Performansi Jaringan Fiber Optik Dari Sentral Office Hingga Ke Pelanggan Di YOGYAKARTA

Kebutuhan layanan komunikasi pada masa kini tidak hanya suara, melainkan juga data dan video. Maka diperlukan jaringan handal yang mampu memberikan performansi yang baik. Salah satu solusinya adalah jaringan fiber optik. Penelitian ini menganalisa power budget jaringan fiber optik milik PT. Telkom Indonesia di Yogyakarta yang meliputi 5 STO (Sentral Office) dan 20 Pelanggan. STO Terdiri dari STO Kalasan, STO Godean, STO Kotabaru, STO Bantul, dan STO Pugeran. 20 Pelanggan tersebar di wilayah STO Kotabaru, STO Bantul dan STO Pugeran. Berdasar pengukuran di peroleh nilai redaman total antara STO hingga ke pelanggan masih kurang dari 28 dB. Hasil tersebut sesuai dengan standar tetapan PT. Telkom Indonesia. Nilai redaman kabel adalah 0,26 dB/Km masih sesuai dengan standart ITU (International Telecomunication Union) no. T-REC-G.651-199802-I. Jaringan mampu melayani pelanggan dengan kecepatan rata rata 8,23 Mbps untuk download dan 2,04 Mbps untuk upload

Development of 2D adventure in Unity environment

Ovaj rad opisuje koncept razvoja 2D igre u unity okruženju. Igra se sastoji od dvije scene. Prva scena sastoji se od glavnog izbornika. Druga scena sastoji se od levela kojeg igrač mora proći. Kamera prikazuje bočni pogled na igrača koji mora izbjeći sve prepreke i doći do kraja levela uz pomoć alata koji su mu dani (uže i baklje). U radu se kratko opisuje unity editor prozori i neke od komponenata koje se koriste u njemu. Opisuju se neke od glavnih funkcija koje se skoro uvijek koriste prilikom programiranja u Unityju. Nakon toga je opisan postupak izrade objekata koji se nalaze u igri i opis rada skripti koji se nalaze na njima.This paper describes the concept of developing a 2D game in a unity environment. The game consists of two scenes. The first scene consists of the main menu. The second scene consists of a level that the player must go through. The camera shows a side view of a player who must avoid all obstacles and reach the end of the level with the tools given to him (ropes and torches). The paper briefly describes the unity editor windows and some of the components used in it. Paper describes some of the main functions that are almost always used when coding in unity. After that, the process of creating the objects that are in the game is described and the operation of the codes located on them is described as well

The Animal-AI Environment: A virtual laboratory for comparative cognition and artificial intelligence research

The Animal-AI Environment is a unique game-based research platform designed to facilitate collaboration between the artificial intelligence and comparative cognition research communities. In this paper, we present the latest version of the Animal-AI Environment, outlining several major features that make the game more engaging for humans and more complex for AI systems. These features include interactive buttons, reward dispensers, and player notifications, as well as an overhaul of the environment’s graphics and processing for significant improvements in agent training time and quality of the human player experience. We provide detailed guidance on how to build computational and behavioural experiments with the Animal-AI Environment. We present results from a series of agents, including the state-of-the-art deep reinforcement learning agent Dreamer-v3, on newly designed tests and the Animal-AI testbed of 900 tasks inspired by research in the field of comparative cognition. The Animal-AI Environment offers a new approach for modelling cognition in humans and non-human animals, and for building biologically inspired artificial intelligence

The Animal-AI Environment: A virtual laboratory for comparative cognition and artificial intelligence research

Abstract The Animal-AI Environment is a unique game-based research platform designed to facilitate collaboration between the artificial intelligence and comparative cognition research communities. In this paper, we present the latest version of the Animal-AI Environment, outlining several major features that make the game more engaging for humans and more complex for AI systems. These features include interactive buttons, reward dispensers, and player notifications, as well as an overhaul of the environment’s graphics and processing for significant improvements in agent training time and quality of the human player experience. We provide detailed guidance on how to build computational and behavioural experiments with the Animal-AI Environment. We present results from a series of agents, including the state-of-the-art deep reinforcement learning agent Dreamer-v3, on newly designed tests and the Animal-AI testbed of 900 tasks inspired by research in the field of comparative cognition. The Animal-AI Environment offers a new approach for modelling cognition in humans and non-human animals, and for building biologically inspired artificial intelligence.</jats:p

Studies of mass loss and outflows from giant stars

This thesis aims to provide better understanding of mass loss and outflows from asymptotic giant branch stars using the Bowen code. There are 3 projects involved in this thesis. The main project presented here is on the morphology of the outflow when disturbed by a super Jupiter size companion. There exists resonant modes between the pulsation period and orbital period. At different resonant modes, multiple spiral arms with different spiral arm periods form in the outflows. A simple formula gives the spiral arm period as a function of pulsation and orbital periods. Since the resonant modes appear in close orbits, the decay time scale and spiral arm morphology are also presented. These results may explain asymmetry in the outflows that form planetary nebulae. It also explains the origin of the spiral arm structure around some late AGB stars. A 3-D code will ultimately be need to resolve some questions unanswered by the current 1-D models. The paper on the outflow morphology has been submitted to ApJ. In this thesis, ongoing mass loss studies using the Bowen code are also briefly explained. I generated a large grid of models with varying mass, luminosity, metallicity, mixing length and Bowen model parameters in order to find correlations between the mass loss rate and these parameters. Since dust abundance is an important factor for mass loss, for the third project I tested dust formation in the refrigeration zone which is closer to the photosphere than normal dusty regions. In this test, I assumed that the dust temperature equals to the gas kinetic temperature which is lower than the radiative equilibrium temperature. Since dust temperature is close to the radiative temperature when the dust grain is large, this assumption brings excessive dust into the refrigeration zones. The detailed treatment of dust formation will be refined in future studies

Development of 2D adventure in Unity environment

Ovaj rad opisuje koncept razvoja 2D igre u unity okruženju. Igra se sastoji od dvije scene. Prva scena sastoji se od glavnog izbornika. Druga scena sastoji se od levela kojeg igrač mora proći. Kamera prikazuje bočni pogled na igrača koji mora izbjeći sve prepreke i doći do kraja levela uz pomoć alata koji su mu dani (uže i baklje). U radu se kratko opisuje unity editor prozori i neke od komponenata koje se koriste u njemu. Opisuju se neke od glavnih funkcija koje se skoro uvijek koriste prilikom programiranja u Unityju. Nakon toga je opisan postupak izrade objekata koji se nalaze u igri i opis rada skripti koji se nalaze na njima.This paper describes the concept of developing a 2D game in a unity environment. The game consists of two scenes. The first scene consists of the main menu. The second scene consists of a level that the player must go through. The camera shows a side view of a player who must avoid all obstacles and reach the end of the level with the tools given to him (ropes and torches). The paper briefly describes the unity editor windows and some of the components used in it. Paper describes some of the main functions that are almost always used when coding in unity. After that, the process of creating the objects that are in the game is described and the operation of the codes located on them is described as well

grief web

The grief web project is an attempt to respond to death. To become responseable — responsible and able to respond — within the deathzone: where the living and the dying meet, where we live on after they die, where their deaths make our lives possible. I grieve for all beings who have been made ungrievable, for all who die before their time, for all our dead and dying kin and kin of kin. In particular, I mourn for childhood friends who have been killed in my neighborhood, for species made extinct by climate change and capitalism, for my three grandmothers and all my ancestors, for roadkilled animals, and for every being killed by those two great American weapons: the car and the gun. The grief web is an interdisciplinary project that combines performance poetry, creative essays, installation, found object sculpture, printmaking, video art, and soundscapes. To create physical grief webs, I gather discarded materials from Seattle’s streets and transform them into ephemeral site-specific memorials. I make memorial shirtpoems covered the names, images, and words of dead kin, which I tear open and weave into branches, mud, and my hair. Expanding from these artworks, I have written these pages, better described as language-webs (or quilts) that tangle (or sew) my work with the work of others. Grief tangles up my language, making it difficult to write or to speak, and so I have learned to inhabit the language of others as a grief practice. The words of others are always on my tongue, repeated over and over like a funeral or a baptism liturgy—but also altered through discourse with my own work, unraveling me and unraveled by me. These others include thinkers, artists, poets, and scholars whose work has been indispensable to me—those who do the work of extinction studies, Latin American liberation theology, queer theory, human-animal studies, abolition geography, ecopoetics, postcolonial storytelling—as well as loved ones: parents, classmates, siblings, teachers, friends. My work draws from the mourning practices of my community, the Excelsior District, which include memorial tshirts, candlelight vigils, protests, roadside memorials, ancestor rituals, funeral liturgies, church services, rap, and spoken word. I also draw from the mourning practices of nonhuman animals and multispecies communities, especially magpie rituals, the song of the last Kauaʻi ʻōʻō, and vulture funerals in Asia. Joining them, I become one thread within an interdependent web of vulnerable creatures — entangled, ephemeral, embodied, emplaced. Through mourning rituals and storytelling, we practice precarious life in the shadow of death