TATA RIAS KARAKTER TOKOH PANGERAN EUGENE FITZHERBERT DALAM CERITA RAPUNZEL PADA PERGELARAN FAIRY TALES OF FANTASY

Pembuatan Proyek Akhir ini bertujuan untuk: 1) merancang tata rias wajah, penataan rambut, body painting/ face painting, dan kostum tokoh pangeran Eugene Fitzherbert dalam cerita Rapunzel pada pergelaran Fairy Tales of Fantasy. 2) menerapkan tata rias wajah, penataan rambut, body painting/ face painting dan kostum tokoh Eugene Fitzherbert dalam cerita Rapunzel pada pergelaran Fairy Tales of Fantasi. 3) menampilkan tokoh pangeran Eugene Fitzherbert dalam cerita Rapunzel pada pagelaran Fairy Tales of Fantasy. Metode yang digunakan untuk mencapai tujuan, yaitu: 1) merancang dengan cara mengetahui alur cerita dongeng Rapunzel dan mengkaji teori untuk mempelajari karakter tokoh pangeran Eugene Fitzherbert, mencari sumber ide dan merancang tata rias wajah karakter, penataan rambut, body painting/ face painting dan kostum. 2) menerapkan dengan melakukan tes rias wajah, penataaan rambut, gladi kotor yang meliputi pengaplikasian tata rias wajah, penataan rambut, body painting/ face painting dan kostum dengan menampilkan tokoh diatas panggung serta penyesuaian tata cahaya dan musik. 3) menampilkan tokoh Eugene Fitzherbert pada pergelaran Fairy Tales of Fantasy dengan menyusun kegiatan (latihan, gladi kotor, gladi bersih dan penyelenggaraan pergelaran). Hasil Proyek Akhir, yaitu: 1) terciptanya tata rias wajah karakter, penataan rambut, body painting/ face painting, dan kostum tokoh pangeran Eugene Fitzherbert dalam cerita Rapunzel pada pergelaran Fairy Tales of Fantasy. 2) terwujudnya tata rias wajah karakter, penataan rambut, body painting/ face painting, dan kostum tokoh pangeran Eugene Fitzherbert dalam cerita Rapunzel pada pergelaran Fairy Tales of Fantasy. 3) terselenggaranya pergelaran Fairy Tales of Fantasy di Concert Hall Taman Budaya Yogyakarta pada tanggal 17 Maret 2012, dengan menampilkan tokoh pangeran Eugene Fitzherbert dalam cerita Rapunzel

Conceptual painting

Conceptual Painting is an essay that examines if the notion of conceptual painting is a misnomer or if painting is a conceptual approach to art, akin to other mediums. It looks at this through 3 artists, Ben Cook, Pavel Buchler and Anikam Toren

Engagement and Disengagement in Art Interventions with Memory Impairment

Introduction. Studies have shown art intervention to be an effective therapy for patients with memory impairments, leading to overall positive behaviors, increased quality of life and decreased caregiver burden. We conducted a preliminary study to evaluate and compare the effect of participation in weekly art appreciation and painting sessions on the behavior of memory impaired residents in an assisted living facility. Methods. Residents’ behaviors were observed during art appreciation and active painting sessions over a six-week period. Each session consisted of either viewing and discussing artwork or actively painting in the style of the artist discussed. Positive and negative behaviors were recorded and tallied throughout the sessions. Over the course of 12 sessions, the 7 observers made a total of 1957 observations of a variable patient population. The total number of both positive and negative behaviors was compared between activities, over time within sessions, as well as over the six weeks. Each session was percent normalized to the time interval with the highest occurrence of select behaviors. Results. Upward trends for positive and negative behaviors were noticed in ap- preciation and painting sessions respectively. The negative to positive engagements ratios for each painting session showed an increase in negative behaviors. Disengagement increased as the appreciation sessions progressed and decreased as painting sessions progressed. Overall, positive engagement increased in both appreciation and painting sessions. Conclusions. Despite several confounding variables encountered in this study, we demonstrated art appreciation and active painting to be a viable non- pharmacological therapeutic approach for individuals with memory impairments.https://scholarworks.uvm.edu/comphp_gallery/1258/thumbnail.jp

Bacterioplankton dynamics in the Southern Benguela upwelling region

The role of heterotrophic bacteria in the carbon and nitrogen flux of the pelagic food web was investigated during laboratory and field-based studies of the temporal development of the planktonic community after upwelling. Bacterial community structure, activity and production were closely coupled to the upwelling cycle and to the dynamics of the phytoplankton community. The initial bacterial population (<l x 10⁶ cells ml⁻¹, 20 to 40 μg C l⁻¹) was metabolically dormant. Increased availability of phytosynthetically produced dissolved organic carbon (PDOC) stimulated bacterial growth (0.016 h⁻¹) and abundance (8 to 10 x 10⁶ cells ml⁻¹, 140 to 200 μg C l⁻¹). Rapid successions in the dominant plateable strains were attributed to substrate preferences and substrate availability. Significant correlations of bacterial biomass with total standing stocks of phytoplankton and particulate carbon provided evidence of close coupling between bacteria and PDOC, and between bacteria and recalcitrant substrates available during phytoplankton decay. These relationships were best described by power functions, suggesting that bacterial biomass was relatively reduced at high levels by predation. A microcosm study indicated that zooflagellate predation could control bacterial biomass. Low net growth yields (34 to 36%) of flagellates suggested inefficient transfer of carbon to higher trophic levels, but considerable nitrogen regeneration (ca 6 to 7 μg N mg dry weight⁻¹ h⁻¹). Thymidine-measured bacterial production (TTI, <0.1 to 1.25 mg C m⁻³ h⁻¹) was linearly related to phytoplankton growth. Non-uniform response of bacteria to added tracer substrates may result in underestimates of bacterial production by 2 to 34 times by TTI, particularly in deep or oligotrophic waters, or during phytoplankton decay. Close coupling of copepod (Calanoides carinatus) production to the upwelling cycle suggested co-existence of the microbial food web and the classical diatom-copepod food chain. Recently upwelled water was dominated by phytoplankton. Assuming that all phytoplankton carbon was available for utilisation, copepods and bacteria were calculated to consume approximately 12 and 22% of primary production respectively. As the bloom declined the planktonic community was increasingly dominated by bacteria, detritus and mesozooplankton. On average, copepods consumed 60% of primary production, while bacteria consumed 49%. Carbon consumption requirements of both bacteria and copepods were satisfied by resource partitioning and carbon cycling. Under food-limiting conditions herbivorous copepods may switch to omnivory, ingesting microzooplankton of the microbial food web, and stimulating enhanced remineralisation to further sustain primary production. A generic size-based simulation model of the dynamics of the plankton community indicated that bacteria and the microbial food web increase the overall productivity of the planktonic food web, and that heterotroph predation in the smaller size classes (<200 μm) is an important mechanism in nutrient recycling