7 research outputs found
Flash Flood Susceptibility Mapping at Andungbiru Watershed, East Java Using AHP-Information Weighted Method
No full textFlash floods are among the most frequent natural disasters caused by heavy rain associated
with a severe thunderstorm, which leads to social and economic losses in infrastructure and
agriculture. Therefore, this research aims to map flash flood potential susceptibility (FFPS) in
the Pekalen watershed, using Geographic Information System (GIS) technology and
statistical analysis to reduce the risk of flooding. The opinion and experience of an expert on
the weight assessment method were carried out using the Analytical Hierarchy Process
(AHP). Furthermore, the probability statistical methods and GIS were used in flash flood
areas in the Pekalen watershed in Andungbiru, Probolinggo village. This study was carried
out using geomorphological factors, namely elevation, slope, stream power index, and
topographic wetness index, with a resolution of 30 m. Thematic map scale of the land use,
river density, distance to the river, rainfall, and geology is in the ratio of is in a ratio of
1:25,000. Imagery processing was carried out using Landsat 8 30 m x 30 m resolution
imagery, such as the Normalized Difference Vegetation Index. The result showed that the
model map of FFPS obtained low 8%, low 23%, moderate 27%, moderate to high 26%, high
13%, and very high 2% index values. The next stage of modeling analysis led to validation
using statistic receiver operating Characteristic Curve (ROC) of area Under Curve (AUC)
with a value of 90.15. In conclusion, the factors that significantly trigger flash floods are
distance to the river, land use, and slope
Analisis Sub-Struktur Menara BTS pada Area dengan Daya Dukung Tanah yang Rendah
No full textThe construction of BTS towers to fulfill equitable communication requires analysis of structural construction calculations so the tower can be standing properly in locations that have low soil bearing capacity. This research aims to analyze the design of the BTS tower sub-structure to withstand in structural loads, wind, overturning, and uplift forces so the tower can be standing properly. To achieve the research objectives, studies and analyses were conducted through literature study, load analysis, structural modeling through software analysis and interaction diagrams, evaluation of soil bearing capacity, and verification of applicable construction standards in Indonesia. The analysis shows the dead load of the sub-structure, the overturning moment of 6.539 x 10³ kN.m in the X direction and 5.352 x 10³ kN.m in the Y direction meet the safety value of 1, thus ensuring stability according to SNI 8460: 2017. The maximum ground pressure is 97,808 kN/m², below the required 294,200 kN/m² at a depth of 1.4 m, with safety factors of soil bearing capacity (3.008), shear capacity (2.897), and shear strength (1.5) all meeting safety standards. The reinforcement analysis follows SNI 03: 2847-2019, specifying that D16-200 reinforcement is required for bottom and top with a ratio of 0.002 and 0.001. Torsional shear for axial (1,225 x 10³ kN.m) and compression (1,578 x 10³ kN.m) stress conditions, as well as ratios exceeding 1% ensure the safety of the support. Overall all structural elements meet the safety requirements, ensure the stability of the tower and comply with relevant standards.Peningkatan kebutuhan teknologi komunikasi yang murah dan nyaman mendorong penyedia layanan telepon seluler untuk meningkatkan sinyal jaringan telepon seluler. Perkembangan ini mengharuskan adanya peningkatan jumlah pembangunan menara di daerah pedesaan. Sebagai contoh, Perusahaan Indosat, salah satu penyedia layanan telepon seluler, bekerja sama dengan PT. Protelindo, kontraktor yang khusus menangani pembangunan menara, membangun Menara BTS di Desa Tirto Yudo untuk meningkatkan jumlah menara di daerah pedesaan. Pembangunan Menara BTS memerlukan analisis perhitungan konstruksi struktur agar menara dapat berdiri dengan kokoh meskipun kondisi tanah di lokasi menara memiliki daya dukung tanah yang rendah. Penelitian ini menganalisis sub-struktur bangunan menara agar menara dapat berdiri dengan kokoh di atas tanah serta mampu menahan beban struktur atas menara dan gaya angin, serta menahan beban guling dan beban angkat tanah. Analisis struktur atas menara menunjukkan beban maksimum sebesar 786.893 kN (kompresi) pada Panel 3, 616.739 kN (pengangkatan) pada Panel 9, dan 75.298 kN (gaya horisontal) pada Panel 14. Jika digabungkan dengan beban mati dari struktur bawah, momen guling yang terjadi adalah 6.539 x 10³ kN.m pada arah X dan 5.352 x 10³ kN.m pada arah Y, keduanya melebihi ambang batas keamanan 1, sehingga menjamin kestabilan sesuai dengan SNI 8460:2017. Tekanan tanah maksimum adalah 97.808 kN/m², jauh di bawah 294.200 kN/m² yang diijinkan pada kedalaman 1,4 m, dengan faktor keamanan untuk daya dukung tanah (3.008), kapasitas geser (2.897), dan kekuatan geser (1.5) yang semuanya memenuhi standar keamanan. Analisis tulangan, mengikuti SNI 03:2847-2019, menetapkan bahwa tulangan baja D16-200 diperlukan untuk batang bawah dan atas, dengan rasio tulangan masing-masing 0,002 dan 0,001. Perhitungan geser puntir untuk kondisi tegangan aksial (1.225 x 10³ kN.m) dan kompresi (1.578 x 10³ kN.m), serta rasio baja yang melebihi 1%, memastikan keamanan tumpuan. Secara keseluruhan, semua elemen struktural memenuhi atau melampaui persyaratan keselamatan, memastikan stabilitas menara dan kepatuhan terhadap standar yang relevan
Stock Valuation Of Mining Sector Companies Listed In Idx Using Dividend Discounted Model (Ddm), Price To Earning Ratio (Per), Price To Book Value Ratio (Pbv), And Price To Sales Ratio (Per)
No full textThis study is conducted to analyze the intrinsic value of companies in mining sector using absolute valuation method of Dividend Discounted Model (DDM), and relative methods consisted of Price TO Earning Ratio (PER), Price to Book Value (PBV), Price to Sales (P / S) using financial reports of mining sector companies listed on Indonesia Stock Exchange in 2020 – 2022. Based on the results of this study, the author develop Investment decisions for mining sector companies by considering recommendations from the stock valuation analysis that has been reviewed. This study recommends to buy ADRO, BSSR, PTBA, ITMG, KKGI,TBMS, ANTM, TPMA that are estimated undervalued and sell for the rest that are estimated overvalued but with specifics for trading or long term investments.
Keyword : mining sector, dividend discounted model, price earning ratio, price to book value, price to sales, stock valuation
Representations of migrant and nation in selected works of Rohinton Mistry and Salman Rushdie
No full textThis thesis explores the representations of, and the relationship between. the migrant and the nation in selected works of the Bombay-born novelists Rohinton Mistry and Salman Rushdie. I explore each writer's engagement with contemporary debates surrounding the material, political, social and imaginative consequences of the crisis in secularism in India during the 1970s, 1980s and 1990s, and consider how this engagement is informed by their
migrant positions beyond India's borders. A primary concern is the way in which Mistry's and Rushdie's representations of the nation, and of migrant and diasporic subjects, intersects with the representation of Bombay in their work.
This thesis is divided into five chapters. The first two chapters concentrate on Mistry's fiction, the remaining three on Rushdie's work. Published between 1988 and 2002, the central novels examined are situated within debates regarding the founding principles of the Indian nation, and notions of Indianness, the rise of communalism in general and Hindu nationalism in particular, and the renaming of Bombay as Mumbai. My readings foreground the necessity of a
close understanding of the historical and political transformations taking place within Bombay and India during the 1970s, 1980s and 1990s, but also during the 1950s and 1960s. I argue that Mistry's and Rushdie's work is informed by a deepening anxiety over these socio-political transformations, and over how reconfigurations of Indianness increasingly position minority communities, and migrant and diasporic subjects, outside of definitions of national identity.
This anxiety extends into the negotiation of their own migrant positions. My reading of the differing representations of the migrant in Mistry's and Rushdie's work engages with ideas of accountability, political responsibility, and with notions of cosmopolitanism. In doing so, I question familiar assumptions regarding the migrant condition as one of predominantly empowering political agency. I argue that, while both authors emphasise the importance of the migrant sustaining a critical engagement with India's politics, they also foreground the anxious difficulties of doing so. This difficulty informs Mistry's and Rushdie's divergent negotiation of their own position as migrant writers, and I examine how their fiction is marked by an anxiety over the adequacy of writing as a mode of political engagement with the crisis in secularism and the parochialisation of Bombay, and as a means of negotiating the politics of migrancy
International Reception of Mithila Paintings and Heroization : : Constructing Women (Painters) Figures in Véquaud's Writings
No full textLocation: Hotel Maurya, PatnaInternational audienceDerived from Maithil practices and festivals and assumed to protect the household, the Madhubani Paintings spread since the 1960s in India and abroad. Transferred on paper in order to be commercialized, they undergo important changes. I will focus on the reception history of Mithila paintings through two Western mediators, who each declared themselves to be the discoverers of these paintings: one is British, William Archer (1907- 1979); the other French, Yves Véquaud (1938-2000). They bear witness to an international reception which underlines a particular aspect of the worldwide connected and shared histories of Bihar. After being appointed officer of the Indian Civil Service in Bihar, Archer publishes in 1949 the article “Maithil Painting”. This is a first moment in the reception history of these paintings. His writings show a universal aesthetic, based on psychoanalyze, surrealism and an organic vision of art. The hippie “counter-culture” renews enchanted orientalist and romantic visions of a South Asian universe presumed to be spiritual, pantheist and sensorial. Followed on the heels of the sixties, indophily appears a particularly favourable, moment - or kairos - in the reception of Maithil works. It parallels the internationalization of its actors: Erika Moser Schmitt in Germany, Tokio Hasegawa in Japan, Raymond and Naomi Owens as well as David Szanton in United States and Yves Véquaud in France. The writings of the latter mingled an aptitude to capture the “air du temps” with a real interest in India and adhered to the values of the counter-culture. He is today mostly known for his essays on Mithila paintings. The Mithila Art is published in 1976, then translated in 1977 into English and German. In 1974, he co-directed the documentary Mithila. During a period of about ten years, he exhibited his collection of Mithila paintings in France and abroad (in particular in Paris, Musée de l’Homme, Musée des arts Décoratifs...). In 1970, Véquaud discovered the Mithila paintings in New-Delhi thanks to the museologist Ratna Fabri. He remained in India for two years, went to Madhubani and met some village painters. In his writings, the Maithil women painters are presented as charismatic figures, between holiness and genius. In 1973, Sita Devi “appears to him as a saint”, withdrawn from the world, “in a inner-peace and trust refuge which nothing could disturb". From the author’s standpoint, the talent of these painters, neo-tantric muses presumed to create only when in a yogic state, is compared with that of an exorcist. This vision of the prophetic artist, fluctuating between the christic figure of the saviour and the holy icon, also bears witness to the transformation of the status of the artist since the 19th Century in the West and to the appearance of a ”vocational regime” (Nathalie Heinich). These charismatic figures call to mind the appearance of a conception of the artist as the author of innovative works, and living a singular life. Like Braque and Rouault, the Maithil women painters would so be transformed into figures of legend, likely to guide the work of their followers in their efforts to become an artist. These prophetic artists would become a modern incarnation of holiness. In 1968, Yves Véquaud describes Mozart and Van Gogh as saints, whose example overwhelms. From his standpoint, the prophetic Maithil artists are devoid of the overwhelming heroization that affects Western artists. They would correspond to his promotion of creative spontaneity and a present freed from the burden of the past, in quest of eternal moments. In Yves Véquaud’s conception, the women painters swing between an ideal of devout humility and religious immortality. In 1973, Sita Devi is described as the one who “knew all the honours” and yet remained “humble and loving”. From the westernized standpoint of Véquaud, the artistic success of Maithil painters may be explained by their desire for singularity and timelessness in their results. This involves both the personalization of means, namely the invention of new paths, as well as the depersonalization of the ends of the success, namely the creation of objects crystallizing values recognized beyond the author. This contingency was traditionally reserved for saints and heroes. His admiration for these artists assumed an almost devotional character. Following the example of the canonization of Western art, Yves Véquaud established a relationship between the Maithil pictorial phenomenon and a religious phenomenon, the neo-tantrism. His behaviour was almost that of a believer. He set up his exhibitions with a nearly sacerdotal and proselytizing diligence. His hermeneutics of the works is almost theological. The conditions in which the paintings were produced has been neglected. The art of Mithila is described as a (wedding) liturgy ; the paintbrush becomes the tool of prayer. The biographies of the painters appear as a “golden legend”. Nevertheless, these exegeses underline the effective ritual dimension of these paintings. Maithil art became the sphere onto which he projected the expectations traditionally assumed by the religion. It is no longer the instrument, but the object of the sacralization. Sanctified with the admiration of Yves Véquaud, the painters were not “acknowledged by the ecclesiastical authorities”: it concords with the informal religiosity of the author. He thus put forward an essentialized vision of Mithila paintings. Perhaps it represented also an attempt to sublimate his own artistic failures by projecting onto fantasized painters an imaginary solution to a melancholy situation: giving up novelistic publications, whether due to lack of inspiration or to editorial refusals. His neo-tantric vision of Mithila paintings resulted from the kairos of the hippie phase previously evoked. Yet in 1994 India Served and Observed, the memoirs posthumously published by William Archer and his spouse, Mildred, put forward a fanciful account about the discovery of Mithila paintings, marked with a Flower Power sensitivity : it stays in-between the construction of a storytelling and an aesthetic emotion, which is a posteriori inflamed. To seize the proclaimed strong and valued discourses of the moment on South-Asia is equivalent to a re-enchantment of Archer’s writings. This work builds itself in resonance with Véquaud’s one. Thus in this new narrative about the discovery of Mithila paintings, the meeting with the paintings and the painters is described as simultaneously exalted and distanced, but sublimated by aesthetic emotion. A narrative play takes shape wavering between desire and repression. According to their words, "in these murals we somehow electrically met". I will analyzed in what extent these idealized works and their women heroized figures could be situated in the social context of the “counter-culture” and the hippie movement, foreseeing the globalization of Mithila paintings in the 1990s : since then some maithil artists free themselves from categories of gender, caste and local belonging. The appearance of painters men in Mithila, motivated in particular by the prospect of profits, polls gender categories associated to a practice for a long time exclusively feminine. Simultaneously some researchers deconstruct this essentialized tradition. They expound Archer’s and Vequaud's interpretations as an hegemonic discourse constituted from masculine canons
International Reception of Mithila Paintings and Heroization : : Constructing Women (Painters) Figures in Véquaud's Writings
No full textLocation: Hotel Maurya, PatnaInternational audienceDerived from Maithil practices and festivals and assumed to protect the household, the Madhubani Paintings spread since the 1960s in India and abroad. Transferred on paper in order to be commercialized, they undergo important changes. I will focus on the reception history of Mithila paintings through two Western mediators, who each declared themselves to be the discoverers of these paintings: one is British, William Archer (1907- 1979); the other French, Yves Véquaud (1938-2000). They bear witness to an international reception which underlines a particular aspect of the worldwide connected and shared histories of Bihar. After being appointed officer of the Indian Civil Service in Bihar, Archer publishes in 1949 the article “Maithil Painting”. This is a first moment in the reception history of these paintings. His writings show a universal aesthetic, based on psychoanalyze, surrealism and an organic vision of art. The hippie “counter-culture” renews enchanted orientalist and romantic visions of a South Asian universe presumed to be spiritual, pantheist and sensorial. Followed on the heels of the sixties, indophily appears a particularly favourable, moment - or kairos - in the reception of Maithil works. It parallels the internationalization of its actors: Erika Moser Schmitt in Germany, Tokio Hasegawa in Japan, Raymond and Naomi Owens as well as David Szanton in United States and Yves Véquaud in France. The writings of the latter mingled an aptitude to capture the “air du temps” with a real interest in India and adhered to the values of the counter-culture. He is today mostly known for his essays on Mithila paintings. The Mithila Art is published in 1976, then translated in 1977 into English and German. In 1974, he co-directed the documentary Mithila. During a period of about ten years, he exhibited his collection of Mithila paintings in France and abroad (in particular in Paris, Musée de l’Homme, Musée des arts Décoratifs...). In 1970, Véquaud discovered the Mithila paintings in New-Delhi thanks to the museologist Ratna Fabri. He remained in India for two years, went to Madhubani and met some village painters. In his writings, the Maithil women painters are presented as charismatic figures, between holiness and genius. In 1973, Sita Devi “appears to him as a saint”, withdrawn from the world, “in a inner-peace and trust refuge which nothing could disturb". From the author’s standpoint, the talent of these painters, neo-tantric muses presumed to create only when in a yogic state, is compared with that of an exorcist. This vision of the prophetic artist, fluctuating between the christic figure of the saviour and the holy icon, also bears witness to the transformation of the status of the artist since the 19th Century in the West and to the appearance of a ”vocational regime” (Nathalie Heinich). These charismatic figures call to mind the appearance of a conception of the artist as the author of innovative works, and living a singular life. Like Braque and Rouault, the Maithil women painters would so be transformed into figures of legend, likely to guide the work of their followers in their efforts to become an artist. These prophetic artists would become a modern incarnation of holiness. In 1968, Yves Véquaud describes Mozart and Van Gogh as saints, whose example overwhelms. From his standpoint, the prophetic Maithil artists are devoid of the overwhelming heroization that affects Western artists. They would correspond to his promotion of creative spontaneity and a present freed from the burden of the past, in quest of eternal moments. In Yves Véquaud’s conception, the women painters swing between an ideal of devout humility and religious immortality. In 1973, Sita Devi is described as the one who “knew all the honours” and yet remained “humble and loving”. From the westernized standpoint of Véquaud, the artistic success of Maithil painters may be explained by their desire for singularity and timelessness in their results. This involves both the personalization of means, namely the invention of new paths, as well as the depersonalization of the ends of the success, namely the creation of objects crystallizing values recognized beyond the author. This contingency was traditionally reserved for saints and heroes. His admiration for these artists assumed an almost devotional character. Following the example of the canonization of Western art, Yves Véquaud established a relationship between the Maithil pictorial phenomenon and a religious phenomenon, the neo-tantrism. His behaviour was almost that of a believer. He set up his exhibitions with a nearly sacerdotal and proselytizing diligence. His hermeneutics of the works is almost theological. The conditions in which the paintings were produced has been neglected. The art of Mithila is described as a (wedding) liturgy ; the paintbrush becomes the tool of prayer. The biographies of the painters appear as a “golden legend”. Nevertheless, these exegeses underline the effective ritual dimension of these paintings. Maithil art became the sphere onto which he projected the expectations traditionally assumed by the religion. It is no longer the instrument, but the object of the sacralization. Sanctified with the admiration of Yves Véquaud, the painters were not “acknowledged by the ecclesiastical authorities”: it concords with the informal religiosity of the author. He thus put forward an essentialized vision of Mithila paintings. Perhaps it represented also an attempt to sublimate his own artistic failures by projecting onto fantasized painters an imaginary solution to a melancholy situation: giving up novelistic publications, whether due to lack of inspiration or to editorial refusals. His neo-tantric vision of Mithila paintings resulted from the kairos of the hippie phase previously evoked. Yet in 1994 India Served and Observed, the memoirs posthumously published by William Archer and his spouse, Mildred, put forward a fanciful account about the discovery of Mithila paintings, marked with a Flower Power sensitivity : it stays in-between the construction of a storytelling and an aesthetic emotion, which is a posteriori inflamed. To seize the proclaimed strong and valued discourses of the moment on South-Asia is equivalent to a re-enchantment of Archer’s writings. This work builds itself in resonance with Véquaud’s one. Thus in this new narrative about the discovery of Mithila paintings, the meeting with the paintings and the painters is described as simultaneously exalted and distanced, but sublimated by aesthetic emotion. A narrative play takes shape wavering between desire and repression. According to their words, "in these murals we somehow electrically met". I will analyzed in what extent these idealized works and their women heroized figures could be situated in the social context of the “counter-culture” and the hippie movement, foreseeing the globalization of Mithila paintings in the 1990s : since then some maithil artists free themselves from categories of gender, caste and local belonging. The appearance of painters men in Mithila, motivated in particular by the prospect of profits, polls gender categories associated to a practice for a long time exclusively feminine. Simultaneously some researchers deconstruct this essentialized tradition. They expound Archer’s and Vequaud's interpretations as an hegemonic discourse constituted from masculine canons
