An unexpected long-term complication of genital burn in a child: Secondary cryptorchidism

Genital and perineal burns are rare and challenging injuries with serious long-term complications. Involvement of the testes is a sign of severity. There is limited knowledge in the literature about the management of complications and testes involvement in genital and perineal burns. In this report, we present the case of an 8-year-old boy with secondary cryptorchidism due to burn contracture who was treated by increasing the scrotal volume by Z-plasties, skin graft, and orchidopexy. © 2018 Turkish Association of Trauma and Emergency Surgery

FILSAFAT DAN SIMBOLISME KETUPAT SEBUAH KAJIAN ESTETIK

Abstract To analyze “Philosophy and Symbolism of Ketupat” (Rice cake boiled in a rhombus-shaped packet of plaited young coconut leaves) a aesthetics study. The first explained the mean of philosophy as a love wisdom also at Hinduism called Tattwa is secret of divinity with Their Manifestation about secret of universe and life. Symbolism of Ketupat is extending conscience Hinduism to Ida Sang Hyang Widhi Wasa (Powerful of god) and Their Manifestation example Ketupat Linggih, made from leave of coarse grass, usage for “Banten Panca Lingga” carried out of “Nelinggihang Dewa Pitra” ceremony or honorable ancestors. While Philosophy and symbolism of Ketupat a aesthetics study as extending a love wisdom Hinduism based on art of “Ulat-ulatan” kind of Ketupat, but a aesthetics study as strike to feel of beauty in inspirins, understanding, and stable Hinduism always based on Weda

Adorno’nun estetik kuramı: ampirik gerçekliğin estetik görünüşü

Theodor Adorno’s Aesthetic Theory illuminates the basic question of the aesthetic claim to truth. Adorno’s text presents key philosophical questions about the nature of aesthetics. Through grounding Adorno’s aesthetic theory in Hegelian logic, this article explicates why and how the veracity of a modern artwork dwells in its claim to the truth of its own untruth. What is the relation between aesthetic truth and the objective truth of empirical reality? Can aesthetic truth disclose the truth of empirical reality? By relating negatively to what Adorno calls the empirical reality, modern artworks not only become identical to their nonidentity, but also present that which they are nonidentical with as their formative ground. If the truth of an object is mediated, aesthetic truth must disclose the degree of objectivity found in empirical reality. Consequently, aesthetic truth becomes for-itself a mediated truth, and aesthetic truth comes to reveal the mediatedness of empirical reality.Theodor Adorno'nun Estetik Kuramı estetik gerçekliğin ne olduğunu incelerken estetiğin doğası hakkında temel felsefi sorular sorar. Bu makale, Adorno'nun estetik kuramını Hegel mantığına dayandırarak modern sanatın gerçekliğinin ne olduğunu araştırmaktadır. Estetik gerçeklik ile ampirik gerçeklik arasındaki ilişki nedir? Estetik hakikat, ampirik gerçekliğin hakikatini gösterebilir mi? Ampirik gerçeklik ile değilleme üzerinden ilişki kurarak modern sanat kendiyle özdeş olmayarak kendine özdeş olur, modern sanatın biçimlendirici temeli bu özdeş olmama durumudur. Sonuç olarak, estetik hakikat kendisi için dolayımlanmış bir hakikat haline gelir ve ampirik gerçekliğin dolayımsallığını ortaya çıkarır.Publisher's Versio

Utilizing Minangkabau “Gandang Tambua” Traditional Music Repertoire in Engineering the New Genre of Ensemble and Outdoor Music “Gong Tambur

Gandang tambua is one of the Indonesian traditional music (esp. Minangkabau – West Sumatera) ensembles. It is primarily used in traditional activities and custom ceremonies performed out-door by their communities. The musical genre is potential to be improved become a new musical ensemble built based on several musical instruments and the arrangements of their tones horizontally and vertically. In addition, there are some new instruments to be completed in order to become a musical system and an ensemble. The ensemble is called Gong Tambur Madi. The ensemble can function as a musical expression based on the Indonesian local aesthetics, so that it becomes a global aesthetic commonly needed right now everywhere, especially in Indonesia. Key words: gandang tambua, improved, ensemble, out-door music, aesthetics

Modul pengembangan keprofesian berkelanjutan: seni budaya seni rupa SMA kelompok kompetensi D

Modul Pengembangan Keprofesian Berkelanjutan Seni Budaya Seni Rupa SMA yang telah terintegrasi penguatan pendidikan karakter Kelompok Kompetensi D ini terdapat dua kompetensi yaitu pedagogi dan profesional. Kompetensi pedagogi berisi: Pembelajaran Yang Mendidik yang meliputi Pengembangan Pembelajaran Yang Mendidik, Tujuan Pembelajaran Yang Mendidik, dan Prinsip-prinsip Pembelajaran Yang Mendidik. Kompetensi profesional berisi: Alat/Bahan dan Teknik Menggambar Estetik yang meliputi Pengetahuan Alat dan Bahan Menggambar Bentuk, Teknik Menggambar Bentuk; Gambar Estetik yang meliputi Bentuk Objek Yang Akan Digambar, Prinsip-prinsip Menggambar Estetik; Membuat Gambar Estetik yang meliputi Menggambar Pemandangan Alam, Menggambar Alam Benda, Menggambar Tumbuh -Tumbuhan, Menggambar Binatang dan Menggambar Manusia

Beauty; as an aesthetic value from antique age to german ıdealism

Estetiğin konusunu oluşturan güzellik problemi insanın var olması ile birlikte ortaya çıkmış bir konudur. İnsan, karşılaştığı ya da tecrübe ettiği her nesneyi anlamlandırma yoluna gitmiş ona güzel, çirkin, iyi, kötü, yararlı vb. estetik değerler yüklemiştir. İnsanın karşılaşmış olduğu nesneleri anlamlandırma yolunda o nesnelere yüklemiş olduğu en önemli estetik değer hiç şüphesiz güzellik değeridir. Çalışmamızda estetik bir değer olan güzelliği Antikçağ’ın en önemli filozofu olan Platon ile Alman idealizminin en önemli düşünürü olan Kant’ın görüşleri çerçevesinde ele alıp değerlendireceğiz

ESTETIKA DALAM NARASI KEBUDAYAAN POPULER (Analisis Terhadap Pergeseran dan Perubahan Sistem Nilai)

Hasil analisis literatur menunjukkan bahwa runtuhnya sekat-sekat wacana estetik (liberlism), dunia estetik memposisikan diri dalam situasi chaos dan anomali. Tidak ada lagi nilai-nilai, makna, kebenaran, dan keindahan absolut. Disisi lain, estetika mengalami kondisi kebuntuan paradigmatik, karena tatanan kebudayaan terus mengalami perubahan nilai. Sedangkan bingkai falsafahnya mengalami ‘retakan-retakan’ yang kian membesar pada segala aspek sektoral. Pelaku estetik dan pemikir estetika masa kini, secara tidak langsung memberi ‘tanda budaya’ dan menggiring kognisi sosial ke arah dunia yang serba beyond. Masyarakat seni cenderung mengabaikan nilai, norma, kepatutan, kebaikan, dan kearifan. Sejak media tayang elektronika mengalami kemajuan, goncangan peradaban disahkan melalui karya estetik (teror, pornografi, pembajakan, despritualisasi, dehumanisasi sampai demoralisasi)

Oilada estetik tarbiya

Bu maqolada yosh avlod uchun estetik tarbiyaning naqadar ahamiyatli ekanligi to’g’risida fikr yuritilgan

Nilai Estetik Pertunjukan Gondang Borogong dalam Upacara Pernikahan Di Desa Kepenuhan Barat Kecamatan Kepenuhan Kabupaten Rokan Hulu (The Aesthetic Value of Gondang Borogong Performances in a Wedding Ceremony in West Kepenuhan Village, Kepenuhan District, Rokan Hulu Regency)

Penelitian ini bertujuan menyelidiki dan menganalisis bentuk pertunjukan dan nilai estetik yang muncul dalam pertunjukan Gondang Borogong pada upacara pernikahan di Desa Kepenuhan Barat, Rokan Hulu. Saat peneliti mendefenisikan dan menghasilkan data, peneliti menggunakan metode kualitatif serta menggunakan teori: estetika Djelantik dan Monroe Beardsley. Hasil penelitian ini menunjukkan bahwa pertunjukan Gondang Borogong selalu ditampilkan dalam upacara pernikahan dan dimainkan oleh lima orang pemain musik terdiri dari: satu ogong, dua gondang, dan dua calempong. Membawakan lagu wajib berjudul Nayong Lalu yang merupakan lagu persembahan sebagai pengiring silek, salah satu materi pokok dari proses penikahan. Penelitian ini juga menemukan, bahwa pertunjukan Gondang Borogong serat dengan nilai-nilai estetik antara lain: nilai estetis pemain atau seniman, nilai estetik alat musik, nilai estetik lagu, nilai estetik kostum, nilai estetik waktu dan tempat pertunjukan, serta nilai estetik penonton. Disamping itu, nilai-nilai estetik ini memiliki kesatuan hubungan yang saling bersinergi dan tidak terpisah dari pertunjukan Gondang Borogong pada upacara pernikahan.ABSTRACTThis study aims to investigate and analyze the form of performance and aesthetic values that appear in the Gondang Borogong performance at a wedding ceremony in Kepuhan Barat Village, Rokan Hulu. When researchers define and generate data, researchers use qualitative methods and apply theory: Djelantik and Monroe Beardsley aesthetics. The results of this study indicate that the Gondang Borogong performance is always performed in wedding ceremonies and is played by five musicians consisting of: one ogong, two gondang and two calempong. Performing the obligatory song titled Nayong Lalu which is a tribute song as an accompaniment to silek, one of the main materials of the marriage process. This study also found that Gondang Borogong fiber performances have aesthetic values, including: the aesthetic values of the players or artists, the aesthetic values of musical instruments, the aesthetic values of songs, the aesthetic values of costumes, the aesthetic values of the time and place of performance, and the aesthetic values of the audience. Besides that, these aesthetic values have a unified relationship that is synergized with each other and is inseparable from the Gondang Borogong performance at the wedding ceremony

Adaptasi Unsur Estetik Sunda pada Wujud Ragam Hias Batik Sunda

Abstrak. Studi tentang aspek identitas dalam ranah Batik Sunda dengan unsur estetiknya sebagai artifak budaya, merupakan kajian objek desain yang komprehensif. Sejumlah masalah yang ditemui yaitu perkembangan estetik Batik Sunda tradisional dan modern, agar bisa dikenali ciri khasnya dan perlu penjelasan hubungan antara wujud dan terapan unsur-unsur estetik dalam bentuk ragam hias Batik Sunda, terhadap identitas masyarakat Sunda secara intraestetik maupun ekstraestetik. Selanjutnya dalam mengkaji Batik Sunda secara estetik dan mengidentifikasi unsur-unsur estetik batiknya digunakan metode strategi adaptasi visual. Penelitian ini disusun dalam wujud strategi adaptasi visual berupa kreatifitas berdasarkan hubungan antara identitas dengan ragam hias pada Batik Sumedang, Batik Garut, Batik Tasikmalaya, dan Batik Ciamis. Kesimpulannya adalah terdapat konsep estetik Sunda di dalam ragam hias batik-batik tersebut; serta hubungan antara wujud estetik yang berasal dari hasil kajian dan terapan unsur-unsur estetik dalam bentuk ragam hias Batik Sunda, terhadap identitas masyarakat Sunda melalui penelusuran terhadap faktor intraestetik dan ekstraestetiknya, yang kemudian menjadi indikator adanya adaptasi visual (kebudayaan) masyarakat Sunda.Kata Kunci: adaptasi visual; Batik Sunda; masyarakat Sunda; ragam hias;unsur estetik Sunda.Adaptation of Aesthetic Elements at Form of Sundanese Batik OrnamentsAbstract. The study of cultural identity related to Sundanese batik, considering aesthetic elements as cultural artifacts, involves a comprehensive investigation of batik as designed object. Some of the issues are investigating the aesthetic development of traditional and modern Sundanese batik to discover the characteristics of Sundanese batik;and investigating the relationship between the form and application of aesthetic elements in Sundanese batik on the one hand and Sundanese cultural identity on the other by considering intra-aesthetic and extra-aesthetic factors. To investigate the aesthetics of Sundanese batik and to identify characteristic Sundanese batik elements, a visual adaptation strategy was used. This approach was applied to batik ornaments from Sumedang, Garut, Tasikmalaya, and Ciamis. The conclusions are a specifically Sundanese aesthetic exists in Sundanese batik ornaments; and the relationship between the aesthetic elements applied in Sundanese batik, as derived from the results of this study, and Sundanese cultural identity can be explained by intra-aesthetic and extra-aesthetic factors, which can be seen as indicators of visual (cultural) adaptation by the Sundanese people.Keywords: element of Sundanesse aesthetic; ornament; Sundanese Batik; Sundanese society; visual adaptation