PLAGIARISM ON ART WORKS COPYRIGHT IN BALI

Abstract This thesis focuses comprehensively on plagiarism of copy rights of fine arts in Bali as based on the laws of Republic of Indonesia No 28 Year 2014 on Copy Rights. In this thesis, it is discussed 2 matters, i.e, first, the implementation and protection of copy rights of fine arts in Bali and second, the law enforcement of the breach of copy right of fine arts in Bali. Four legal theories are used : (1) Theory of Legal Certainty, (2) Theory of Legal Protection, (3) Theory of Legal Fairness (4) Theory of Legal System. The relevance of the four theories are used as the analysis tools. The findings of this thesis consist of: in the copy right, there are 2 inherent rights which are economical rights and moral rights. Plagiarism cases or plagiarism towards copy right of fine arts in Bali leads more towards breach of moral rights of the creators. The law enforcements and legal protection of copy rights emphasizes on the offenders of the breach of copy rights of fine arts in Bali who produce and distribute rather than individual users. Plagiarism of creation of fine arts in Bali is not only limited to scientific works and other copy right objects but also towards patent and Brand rights. Keywords: Plagiarism, Copy Rights, Fine Arts

ESTETIKA VISUAL DAN NONVISUALKOIN CINA KUNO ASLI YANG DITEMUKAN DI BALI DAN KOIN CINA BUATAN LOKAL

Up to now, Balinese culture and art cannot be separated from the utiliza- tion of old Chinese coins which local people in Bali call pis bolong. The use of those old Chinese coins in traditional ritual in Bali is found even from the infants until the end of that person’s life at cremation ceremony. The cremation ceremony uses the Chinese old coins to be burned with the deceased and to be sent with the ash from the burned deceased into the sea. This practice makes the number of old Chinese coins decrease meanwhile the demand of using the coins increase. The condition is worsened by the practice of using old Chinese coins as souvenirs. The local metal craftsmen have tried to solve the scarcity of the coins by producing a local-made Chinese coins and making them as similar as the original Chinese coins. However, due to the lack of local craftsmen’s aesthetics assessment visually and non-visually on old Chinese coins, their physical appearances were very much different from its original Chinese coins. Therefore, this paper presents the result of the observation of aesthetics  assessment  visually and non-visually on old Chinese coins that can be used as guidance to produce local-made old Chinese coins as similar as its original

Arkeometalurgi pada Enam Jenis Logam yang Berpengaruh pada Peradaban Umat Manusia

ABSTRACT It is undeniable that the expertise on metal work influenced the culture of the human. It was proved by the naming of the age by using the name of the metal such as iron age and bronze age. Kebudayaan manusia sudah sejak lama secara konvensional dibagi menjadi tiga, berdasarkan bahan bahan yang digunakan untuk peralatan, khususnya sebagai alat potong. Dimulai dengan penggunaan batu yang dipecah dan diasah, atau tulang serta tanduk yang diruncingkan, yang selanjutnya disebut dengan zaman batu. Periode selanjutnya dimulai saat manusia menyadari bahwa sejenis batu yang mengandung unsur logam tembaga dapat dicairkan dalam keadaan panas, dituangkan ke dalam cetakan dan bentuknya sesuai cetakan saat sudah dingin, zaman ini disebut dengan zaman perunggu. Zaman setelah ditemukannya besi sebagai alat potong selanjutnya disebut dengan zaman besi (Childe 1930). Alat-alat musik perunggu yang dibuat pada zaman perunggu di Cina membantu menciptakan atmosfir, dimana para manusia dan dewa dapat berhubungan. Dengan memberi musik pada gerakan manusia dan memberi melodi pada perkataan yang diucapkan menyebabkan musik digunakan pada aktivitas ritual yang dapat memasuki dunia roh leluhur di surga. Pada zaman Cina kuno seni musik perunggu amatlah ditangani secara ketat. Seperti misalnya untuk lonceng (bell) dibuat dengan komposisi enam bagian tembaga dan satu bagian timah putih yang dikenal dengan istilah kaogongji. Namun tentunya karena perbedaan daerah sumber logam maka terdapat pula yang mengandung kandungan timah hitam. Khusus untuk pembuatan lonceng perunggu maka lonceng Cina biasanya mengandung timah putih antara 12% dan 16 % karena menghasilkan kekerasan yang optimum saat dipukul. Jika ditambahkan timah putih lebih dari 16 % maka akan cenderung getas dan muda