as standaration of beauty in society. In the process of creating this final project, the writer use the method of creation proposed by Hermann Von Helmholtz, which consists of, among others, saturation (data collect), incubation (precipitation) and illumination (Embodiment the work). Data collection is done through interview and take pictures directly to the relevant sources. The result of this final project show the idea of painting submit by the author is expect tobe a source of inspiration for many people, expecially woman, in responding to the acceptance of the diversity of body appearrences through the creation of body image beyond the standardization of society. Another way, by raising the topic of this woman body image, it is hope that people out there who feel they have shortcomings, especially in physical terms, become more accepting and respectful of themselves
TEKNIK SENI LUKIS KLASIK BALI GAYA KAMASAN KARYA I NYOMAN MANDRA Suyasa, I Nyoman; Gozali, Amir
Acintya Vol. 7 No. 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i1.1987

Abstract

One of the most popular Bali Klasik (classical Bali) painting arts is the painting of Wayang Kamasan. It is called that because it comes from Kamasan village, Klungkung. Formerly, the painting form follows the form of wayang kulit. The figures are painted in thin form of two dimensions with the stories taken from epos Ramayana and Baratayuda, stories from Malat Panji (stories of the 12 -14centuries), the theme of “Pelelintangan” that forecast about the effect of earthquake in our lives, and also the theme of folk stories such as Men Brayut as a mother who has many children. Object of this article is the painting arts of Wayang Kamasan as the classical Balinese painting that takes root anddevelops in the local culture. The article stresses on the studies of visual art of Wayang Kamasan especially on the design and process of making. The previous library results are used to analyze technique and the creative process of Wayang Kamasan creating by I Nyoman Mandra. Some methods of approach are used directly towards the craftsmen and the existing musicians especially I Nyoman Mandra. The article also uses literature studies with the theoretical approach to solve the problems. The aesthetic theory of sanggit says that an art work represents a reproduction form with treatment innovation and a sanggit work with revitalization concept. The work has an interest refers to the conservation form of traditional art by giving the alternative works with reproductiontechnique of treatment innovation. Technically, it experiences the processing reduction through the elements, contour lines, coloring technique, and the field content as well as changes of the story theme. The art of revitalization vitally and mainly refers to the traditional arts. The work uses strategy of conservation concept by mutrani (nunggak semi). The result of research shows that Mandra’s work has followed the proportion and structure formulated in traditional aesthetics, but he also adds his own unique citra at the work. His work is characterized by a high delicacy, a lofty delicate value that is Bali traditional art, WayangKamasan.Keywords: painting arts of Klasik Bali, Kamasanstyle, technique.
SAPUT POLENG DALAM PENCIPTAAN KARYA SENI LUKIS DENGAN TEKNIK OPAQUE DAN IMPASTO Suyasa, I Nyoman; Rahman, Deni
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2123

Abstract

The research titled “Saput Poleng dalam Penciptaan Karya Seni Lukis dengan Teknik Opaque danImpasto” was an art creation research based on the development of painting that served as an awareness media of nature conservation by raising local wisdom as symbol of natural balance. Polengcloth was a symbol of natural balance. In everyday life, Hindus in Bali, especially in Hindu ritualactivities, often wore objects or woven fabrics with various colors, such as white, red, yellow, or amixture of these colors. The variety of colors used was not just for enhancing the beauty of theceremonies in order to make them look splendid, but actually the use of color was based on thephilosophical meaning derived from the Vedic scriptures. This research used several methods of artistic research (art creation). These stages included: research, experimentation, contemplation, and formation. The research was focused on the meaning of poleng cloth in nature conservation, usingmetaphor language in its disclosure, visualizing it by combining opaque technique and impasto technique. These technique was used to create cloth characters and tree characters. Utilized acrylic paintas the ingredient, because in addition to dry quickly, this paint brought unexpected effects added tothe artistic value. The hope was, by creating this painting in addition to experimenting and exploringfor new possibilities in combining opaque techniques with wider and free impasto techniques, thepainting was also became awareness media to be more concerned with nature conservation.Keywords: Saput poleng, metaphor, opaque and impasto.
Transformasi Penciptaan Seni Lukis Bali Suyasa, I Nyoman
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 2 No. 2 (2010)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/bri.v2i2.299

Abstract

Painting as one means of creating works of art activity experienced a fairly rapid developments changes.This transformation can not be denied again because of the demans of users and the development of technological developments, as well as occuring in the world of art in Bali. Transformation of visual styles in painting in Bali is what will be discussed in this article, of Balinese traditional painting (painting Kamasan), semi traditional painting or so called modern painting (a focus on Pita Maha art and young artists), until in modern painting. Keyword : transformation, painting,Bali
Dinamika Garis Dalam Sketsa Analisis Karya Ipe Ma' aroef Dan Fadjar Sidik Suyasa, I Nyoman
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 4 No. 1 (2012)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/bri.v4i1.337

Abstract

It is often said that the sketch is the most authentic trail, the exit from the artists themselves. Sketches reflect not just motor work, spontaneity, but also are difficult to be released from the documentary and a biography of the artist. Sketches are personal records in the form of visual and lines as its main element. Line shape can give birth once textures, tones, shades, and a certain volume, so as to give birth to a special character or disposition of a person. Character is owned by Ipe Ma'aroef and Dawn. They had a long journey in the creative process and the line is breath in his work. Pure lines of the sketch they showed strong character, who rarely owned by the artist now. Key words: Dynamics, outline, sketch, Ipe Ma'aroef and Fajar Sidik
Pemaknaan Alam Dalam Karya I Made Arya Palguna Suyasa, I Nyoman
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 6 No. 1 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/bri.v6i1.433

Abstract

Interactions between humans and nature around a lot to do with the creation of works of art both in terms of motivation and the creation of the result later. Nature provides its own meaning for each artist to be disclosed into work, Made Arya Palguna are artists who give their own meaning to nature admired to be disclosed into works of art. The relationship between individuals (Palguna) with nature in orbit consciousness as human beings living in the traditional and modern voltage. Palguna familiar and even close to the surrounding nature, but it does not cause admiration closeness to the outward forms, but the essence in it. More interpret nature as a part of the creative process to uncover the hidden meaning in nature.Keywords: nature, meaning, and Palguna
REMPAH NUSANTARA DALAM SENI LUKIS PADA MEDIA TALENAN DENGAN TEKNIK 3D Suyasa, I Nyoman; Rahman, Deni -; Mahendrapati, Alexander Nawangseto
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 14 No. 2 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v14i2.4559

Abstract

The research entitled “Rempah Nusantara dalam Seni Lukis pada Media Talenan dengan Teknik 3D” is applied research based on the development of painting which functions as a medium of information about the natural wealth of the archipelago. Aside from spices and medicineherbscesis  are also very suitable to be used as a source of ideas in the creation of works of art. Because spices have various and unique shapesattarstractive colors. Using applied research methods with various stags, including: observation of objects or observations, contemplation, experimentation, fo,rmation, work and presentation. This research is focused on creating innovative works of art with the theme of Indonesian spices on cutting boards techniques technique, so that the spices look as real as they are on a cutting board. The purpose of this research is to reintroduce native Indonesian spices to the wider community with the medium of painting, as well as to explore new possibilities in terms of developing techniques that are more innovative and have an economic impact.
TEMPORAL ANALYSIS OF THE PRODUCTIVITY OF THE DOMINANT CAPTURE FISHERIES COMMODITY (CASE IN THE SOUTHERN WATERS OF THE SPECIAL REGION OF YOGYAKARTA – WPP NRI 573) Prakoso, Bagas; Suyasa, I Nyoman; Rahayu, Siti Mira
Aurelia Journal Vol 7, No 1 (2025): April
Publisher : Politeknik Kelautan dan Perikanan Dumai

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15578/aj.v7i1.15246

Abstract

Climate variations can affect sea surface temperature (SST), feed distribution, and fish habitat. Temporal analysis of SPL and chlorophyll-a can help identify the impact of climate change on capture fisheries productivity. This study aims to analyze the relationship between chlorophyll-a and sea surface temperature (SST) on the productivity of dominant capture fishery commodities in the southern waters of the Special Region of Yogyakarta I-FMA 573. Fisheries productivity data on five dominant fish species at the research site (yellowfin tuna (Thunnus albacares), skipjack tuna (Katsuwonus pelamis), savalai hairtail (Trichiurus savala), Indian scad (Decapterus russelli), and common dolphinfish (Coryphaena hippurus)) in 2014-2023 were collected from PPP Sadeng. Chlorophyll-a and SST data for 2014-2023 were obtained from Aqua Modis multisensory satellite imagery. The data was classified based on the four seasons in Indonesia allowing analysis of seasonal changes affecting fisheries productivity. Skipjack tuna has the highest productivity, with an average of 410,803 kg/trip, while common dolphinfish has the lowest productivity, with an average of 29,521 kg/trip. Based on the results of multiple linear regression, chlorophyll-a and SST had a significant effect on the productivity of yellowfin tuna, skipjack tuna, Indian scad, and common dolphinfish, so that chlorophyll-a and SST may indicate the presence of these fish populations. Meanwhile, savalai hairtail are not significantly affected by chlorophyll-a and SST, because many environmental factors affect including monsoon winds, currents, and rainfall.
Estetika Karya Seni Lukis Faiz Zaki Abdillah: Perspektif Teori Monroe C. Beardsley Dardiri, Thoriq Bidar; Aditya Eko Adrianto; I Nyoman Suyasa; Syamsiar
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i2.7798

Abstract

This study analyzes the paintings of Faiz Zaki Abdillah using a descriptive qualitative approach, with Monroe C. Beardsley's aesthetic theory as its primary foundation. The method employed is analytical description, integrating visual analysis and interpretation of three primary works: Life (2022), Morp Transition (2023), and Amartha (2025). The findings indicate that the creative process behind Faiz Zaki Abdillah's paintings encompasses idea conception, concept development, technique and style, and the stages of creation. An aesthetic analysis based on the principles of unity, complexity, and intensity reveals that Faiz's works represent a synthesis of empirical experience and ecological spirituality, shaped by his closeness to nature, animals, and the agricultural world. Through detailed, meticulous, and symbolic visual structures, the ecological spiritual values in his works are organically realized, creating a contemplative and transcendental aesthetic experience. An examination of the creative background further reveals that the aesthetics of Faiz's works are a comprehensive crystallization of his creative process, where form and meaning, technique and spirituality, merge into a coherent, reflective, and aesthetically rich visual narrative.
Co-Authors Aditya Eko Adrianto Dardiri, Thoriq Bidar Deni Rahman Dewi, Ita Junita Puspa gozali, amir Hasan, Fataha Ilyas Mahendrapati, Alexander Nawangseto Martin Anjar Ginanjar Pahlevi, Reza Shah Prakoso, Bagas Rahayu, Siti Mira Rahman Rahman Rahman, Deni - Samsul Bachri, Samsul Soeboer, Deni Achmad Syamsiar Syamsuddin, Awaludin Tabalessy, Roger R. Vilanda, Avita Risqi