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PENGUATAN PERAN IBU RUMAH TANGGA DALAM PENERAPAN FOOD GARDEN PADA LAHAN PEKARANGAN RUMAH YANG PRODUKTIF & EKONOMIS Achmad Zaki Yamani; Wahyu Adi Prabowo; Shintia Dwi Alika; Nofrizaldi Nofrizaldi
J-ABDI: Jurnal Pengabdian kepada Masyarakat Vol. 2 No. 4: September 2022
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/jabdi.v2i4.3020

Abstract

Permasalahan yang terjadi pada mitra yaitu Ibu rumah tangga di wilayah RT 03 (RW 01 Sidabowa) Banyumas yakni, 1) Belum adanya kesadaran dalam pemanfaatan lahan pekarangan yang produktif, 2) Peran ibu rumah tangga hanya fokus pada aktivitas rumah tangga, sementara ada peluang kegiatan yang memberikan benefit yang tidak membutuhkan effort yang berlebih dan ramah terhadap lingkungan. Sehingga dari proses pemetaan masalah dan hasil observasi awal dengan tokoh masayarakat setempat didapati untuk melakukan langkah nyata dalam mencari solusi atas permasalahan mitra. Solusi yang dimaksud dalam kegiatan pengabdian masyarakat ini adalah sebagai berikut, 1) Peningkatan pemahaman tentang pemanfaatan lahan pekarangan rumah tangga yang lebih produktif dan ramah lingkungan melalui penerapan iptek vertikultur dengan model tanaman horizontal maupun vertikal yang menggunakan media tanam paralon, 2) Memberikan alternatif tambahan pendapatan, utamanya untuk mitra yaitu ibu rumah tangga sebagai wujud keterlibatan atas upaya ketahanan ekonomi keluarga.
ANALISIS TANDA VISUAL DALAM TAGAR CORONA ART MUSEUM Nofrizaldi, Nofrizaldi; Arifianto, Pungky Febi; Pertiwi, Elianna Gerda
Jurnal Bahasa Rupa Vol. 4 No. 1 (2020): Jurnal Bahasa Rupa Oktober 2020
Publisher : Institut Bisnis dan Teknologi Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v4i1.614

Abstract

The gallery is a space of interaction between artists and audiences. In the era of pamdemik covid, gallery space was closed due to physical distancing. Imaginary space is built by utilizing communication and information technology. Instagram as a digital platform is widely used as a space for building artistic interactions. Through the hashtag of Corona Art Museum, the writer looks for some visual works to be used as object of analysis. Verbal and visual signs in the visual content will be dissected using the classification of signs: icons, indexes, symbols from Charles S. Peirce and the system of meaning production of codes using The Five Code: Hermeunetic, Narrative, Cultural, Semantik & Symbolic from Roland Barthes. The reading of visual signs will use the Sumbo Tinarbuko Triadik in looking at aspects of visual communication. The results of reading visual signs will reveal how visual content in an imaginary space can be a space of expression and the existence of an artist / designer.
TRADISI MOOI INDIE DALAM IMAJI FOTOGRAFI KARTU POS INDONESIA Nofrizaldi, Nofrizaldi
Harmoni: Jurnal Pemikiran Pendidikan, Penelitian Ilmu-ilmu Seni, Budaya dan Pengajarannya Vol 13 No 1 (2023): HARMONI: APRIL 2023
Publisher : Program Studi Pendidikan Seni Rupa Fakultas Keguruan dan Ilmu Pendidikan Universitas Muham

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26618/jh.v13i1.12689

Abstract

The visualization of postcards with mountain as the photo objects, rice fields framed in a natural scene becomes a very interesting thing to be observed. The objects, that usually become the favorite of a painting with indie Mooi style, are then adapted by photographer in a postcard sheet. Seeing the phenomenon, the author questioned why photographers still maintain the images that have been explored by the art of painting, to be re-production into the work of photography. It is interesting to examine, especially from the visual aspect with descriptive interpretive approach, by making an interpretation of what is seen, heard and understood, so it is expected to create diverse views on an existing problem.This study resulted a conclusion that, in terms of the needs of art lovers, the need for imaging Mooi indie when it is viewed from the perspective of tourists or foreign tourists, it is still very high. Travelers or foreign tourists need evidence that their journey to Indonesia - a tropical country with abundant light - is real. Photos in this case are powerful entities in the role of proof of existence. As a young artist from the heirs of culture and eastern artworks that have a high history and aesthetics in the context of tradition, Mooi Indie should begin to be abandoned and photo artists embark on an odyssey that puts forward newness or local wisdom in the work.