About Vincent Van Gogh

Seeing the success of a leading figure will always exude sense of amazed at the same time jealous why do not we are endowed with a talent figures such as these. But do not wrong, was a talented does not easily reach fame. If you read the biography of leaders well, only contribute to the talent of their success. Most of the other stream is determined by the sweat that he has remove, not for fame but for a dream. he is Vincent van Gogh masterpiece one of the creators of the world admire with paintings-paintings that depend on each art galleries as a valuable treasure trove. Only hope, "I want to create paintings that can touch so many people ... I painting in order to give hope to the poor beings. "(Letters Vincent to her brother, Theo). Born in a religious family, Vincent obey his father's advice to follow the training as a missionary. However, he does not pass and be as evangelic Borinage mines in the area. He found that place very grim, dirty and poor. There he visited the people sick, give lessons and read the gospel. It is the character he himself to reach an understanding with the intimate surroundings. He gives all that he has the money, clothes, beds, and hostel-life improvements for residents in the surrounding tambang.Atasan he reprimand over the spirit of dedication to the community that is too excessive. Vincent even called to fight the mine owners to improvement of living of the population. Unfortunately, even the head company mengacuhkannya and let people live Borinage with Vincent poor, emaciated and act pucat.Keluarga Vincent, call not to take too much problem, and mining still thinking about their own condition. He wound with criticism his family and never gave to the news of his family during the nine months. But eventually he realized, fighting mengentaskan mine the fate of workers and money alone without family support, results useless. At the age of 27 years, he moved to Brussels and begin interested in studying the movement in the brush-brush and a canvas top seniman.Dia start making sketches-sketches with the dark media llithograf black crayon, pen, brush, and based on the memories he akan mine the bleak landscape. But the paintings have not been originally visible gaungnya.Di City Nuenen, create works of Vincent agung "Potato Eaters" which describes the reality of day-to-day rough-workers. This paper is the result of deep research on the dismal lives of the farmers fields. The use of color in the light painting in the making of these didaulat the observer as top masterpiece Vincent van Gogh in the bleak and Realism period selanjutnya.Sangat be lamented, a genius painter must cut off the magnificent winded own age who are still in too young. Bipolar syndrome which diidapnya the ultra soul which is always dirundung rejection and disappointment. Disagree with the familiar ayahanda, ditampik by girls craving he considered not mumpuni by the church to work among the poor, a quarrel with Paul Gaugin, and failed to realize the "fraternity among the artists," makes it quite depressed. Lose the attention of the person who most impendence, Theo, making them desperate enough to shoot chest own, in this age 37.Biografi based on the written letters Vincent van Gogh to friend as well as younger brother, Theo van Gogh. The role of their correspondence is very special, so that without it, Vincent complexity personality is very difficult to understand. Letters is written as plain, honest in what and who disclose Vincent expectations of themselves and a dunia.tulisan biography that is good for meditation. By reading the story Vincent van Gogh lived from A to Z, we know it

In Postmodernisme Know More

In Postmodernisme know more

Miletos, a small town on the Greek island group of the century to the SM-6 is the place bermulanya story about the conquest of nature by man. In the city that fall Sebermula arkhaik myths about nature in the form of myth, fable or belief. Since that time people immediately rise from kungkungan culture mitologis understand and try to use to describe the world. Natural history of subjugation under the gaze and resourceful mind scrolling. Sokrates, great Greek philosopher, this business with the state motto which is very popular, Know thyself. One of the students Sokrates, Plato, while reflect the thinking of teachers, draw a line more sharply on the concept of man. According to Plato, human beings consist of 3 levels of function that is, the body (epithymia), will (thymos) and the ratio (logos). Ratio is the highest level, as well as manage and covers the functions of others. Plato views about this man took him to the conception of the ideal level with the analog function in humans. First, the leaders (with the ratio of analog). Second, the soldiers (analog with the will). Third, farmers and carpenters (with analog body) (Aaron Hadiwijono, 1994: 43-44). With this conception, such as Plato reinforce confidence subjektivitas human culture with the construction (the state) on the ratio of the footing. History of philosophy until the next revolving at one point that has important meaning for the birth of the era of modernity. Triggered by movement of the century Italian humanism to M-14, Renaissance was born in response to the kejumudan and rigidity of thought mid-century. Renaissance means re-birth, bringing the spirit of the exemption of religious dogma is frozen during the mid-century; the courage to accept and face the real world; confidence with the ability to find their own truth; rise again learn classical literature and culture; and wishes the dignity and the dignity of man (Aaron Hadiwijono , 1994: 11-12). Important meaning in the history of Renaissance philosophy is a Western role as the seedbed seed century enlightenment to the M-18 which is the modern embryo culture. A philosopher of great influence on the set this time is René Descartes, Mr. rationalism, as well as a major architect of modern philosophy. By adopting and mensintesakan thinking philosopher-philosopher earlier, Descartes berambisi build knowledge of the method is applied to any form of knowledge. According to him, the certainty of truth can be obtained through a methodical strategy skepticism. With the halt of all things, Descartes wanted to find the things that still can not doubt. That is the certainty that we are in doubt about everything. Famous formulation of this idea is diktum Descartes, Cogito ergo sum, I think I have it. Diktum With this, the ratio is believed capable of once again the strength metafisis and transendental. Ability ratio which is the key to this is the truth of knowledge and modern culture. History of modern culture maturity shown by the next thought two German philosopher, Immanuel Kant and Frederich Hegel. Through this second trust values modernism ditancapkan flow in the history of the world. Kant with the idea that you have absolute terberi (category). Hegel's philosophy of identity (absolute idealism) (Ahmad Sahal, 1994: 13). Construction of modern culture and stand upright with the principles of the ratio, the subject, identity, ego, totality, absolute ideas, linear progress, objectivity, autonomy, emancipation and the binary opposition. History of thought and culture that is built on the principles of modernity to further penetrate various areas of life. Modern art as the present strength emansipatoris take the new reality in the human. (Awuy, 1995: 41). Meanwhile in the world of science and culture, modernity marked by the development of technology which is very rapid, the invention of theories of contemporary physics, about the triumph of capitalism, consumerism, merebaknya mass culture, popular culture, industry information maraknya television, newspapers, advertisements, movies, internet development concept nation-state (state-nation), democratization and pluralism. But in the current appearance, and teak modernism began to reveal the truth itself: full of contradictions, ideological, and thus bear a variety of pathological modernism. This is the modernism that has reached the status hegemonis victory since the United States and its allies in World War II (Ariel Heryanto, 1994: 80), ie, that modernism is not as rich in character at the beginning of birth, but figured that modernism monoton, positivistik, teknosentris and rasionalistik; modernism sure that the fanatics on the history of linear progress, absolute truth of scientific, engineering sophistication that diidealkan community, and strict standardization of knowledge and production systems. Main elements of modernism: the ratio, and science antropomorphisme, and thus cause a reduction totalisasi human marrow. It is true, on the one hand modernism has given contributions to building human culture familiar with the subject of autonomy, technological progress, industrialization, information dissemination, enforcement of human rights and democratization. But on the other hand, modernism has also caused the birth of various pathology: dehumanisasi, alienasi, discrimination, racism, unemployment, the difference canyon rich and poor, materialism, consumerism, two-time World War, the threat of nuclear and economic and cultural hegemony. Variety of pathology which is the reason for this is the important thought postmodernisme claim against modernism. Impressions-impressions in the minds of shelter under the umbrella postmodernisme in many areas of life: art, literature, politics, economics, architecture, sociology, anthropology and philosophy in fact can be tracked far to the flow history of modernism itself. Birth of a variety of new forms of reality: earth art, avant garde art, video art, marginal literature, literature that is silent, dekonstruksi architecture, anthropology awareness, Thomas Kuhn and the paradigm of rebellion since the modern philosophy of Nietzsche, Husserl, Heidegger, to Mahzab Frankfrut is seed - postmodernisme birth of the seed of thought. Especially in the world of philosophy, postmodernisme get pendasaran ontologis and epistemologis, by Jean Francois Lyotard thought a French philosopher. Through the book which is a research report on the conditions computerization Quebec, Canada, The Postmodern Condition: A Report on Knowledge (1984), Lyotard reject the radical idea of the basic modern philosophy since the Renaissance era to the current principles of unity dilegitimasikan by ontologis (Awuy, 1995: 158). According to Lyotard, in a world that is influenced by advances in technology, principles of unity ontologis is not relevant anymore. Power-has been divided and spread the blessings for the democratization of technology. Therefore the principle of unity must ontologis in delegitimasi with the principles paralogi. Paralogi means that the principle of reality receive diversity, the elements, the game logikanya with each each other without having to repress or control (Awuy, 1995: 161). Exactly chess, where every pawn has rules and steps apart, without having to disrupt the other pawn. Conditions, such as Susan Sontag said an art critic is an indication of the birth of a new sensibilitas: namely an awareness of the complexity, play and enjoy the reality together, to persevere without a win or menaklukan other realities (Lash, 1990: 234). More Lyotard states the principles that uphold modernism: the ratio, ego, absolute idea, totality, teleology, binary opposition, the subject, the linear progress of history disebutnya Grand narrative has lost legitimacy (Awuy, 1995: 158-161). The stories of modernism is not only a surefire vizor stark, mistifikasi, that is ideological, exploitative, and dominatif cast. From different directions with a focus on philosophy language Jacques Derrida, a French philosopher of others, agreed with Lyotard. Derrida propose a strategy review assumptions of modernism seems to have terberi with dekonstruksi. Dekonstruksi strategy is to check the structures that form in the paradigm of modernism always dimapankan boundaries and does ditunggalkan (Ahmad Sahal, 1994: 21). With dekonstruksi, the stories of modernity is, dirongrong and disingkap nature paradoksnya. More dekonstruksi would bring the dimensions in the bottom of the totality modernism. Logical implications of this strategy is melumernya limits which have maintained the concept-metaphors, truth, fiction, philosophy, poetry, and the game-seriousness. Discourse-a discourse which had previously suppressed: ethnic groups, the feminist, third world, black race, gay groups, hippies, punk, or care about the environment movement is now starting to be. With dekonstruksi, the history of modernism would appear without a mask, as is. Strategies that full emancipation is also encouraging that a historian French philosopher Michel Foucault mistifikasi to disclose the relationship of knowledge and power that disodorkan modernism. Unlike the view of modernism that the distingsi between pure knowledge and ideological knowledge, Foucault states of knowledge and power are two sides the same currency. There is no knowledge without power vice versa. Then according to Foucault power is understood not as the Weberian or Marxian. The Weberian understanding of power as the ability to influence the subjective lain.Sementara the Marxian understanding of power as material artefacts that can be mastered and used to oppress other classes. The intelligent Foucault states that in the era of the dihidupi by the development of science and technology, such as at this time, power is not an institution, or the power structure of the squash. Power does not belong, do not have, but it is a complex relationship that spread and present everywhere (Ahmad Sahal, 1994: 17). View of power / knowledge is not, does not dominate and spread is then brought Foucault to reject the assumption that the ratio of critical-Kantian universal style. For the ratio is not universal, as be expressed as Charles Baudelaire, French poet there is a response to the modernism that is another: ironi.Karenanya Foucault not at berambisi build theories of universal. He chose to read on the size of the micro realities. Themes such as prison, not plural, madman, hospitals, barracks, army barracks, factories, sex, and patient selection is a criminal disadarinya. And with this choice, Foucault once again confirm the spirit of emancipation of the oppressed has been preceded by Lyotard and Derrida. Finally, a voice that tries to read and reveal changes in contour modernism is Jean Baudrillard. French philosopher to take this slightly different way with the preceding. With the take over of thought Marcel Mauss, Georges Bataille, Karl Marx, Roland Barthes and Baudrillard Marshal McLuhann analyze focus ranah culture of modernism. Have a period of decline that it shows the diskontinuitas cultural reality in society today. Through his book Simulations (1983), Baudrillard introduce the characters typical Western society today as the simulation community. These are the people who live with the chaos cross-code, sign, and the model is set as production and reproduction in a simulacra (Lechte, 1994: 235). Simulacra is a space where the mechanism simulation in progress. Baudrillard refers, there are three levels of simulacra (Baudrillard, 1983:54-56). First, the simulacra of progress since the Renaissance era to the beginning of Industrial Revolution. Simulacra at this level is a representation of the various elements of natural relations of life. Second, a simulacra progress along with the development of this era industrialisasi.Pada levels, has been a shift in mechanism due to the impact of negative representations industrialization. Third, the simulacra of birth as a consequence of the science and information technology. Simulacra at this level is a cross-existent chaos marks, images and cultural codes that no longer refers to the representation. Furthermore, in the simulation mechanism, the human in space dijebak reality that deems significant, and indeed all engineering and full. This is a pseudo-reality space antitesis kind of representation in discourse representation dekonstruksi Derrida. With a simple example Baudrillard describes the simulation with the analogy of the world map. According to him, when in real space, a map is a representation of a region, in a simulation mechanism that is otherwise occur. Map precede region. Realities of social, cultural, even political, built based on models that have been made before. In the simulation, not a reality that mirror reality, but models (Baudrillard, 1987: 17). Barbie dolls, figures Rambo, telenovela, television ads, Doraemon or Mickey Mouse is a model reference value and meaning of social culture today. Discourse in the simulation, the reality people inhabit space, where the difference between real and fantasy, the original false and very thin. The world made such a world-Disneyland, Universal Studios, China Town, Las Vegas or Beverlly Hills, which is the model of quasi-reality-American representation is most appropriate to describe this situation. Through television, film and advertising, the world simulations appear perfect. This is the space that is no longer concerned with real categories, cast, correct, incorrect, reference, representation, facts, images, production or reproduction of all dissolved into chaos in the cross-signs (Baudrillard, 1987: 33). The development of science and technology adults with micro processor, memory banks, remote control, telecard, laser disc, according to Baudrillard and the Internet can not only extend the body or the human nerve system, but even more fantastic again, able to reproduce reality, past and Nostalgia; create a new reality with made in the image-image; conjure fantasy, illusion halusinasi even become a reality, and reality to replicate in a diskette or memory bank. Furthermore, the reality that the new technology has overcome the reality that indeed, and become the new reference model for the community. The image more convincing rather than facts. More reliable and a dream rather than day-to-day reality. This is the world hiperrealitas: the reality that excess, explode, pseud. With television and mass media, for example, artificial reality (image-image) seems more real than the reality of the original. Rambo figures, Barbie dolls, Jurrasic Park, Star Trek Voyager or the image-the image is made visible and closer to real than the existence of our own neighbors. In conditions like this, reality, truth, facts and objectivity lost existence. Hiperrealitas is reality itself (Baudrillard, 1983: 183). That is, the era of dituntun by reality models without origin and reference (Baudrillard, 1983:2). Where, the real can not simply reproduced, but always and always reproduced (Baudrillard, 1983: 146). Meanwhile, in his book Symbolic Exchange and Death (1993) Baudrillard states that in line with changes in community structure of the simulation, has been a shift in the value of signs in contemporary society today that is of the value-to-value and exchange value to a sign-and-value symbol. Departure from the analysis of the production community with Marx concepts: the value-for (use-value), value-exchange (exchange-value) of the Commodity fetishism, social class, the theory of gift (gift) and Marcell Mauss theory expenditure (purchase) Georges Bataille, Baudrillard thought menyempal finally thought of the preceding and take the road itself. He stated that in this community konsumeristik adults, and value-for-value exchange, as Marx suggested, is no longer can be believed. Meanwhile, from Mauss and Bataille, Baudrillard agreed that the consumption of human activity is actually based on the principle of non-utilitarian (Lechte, 1994: 233). Now, according to Baudrillard, is the era of the triumph of the value of signs and symbols of value-ditopang by meledaknya image and meaning by the mass media and technology development. No longer considered something based on the benefits or costs, but based on the prestige and significance simbolisnya (Lechte, 1994: 234). Refer to Marx, there are two value-marks in the history of human culture that is, value-for (use-value) and value-exchange (exchange-value). Value is a value-for asali natural that there are in each object. Based on the benefits, each object has to be regarded for the sake of men. These values underlie the culture of the early community. Then with the development of capitalism, the birth of a new exchange-value. Exchange-value in capitalist society has a key position because there was born the concept of the commodity. With the concept of commodities, all things considered based on the value-tukarnya. Meanwhile, according to Baudrillard, there have been changes in the structure of Western society today. Western society today is a consumer society: a society hungry consume all things not only real-object, but also the object-sign. These are the people who live with the convenience and welfare provided by the development of capitalism-up, progress in science and technology, media and advertising explosion. Sign into one of the key elements of the consumer society. In line with that, Baudrillard change periodisasi Marx made about the level of community development: feudal society, capitalist society and communist society, a primitive society, community and society hierarkis mass. According to Baudrillard, in a primitive society, there is no sign of the element. Objects are natural and purely based on usage. Next hierarkis in the community, there is little sign in the circulation element of a cultural symbol of the new growth. When this is the principle value of birth-rates. Finally, in the mass circulation signs dominate all facets of life. In mass society, the media created the explosion of extraordinary significance to the real reality. This is the moment when the object is no longer views the benefits or value-tukarnya, but the meaning and value-simbolnya (Baudrillard, 1993: 68-70). Departure from the above analysis of Marx, and with the condition read this adult Western society, Baudrillard states that in the information society-capitalism (late capitalism) nowadays, and value-for-value exchange has been defeated by a new value, that is, the sign-value and value -symbol. Sign-value and value-symbol, which was born simultaneously with the increasing standards of Western economic community, looked more symbolic meaning rather than an object or a price advantage. The phenomenon marks the birth of value-and value-symbol is to encourage Baudrillard states that the analysis of Marx is not the commodity can be used to make the West today. This is because people in Western capitalism-up, the main attention is directed to a symbol, image, and alert system is not on the benefits and price komoditi.Lebih go Baudrillard states postmodern culture has several prominent characteristics. First, postmodern culture is the culture of money, excremental culture. Money to get a very important role in postmodern society. Unlike with the previous, the function and meaning of money in the postmodern culture is not simply as a tool-exchange, but more than that is a symbol, sign, and the main motive of the culture. Second, postmodern culture is the bookmarks (signifier) rather than sign (signified), media (medium) rather than the message (message), fiction (fiction) rather than a fact (fact), the system alerts (system of signs) rather than the object system (system of objects ), and aesthetics (Aesthetic) rather than ethics (ethic). Third, the postmodern culture is a simulated world, which awakened the world with signs, images and facts through the production and reproduction of overlap and intertwine kelindan. Fourth, as a logical consequence the simulation, postmodern culture marked hiperrealitas with nature, where the image and the fact collide in one room of the same, and more pseudo-reality (image) is indeed the reality (the facts). Fifth, postmodern culture marked with meledaknya mass culture, popular culture and the culture media massa.Kapitalisme go hand coupled with the rapid development of technology, has given an important role to the market and consumers as new institutions of power replaces the role of the state, military and parliament (Harvey, 1989 : 102). In the construction of cultural artefacts such as this is the postmodern cultural artefacts-find himself. No more myths of the artist in the discourse of modern art pretensions liberate the world. No more art, but reproduction of the various elements of the existing art. There is no difference between low art and high art, popular arts (popular art) and fine arts (fine art). Aesthetic postmodern art are marked with the principles of pastiche (borrowing and the use of various sources of past art), parody (distortion of meaning and games), kitsch (reproductive styles, shapes and icons), and the camp (pengelabuhan identity and penopengan (Pilliang, 1998: 109). Postmodern culture Diskursus gain legitimacy socio-cultural-filosofisnya precisely from vertigo in the modern era of enlightenment project. Modernism dihidupi the project by the spirit of enlightenment and the principles of confidence akan linear progress of history, scientific truth is absolute, for a magical engineering community diidealkan, governance and standardization of knowledge production system and the hardware at this time the middle of the test with the spread of various pathological modernity . Postmodernisme try the back position, and limit the implications of assumptions that modernism has now come into a new myth. In the framework that is critical to try to read Jean Baudrillard reality Western culture society today. By adopting and developing mind-thoughts of Karl Marx to-value (use-value) and value-exchange (exchange-value), Roland Barthes semiologi, society of the spectacle Guy Debord, and the concept of global village and the medium is the message Marshal McLuhan, Baudrillard states that the cultural reality of these show the typical character to distinguish them with the cultural reality of modern Western society. This is the postmodern culture that has characteristics hiperrealitas, simulacra and simulation, and is dominated by the value of signs, symbols and values. This is the discourse of culture at this time support and we hidupi, as a keniscayaan that can not be denied. This is the discourse of culture that offers challenge as well as opportunities for us to start considering the other hand, this reality of adult society.

Leonardo Da vinci

Leonardo da Vinci

Leonardo da Vinci (lahir di Vinci, propinsi Firenze, Italia, 15 April 1452 – wafat di Clos Lucé, Perancis, 2 Mei 1519 pada umur 67 tahun) adalah arsitek, musisi, penulis, pematung, dan pelukis Renaisans Italia. Ia digambarkan sebagai arketipe "manusia renaisans" dan sebagai jenius universal. Leonardo terkenal karena lukisannya yang piawai, seperti Jamuan Terakhir dan Mona Lisa. Ia juga dikenal karena mendesain banyak ciptaan yang mengantisipasi teknologi modern tetapi jarang dibuat semasa hidupnya, sebagai contoh ide-idenya tentang tank dan mobil yang dituangkannya lewat gambar-gambar dwiwarna.Selain itu, ia juga turut memajukan ilmu anatomi, astronomi, dan teknik sipil bahkan juga kuliner.

Latar Belakang
Leonardo lahir pada tahun 1452 di kota Vinci, propinsi Firenze, Italia anak dari Ser Piero Da Vinci dan Caterina, jadi nama lengkapnya yaitu Leonardo di Ser Piero da Vinci yang berarti Leonardo putra Ser Piero asal kota Vinci.
Pada tahun 1476 tertuduh dengan kasus homoseksual dengan seorang model laki-laki berusia belasan tahun yang bernama Jacopo Saltarelli. Sehingga beberapa tahun itu Leonardo selalu berada di bawah pengawasan yang berwenang [1].
Pada usia belia, beliau sudah belajar melukis dengan Andrea del Verrocchio dan mulai melukis di Firenze.Ada kabar mengisahkan Verrochio menyatakan pensiun melukis setelah menyaksikan bahwa lukisan muridnya yang satu ini lebih bagus dari lukisannya sendiri. Selain menjadi pelukis Leonardo juga sanggup menunjukkan kemampuannya di bidang yang lain. Pada tahun 1481 Leonardo pindah ke Milan untuk bekerja dengan Adipati(Duke) di sana.Hasil karyanya selama di Milan yang paling termashur adalah Kuda Sforza yang dikerjakannya selama kurang lebih 11 tahun. Namun di situ ia tidak hanya melukis dan membuat patung saja, melainkan juga mengubah jalan-jalan sungai dan membangun kanal-kanal, serta menghibur Duke dengan memainkan lut dan bernyanyi. Lalu ia bekerja untuk Raja Louis XII dari Perancis di Milan dan untuk Paus Leo X di Roma
Sementara itu ia membantu Raphael dan Michaelangeo dalam merancang katedral Santo Petrus.Dalam hidupnya Leonardo sangat tertarik pada ilmu pengetahuan. Ia mulai mempelajari burung terbang dan mulai merancang mesin terbang. Pemikirannya itu terdapat dalam buku catatanya sebanyak 7.000 halaman. Didalam buku itu juga terdapat sketsa tentang studi tubuh manusia. Pada zaman itu, anatomi tubuh manusia tak lebih dari sekadar kira-kira karena siapapun dilarang keras membedah jenazah. Dengan kenekatannya mencuri-curi kesempatan membedah-bedah tubuh orang mati, di kemudian hari tindakan yang tak lazim di zamannya ini memberikan kontribusi yang sangat besar bagi dunia kedokteran.
Mahakaryanya, Jamuan Terakhir(The Last Supper) pada tahun 1495 sampai tahun 1497 yang dilukis pada dinding biara Santa Maria di Milan, kini telah rusak akibat dimakan waktu. Lukisan terkenal lainnya adalah Mona Lisa yang kini terdapat di musium Louvre Paris. Sebuah spekulasi yang beredar tentang siapa sesungguhnya Mona Lisa antara lain menyatakan bahwa citra perempuan tersebut merupakan hasil rekaan wajah Da Vinci sendiri. Spekulasi yang lain menyatakan bahwa perempuan tersebut memang pernah ada, seorang istri pedagang.
Leonardo da Vinci wafat di Clos Lucé, Perancis pada tanggal 2 Mei 1519, dan dimakamkan di Kapel St. Hubert di kastel Amboise, Perancis.
Setelah wafatnya, sangat kuat ditengarai bahwa beliau pernah memegang peranan sebagai orang terkuat di sebuah organisasi rahasia bernama Priory of Sion yang berlaskarkan Knights Templar. Apakah organisasi rahasia ini? Banyak fakta mengarahkan pada suatu dugaan bahwa Priory of Sion merupakan sebuah organisasi yang menjaga ketat-ketat rahasia sejarah kristiani menurut versi yang berbeda dari kitab Injil yang beredar di masyarakat. Yang dirahasiakan adalah mengenai siapa mesias yang sesungguhnya dan kemungkinan Yesus tidak menjalankan hukum selibat. Dalam versi yang sempat menimbulkan kontroversi ini diyakini bahwa Mesias yang sesungguhnya adalah Santo Yohanes Pembaptis, hal tersebut tersirat dari kekerapan Da Vinci melukis Sang Santo dalam posisi telunjuk menuding ke atas sebagai simbolisasi 'Putra Allah'. Versi yang tak kalah mengagetkannya adalah kemungkinan Maria Magdalena si bekas perempuan sundal diperistri oleh Yesus. Namun semua hal tersebut tidak terbukti kebenarannya, hingga saat ini, sehingga tudingan ini hanya dianggap sebagai langkah untuk memojokkan posisi umat Kristiani.

Tatto meaning for the community dayak tribe

Do not be surprised if people go to villages and meet with the dayak people - parents who decorated the various tattoo beautiful in some parts of the body. Tattoos decorate the body they are not just decoration, especially that blade is considered. But, for the community dayak tattoos have a very deep meaning. Tattoos are part of the tradition, religion, social status in a community, and can also form as a tribute to the ability of a tribe. Therefore, the tattoo can not be made carelessly. There atuarn - certain rules in making tattoos or Parung, good choice of pictures, the social structure of the tattoo and the placement of tattoos. However, the tattoos have a religious meaning in the Dayak community, namely as a "torch" or torch in the journey toward a natural immortality, after die.because, more tattoos, "torch" will be light and natural way to eternity the field. However, permanent tattoos are not making as much as possible - many are careless, because it must comply with the rules - rules customary.

Each sub-tribe of Dayaks have different rules in making tattoos. In fact, there are also sub-tribe which does not recognize dayak tattoo tradition, says Mering Ngo, citizen Dayak tribe who is also a graduate of the University anthropologist Indonesia.Bagi dayak tribe who lived Serawak border Kalimantan and Malaysia, for example, a tattoo around the fingers of the tribe indicates that helpful as medication experts. The more tattoos on the hands, showed him the more and more experts to help in treatment. For the community and the Dayak Kenyah Dayak Kayan in East Kalimantan, many people describe the tattoo is often roam. Since each village has a different motif tattoo, the tattoo signifies the owner has visited many villages. Do not imagine the village is only a few kilometers. In Kalimantan, the distance between the village hundreds of kilometers and can be applied using a boat or walk the river with the odyssey that is not the time and tired. In the community dayak Kenyah, a common motif for the nobleman (paren) are the hornbills of endemic birds that sacred Kalimantan. As for the Dayak Iban, the tribe and its descendants with the motif he ditato things that live in the air. In addition motifnya selected, how to manufacture tattoo nobility usually more subtle and very detail compared to the middle-tattoos (panyen). For the other sub-tribes, the tattoo is associated with the tradition menganyau or decapitate the enemy in a war. Ngayau this tradition has not done more, but used the more mengayau, tatonya motif is more special and unique. Tattoos or Parung or betik not only done for the men - men, but also women. For men - men, tattoos can be made anywhere on the body, while the female is usually only on the feet and hands. If the men - men associated with the tattoo of the award or honor, making the women more motivated religious tattoo. "The making of tattoos on the hands and feet can be protected from the influence of evil spirits, or always be in the shelter of the earth," said Yacobus Bayau Lung. In the Dayak Kayan tribe, there are three kinds of tattoos that are usually disandang women, among other tedak kassa, ie covers the whole foot and after the adult. Tedak usuu, tattoos are made on all hands and tedak hapii on the entire thigh. Meanwhile, in the Dayak Kenyah tribe, making tattoos on women starting at age 16 years or after the first period. For tattoos for women, is done with the customary ceremonies disebuah house special. During the making of tattoos, all men should not be out of the house. Besides, the whole family is also required to undergo a variety of taboo to avoid disaster for the women who are in the tattoo and her family. Dayak women have a tattoo on the thigh high social status and are usually equipped at the bottom of the ring shank. Tattoos are very rarely found in the knee. However, there were tattoos in bagia knee in men and women, who usually made at the end of making tattoo dibadan. Tattoos are made over the knee and calf to the circle to the snake-like, actual dog so - called invented or tuang buvong ASU. Tattoos on both men or women, is traditionally made using orange spine long. Along with the development time and use some of the needles at once. That does not change is the creation of the tattoo usually use the smoke from the pot black.

Jean Michael Basquiat

Biography

Basquiat was born in Brooklyn, New York. His mother, Matilde, was Puerto Rican and his father, Gerard Basquiat origin is Haiti and the former Minister of Haiti. Because her parents nationalities, Basquiat who speak fluent French, Spanish, and English from early age. He read in this language, including the Symbolist poetry, mythology, and history. [2] At the early age, Basquiat displayed a talent for art and encouraged by his mother to draw, paint and other to participate in activities related to art. In 1977, when he was 17, Basquiat and friend Al Diaz started spray-painting graffiti on buildings in Manhattan below, add a signature that is called "only" (ie, "same old shit") see: only © Graffiti entry. The graphics are pithy messages such as "it is only safe to think .." and "only as a way out clause." In December 1978, the Village Voice published articles about his writings. [3] The project ended only with the epitaph "only IS DEAD" is written on the wall of the building SOHO. Basquiat attended Edward R. Murrow High School in New York. In 1978, Basquiat dropped out of high school and left home, one year before graduating. He moved to the city and stay with friends, living by selling T-shirts and postcards on the street, and work in the Unique Clothing Warehouse on Broadway. By 1979, however, Basquiat has obtained a certain celebrity status that developed in the midst of Manhattan's art and the East Village through regular on the Glenn O'Brien's live public access cable show, TV Party. At the end of the 1970s, Basquiat formed band called Gray (the name a reference to the book Gray's Anatomy), with Shannon Dawson, Michael Holman, Nick Taylor & Wayne Clifford. Gray played at clubs like Max's Kansas City, CBGB, Hurrahs, and the Mudd Club. Basquiat worked in the film Downtown 81 (aka New York Beat), which displays some of Gray's rare recordings on the soundtrack. [4] He also appeared in a video Blondie "rapture" as a replacement for DJ Grandmaster Flash when he does not show. Basquiat first started to get recognition as an artist in June 1980, when he participated in The Times Square Show, a multi-artist exhibition, sponsored by Collaborative Projects Incorporated (Colab) Fashion and Fashion. In 1981, poet, art critic and cultural provocateur Rene tonymx published "The Radiant Child" in Artforum magazine, [5], helping to launch Basquiat's career to the international stage. During the next few years, he Exhibiting his works in New York and internationally (with the way other artists) is now in the gallery, such as the Fun Gallery and the Gallery now, and promoted by such gallery owners and dealers as Bruno Bischofberger and Annina Nosei. He then shows in the galleries of Larry Gagosian, Mary Boone, and finally, Vrej Baghoomian. By 1982, Basquiat was showing regularly, and in addition to Julian Schnabel, David Salle, Francesco Clemente and Cucchi enzo, be part of a so-called Neo-expressionist movement. He started dating an unknown aspiring and then-named Madonna in the fall of 1982. In the same year, Basquiat met Andy Warhol, with whom he collaborated extensively in 1984-6, forging close, if strained, friendship. He was also briefly involved with artist David Bowes. [6] [7] By 1984, many of the friends that he was concerned about Basquiat excessive drug use and increasingly erratic behavior, including signs of paranoia. Basquiat had developed a serious cocaine and heroin by this habit, which started from the beginning of the year living among the junkies and street artists in New York underground. On February 10, 1985, Basquiat appeared on the cover of The New York Times Magazine in the feature entitled "New Art, New Money: The Marketing of American Artist." [8] As Basquiat high international success, his works are shown in solo exhibitions in Europe and the United States. Andy Warhol's death in 1987 is very distressing for Basquiat, and it is speculated by Phoebe Hoban, in the 1998 biography of the artist, Warhol's death, which is the peak for Basquiat, and after that he is addicted to drugs and depression began to spiral. [6] Basquiat died accidentally mixed-drug toxicity (he has been combining cocaine and heroin, often using cocaine to stay up to painting the night and then use heroin in the morning to sleep, also known as "speedballing") at 57 Great Jones Street loft / studio in 1988, a few days earlier, what has Basquiat second trip to the Ivory Coast. [edit] Artistic activities Basquiat's paintings during the 1980s is viewed in the correct context of painterly, neo-expressionist movement popular in New York and Europe at the time. But he was working early (before he has the money to paint and canvas), he continues to use the words in the painting, and Common themes racism and identity also align him with the trends of the period. Basquiat is to always deliver the most expressive, but the quality and consistency of each painting is very varied. Before starting his career as a painter, he produced punk-inspired postcards sold on the street, and became known for the political-poetic graffiti under the name only. On one occasion Basquiat painted his girlfriend's clothes, with the words, a "Little Shit Brown". Basquiat's career as an artist known Exhibiting top three wide, though overlapping styles. At the beginning of the period, from 1980 to the end of 1982, Basquiat used painterly gestures on canvas, often depicting the framework and figures such as face masks of the obsession with death. Other frequently depicted as a picture car, building, police, children's sidewalk games, and experience comes from graffiti paintings in the streets of the city. Many critics [who?] Basquiat He made the best people to work around 1982. Untitled in the head ( "untitled (skull)," 1981) illustrated above is a typical example. A middle of the end of the period from 1982 to 1985 features multi-panel paintings and individual canvases with exposed stretcher bars, the surface dense with writing, and does not appear to collage images. This paper reveal a strong interest in Basquiat's black identity and identification with the historical and contemporary black figures and events. Some works that reach large physicality, and interest in the early Rauschenberg became more evident, "Grillo" (1984) is a good example. 1984-85 period is also the main hold up Warhol-Basquiat collaboration. Collaborative paintings that received poor critical reception but iconographically complex process of paintings together and influenced each other's working time. End of the period, from about 1986 to Basquiat's death in 1988, showing a new type of figurative illustration, often in the back of the painting. May be influenced by both Warhol and Basquiat's increasing use of drugs; "Riding with Death" (1988) is an example of this style. Some of the symbols and content from new sources apear in this period, but he also re-used many phrases and motifs from previous works, the settings in starker. A major reference source used by Basquiat throughout his career is the book Gray's Anatomy, [9] that he provided in the hospital as a child. He remains influential in the internal anatomy human depictions, and in a mixture of images and text. Other major source is Dreyfuss' Symbol Sourcebook [10], Leonardo Da Vinci's notebooks, and Brentjes African Rock Art [11]. Equally important as an input in the painting is the music of Jazz 1940s, history and travel books, and TV cartoons and other things that will happen in the television while he was painting. Discussion of some of the best sources that Richard Marshall "Repelling Ghosts" in the work of [12], and Marc Mayer "Basquiat in History" in [13] but definitive studies remain to be done. [edit] Legacy Some of the major museum retrospective exhibition of Basquiat's works have been carried out since his death, in the U.S. and internationally. The first is the "Jean-Michel Basquiat" exhibit at the Whitney Museum of American Art from October 1992 to February 1993 (and this trip to the museum in Houston, Iowa, and Alabama through the 1993 - 1994). The catalog for this exhibition [12], edited by Richard Marshall and includes essays from several different styles, is part of the groundbreaking scholarship in his work, and still the main source. Other major and influential exhibition (and catalog [13]) is the "Basquiat" exhibit at the Brooklyn Museum, March-June 2005 (which then travel to Los Angeles and Houston in 2005-2006). In 1996, seven years after his death, a film biography entitled Basquiat was released, directed by Julian Schnabel, with actor Jeffrey Wright playing Basquiat. Until 2002, the highest amount paid for an original work of Basquiat is U.S. $ 3,302,500, set at the 12 November 1998 at Christie's. On 14 May 2002, Basquiat's Profit I (large-sized pieces, 86.5 "/ 220 cm by 157.5" / 400 cm), which is owned by drummer Lars Ulrich of the heavy metal band Metallica, has been put up for auction, once again at Christie's. Sold U.S. $ 5,509,500. [14] of the auction process is documented in the film Some Kind of Rakasa. On 12 November 2008 Ulrich to sell Basquiat piece in 1982, Untitled (Boxer), to U.S. $ 13,522,500 (estimated in the region at the request of U.S. $ 12 million) to another telephone bidder at Christie's auction. [15] Previously, on 15 May 2007, an untitled Basquiat work from 1981 was sold at Sotheby's in New York of U.S. $ 14.6 million. [16]. Basquiat's lasting creative influence immediately recognized in the paper and the next generation self-taught artists such as Gordon Bennett, Mark Gonzales, Kelly D. Williams and Raymond Morris. In 2005, the poet M.K. Asante, Jr. published the poem "only", which is dedicated to Basquiat, in his book Beautiful. And Ugly Too.

About Dayak ethnic origin (Budaya dan Karakteristik Suku Dayak )

About Dayak Ethnic Origin

About the origin Dayak tribe, which received a lot of theory is the theory of Chinese immigration, the nation's Yunan Province in South China. Population Yunan pro-immigration, large-scale (in small groups) in the estimate in the year of 3000-1500 BCE (BCE). Some of them to roam Tumasik and Malay peninsula, before the region to Indonesia. Some other past Hainan, Taiwan and filipina.Pada first migration wave that some experts called by Proto-wilt, come negroid groups and weddid. While the second wave, in an amount greater than that in the Deutero-Malays. Migrants Deutero-Malay then inhabit the beach area is called Kalimantan and the Malay race. Proto-and Deutero-wilt wilt actually came from the same country. According H.TH. Fisher, migration from asia first phase occurred in the era of Tretier. Then, the Asian continent and the island of Kalimantan is still ignites the archipelago, which allows the Mongoloid race from asia roam through the land in Kalimantan and to traverse the mountain now called Muller-Schwaner mountains. Pegungungan that comes from rivers, all of Kalimantan. Estimated, the range in a long time, they must spread the rivers downstream to the coast and then inhabit the island Kalimantan Dayak tribe next story is about how they wave-wave the other groups that came to Kalimantan. Dayak tribe had to build a kingdom. Dayak in the oral tradition, often called "Java Nansarunai Uşak", ie, a kingdom of Dayak Nansarunai destroyed by Majapahit, which is estimated to occur between the years 1309-1389 (Fridolin Ukur, 1971). Incident resulted in a push Dayak tribes and sprawl, some incoming hinterland. Flow happens next major influence on the Islamic kingdom of Demak berasala with the inclusion of Malay traders (around 1608). Most of the Dayak tribes embrace Islam no longer recognizes himself as the Dayak, but mentions himself as a person or persons Banjar Malay. While the Dayak people who reject Islam, the river again, into the hinterland of Central Kalimantan, in the living areas Timber Tangi, Amuntai, Margasari, Watang Amandit, Labuan and Watang Balangan long. Continue to push some more entry jungle. Dayak people who embraces islam are mostly located in South Kalimantan and some Kotawaringin, one of the Sultan of the Sultanate of Banjar is famous Lambung Mangkurat is a Dayak (Ma'anyan or Danum OT) Not only from Indonesia, the other nations also came to Kalimantan. Chinese nation is starting to come to Kalimantan in the year 1368-1643 Ming Dynasty. Manuscripts from berhuruf starch mentioned that the city's first visit was in Banjarmasin. But still not clear whether the Chinese nation in the coming era Bajarmasin (under Majapahit hegemony) or in the era of Islam. Arrival Chinese nation does not move result Dayak population and does not have direct influence as directly as they only trade, especially with the kingdom in the Banjar Banjarmasin. They do not trade directly with the Dayak people. Chinese heritage of the nation is still kept by some tribes such as the Dayak malawen plates, pot (jar) and ceramic equipment. In fact, another source said since the beginning of V century Chinese nation has been up to in Kalimantan. In the XV century King Yung Lo send a large force of war to the south (including the archipelago) under Ho Chang, and return to China in the year 1407, after the previous stop in to Java, Kalimantan, Malacca, Manila and Solok. In the year 1750, Sultan Mempawah accept the Chinese (from Brunei) who are looking for gold. Chinese people are also carrying merchandise among opium, silk, glassware such as plates, cups, bowl and jar

ART DRAMA DAYAK Tribe

Traditional performing arts community called Kutai Mamanda. The term comes from the alleged mamanda term pamanda or uncle. The word in a story is a call addressed to the king's ministers, wajir or mangkubuminya with a pamanda minister, pamanda wajir and pamanda mangkubumi.Karena word often spoken in pamanda each director, the term is a nickname for the art show itself. Mamanda traditional art of drama is one of the popular performing arts in Kutai in the past. Art is always be on every national celebration, the wedding, khitanan and sebagainya.Mamanda is one type of entertainment that the public be. Mamanda can disejajarkan with art Kethoprak and Ludruk in Java. If the way the story presented in Mamanda is about a kingdom, then the director Mamanda is similar to Kethoprak. However, if the story is dilakonkan ordinary people, the staging Mamanda is similar to Ludruk. In pementasannya, Mamanda always use two types of equipment that is musical instrument drum and violin. This art is rarely dipentaskan openly. However, in the Festival in the city Trenggalek Tenggarong, arts Mamanda often be open to fill in one of the entertainment event of the people. Meanwhile, through the local television media, the arts Mamanda shown once a week. Stories from the diverting Mamanda not lose with the story or film sinetron. Even though no figures Mamanda in "standard" but can be added other figures with the other stories, stories mamanda meaning can be created in accordance with the development of the era. What showtimes mamanda longer duration of the whole night now adjusted to the demand, mean duration can be 3 hours or 5 hours. Istemewanyanya Mamanda, can be played with a script as a whole or only terater modern story set with a great story line such as, Babakan and plot, while the dialogue is known by the term impropisasi. Players - the players Mamanda known berimpropisasi expertise. Figures mamanda a standard that is the King, Mangkubumi, vizier, the Prime Minister, The War, First hope, hope the second wage earner, empress, the Son of the King (or daughter can Pangeran). Figures according to other stories such as the King of another country, Youth, marauder, Jin, the Netherlands, or from other regions (Java, China, Batak, Madurese or other). As well as in the modern theater, showtimes starting before akan sinopsisnya is, in mamanda presented through "Baladon". Baladon story is said to be melodious and dance movement. Stories mamanda can berkolaburasi with art or dance music. That is the kingdom after the meeting finished akan showtimes dance show with the purpose of entertaining the king or the kingdom of the whole apparatus of the war when the kingdom held showtimes entertainment or dance music skelter. Mamanda origin is noble entourage when Badamuluk Malacca (Abdoel Moeloek noble or Indra, 1897 M) which is headed by Encik Ibrahim and his wife Cik Eve, live in the few months the Banjar showtimes. Theater is popular so quickly in the middle of the Banjar. After adapting, theater is a new birth to a theater called "Mamanda". Mamanda have any understanding of "greeting" to the respected people in the kinship system or kekjluargaan. Mamanda has two streams. First: Flow Batang Banyu. Who live in the coastal river areas in the Hulu Sungai Margasari. Often called Mamanda pot. Second: Flow Tubau years beginning in 1937 M. Flow of life in this area Tubau Rantau. Dipentaskan often land in the area. This flow is also called Mamanda Batubau. This flow is developed in the Banjar. Showtimes Mamanda cultural values have showtimes Mamanda That is in addition to the entertainment media as also function as a medium of education for the public Banjar. Stories presented both on the history of life, a good example toladan, social criticism or satire of a building, democratic, and cultural values Banjar community. Begins, Mamanda have a music suite with the orchestra wilt mendendangkan rhythmic songs wither, now switch to the accompaniment skelter with the song Two mendendangkan expectancy, Two King song, Tarima Love Songs, Songs Baladon, Mambujuk music, song Tirik, Japin Songs, Songs Gandut, Mandung-Mandng song, song and nation.

CULTURAL CHARACTERISTICS •

Communication and Language Initially, the social community in lingkupan Dayak in Central Kalimantan, the language used is language Dayak. In this case there is some kind of language Dayak, Dayak Ngaju such as language, language Maanyan Dayak, Dusun, Bakumpai, and other. From some type of language, language can be said Ngaju Dayak language is the most popular in Central Kalimantan. Popular word here in the sense that most people in Central Kalimantan, both from upstream to downstream, from west to east across the Central Kalimantan Dayak understand language.

• Appearance For the Dayak tribes who lived in Sarawak border Kalimantan and Malaysia, for example, a tattoo around the fingers of the tribe indicates that benevolent treatment as experts. The more tattoos on the hands, showed him the more and more experts to help in the community pengobatan.Bagi Dayak Dayak Kenyah and Kayan in East Kalimantan, many people describe the tattoo is often roam. Since each village has a different motif tattoo, the tattoo signifies the owner has visited many villages. Do not imagine the village is only a few kilometers. In Kalimantan, antarkampung distance can be hundreds and even thousands of kilometers, and the boat must be using the river more than a month! Tattoos can also be given to the nobleman. Among the Dayak Kenyah people, a common motif for the nobleman (paren) are the hornbills of endemic birds that dikeramatkan.Adapun Kalimantan Dayak Iban for, the tribe and its descendants with the motif ditato "top of the world" or something that lives in the air. In addition motifnya selected, how to manufacture tattoo nobility usually more subtle detail and compared to the middle-tattoo (panyen). Subsuku for the other, the tattoo is associated with the tradition mengayau or decapitate the enemy in a war. This tradition is already tens of years is not done anymore, but used the more mengayau, tatonya motif is more special and unique. Tattoos for the daredevil in this battleground, usually placed in the right shoulder. But on the other subsuku, placed in the left arm if keberaniannya "normal", and in the right arm, if courage and keperkasaannya in the battle field is outside or biasa.Tato Parung or betik not only for men but also women. For men, tattoos can be made in any part of the body, while the female is usually only on the legs and tangan.Jika in men is associated with a tattoo of an award or honor, making the women more motivated religious tattoo. At a certain subsuku, making tattoos also associated with women's self, so that the technical term tedak kayaan, which means that women do not bertato considered lower in rank than the bertato. However, views such as this only applies in a small subsuku Dayak.Pada Kayan Dayak tribe, there are three kinds of tattoos that are usually in the women's clothing, among other tedak kassa, ie covers the whole foot and after the adult. Tedak usuu, tattoos are made on all hands and tedak hapii on the entire thigh. Meanwhile, in the Dayak Kenyah tribe, making tattoos on women starting at age 16 years or after the first period. For tattoos for women, is done with the customary ceremonies in a special home. During the making of tattoos, all men should not be out of the house. Besides, the whole family is also required to undergo a variety of taboo to avoid disaster for the women who are ditato and their families. Motif tattoo for women, more limited, such as drawing a picture that is black around the finger joint called the song irang or bamboo shoots. As for the cross on the back of the book is called finger ikor. Tattoos on the wrist called the tiger face image silong lejau.Ada also made a tattoo on the thigh. Dayak women have a tattoo on the thigh high social status and are usually equipped at the bottom of the bracelet betis.Motif tattoos are usually in the thigh also like silong lejau. The difference with the tattoo on the hand, there are transverse to the calf, called nang klinge.Tato rarely found in the knee. However there is also the tattoo on the knee in men and women, who usually made at the end of making tattoos in the body. Tattoos are made on the knee and calf to the circle to the snake-like, actual dog imitation or called tuang buvong ASU. Tattoos on both men and women, traditionally made to use the orange spine long and slow-slow and use some of the needles at once. That does not change is the creation of the tattoo usually use the crock pot's color hitam.Tato colors that made the young man now, tattoo is just decoration that does not have any meaning. Image and the placement is done carelessly and origin-derived. Tattoos like that at all does not have a religious value and appreciation, but only just for beauty, and who want to have even considered to be the champion.

• Food Dayak identity is not always the problem of narrow, language, architecture design, turf and ground vegetation diversity, treatment. One of which is owned by the Dayak tribe of food. Dayak tribe leaders really like juhu rimbang, patin side dish, side dish papuyu, juhu taya and more types of food processed from a natural kalimantan. Likewise bat / bengamat. Food is owned by the Dayak people, processed and cooked properly then the food is very delicious. Lemang, a food dayak

Traditional norms Seven Principles of role models & Norma Dayak Kalteng

1. Dayak tribe has a form of body and organs as a human, not animals, such as caudate, because it is seen that clothing made from animal skin. 2. Dayak tribe or a native of the island of Kalimantan 3. Dayak people are not cutting the neck and the human consumer. 4. The general nature of Dayak is brave, honest, humane, and benevolent setiakawan. 5. Dayak people prefer to give in (especially for immigrants), humility and respect tetuanya. 6. Dayak people have art, culture and sensitive to beauty. 7. Dayak people aware of the law and obey the law that treated him. 8. Dayak people respect the customs and beliefs of others, full of tolerance and not fanatical. 9. Dayak people agree to changes that do not violate customary, antusia period of growth and response to the Science & Technology.

• Awards Tattoos for the Dayak ethnic communities are part of the tradition, religion, social status of someone in the community, and can also form as a tribute to the ability of a tribe. Therefore, the tattoo can not be made carelessly. There are certain rules in making the tattoo or Parung, good choice of pictures, the social structure of the ditato and placement tatonya. However, the tattoos have a religious meaning in the Dayak community, namely as a "torch" in the journey toward a natural immortality after death.

• Spirituality Dayak people trust the system, which includes trust in the spirits, called kaharingan. They believe that the spirit of the deceased will go to a place called natural Datu Tunjung punu gamari. To be able to reach that place must be special ceremonies, led by walian or purchase. In addition there are informal leaders in the community, for example, pangulu, mantir, and pembakal Relationships-Hubungsn Kinship system Dayak people drawn based on patrilineal principles, forms of kinship with the most important is extended family. An extended family occupy a large house called betang or balal or lamin. Mi big house in the Dayak people hold ceremonies and religious activities. Some combination of extended family-oriented one ancestor who is very respected. Reverence for the spirit of the ancestors are closely tied to their belief system.

Post Modern (2)

The Post-Modern

Jean-François Lyotard (1984), known as the figure who first introduce the concept Postmodernisme in philosophy. Long-term postmodern is used in the world of architecture. Posmo reject the idea of autonomy aesthetik from modernis. We can not separate art from politics and social environment, and reject the separation between art and reasonable with the popular culture. Posmo reject hirarkhi, geneologik, reject continuity, and development. Posmo attempt mempersentasikan can not dipersentasikan by modernism, as Lyotard. Why modernism can not be present, because logikanya still bound by the standard logic, while posmo develop the creative ability to create new meaning, using the logic that is not standard. Both the theory and the theory of the role-expectations, they explain social behavior in relation to role expectations in contemporary society. Some other psychologists would step farther. Basically the theory is known as posmodernisme or abbreviation "POSMO" is a strong reaction against the modern world. Posmodernisme theory, for example, states that in modern society, in a graded loss of individuality akan independence, self-concept, or identity. According to Denzin, 1986; Murphy, 1989; Down, 1991; Gergen, 1991 (in Mustafa Hasan) that in view of this theory, we attempt to fulfill the role that dirancangkan to us by the people, cause our individuality is replaced by the image of themselves while we used and then we campakkan. Based on the views posmodernisme, erosion appear at the same level of individuality with the rising capitalism and rationality. These factors reduce the importance of personal and nonpersonal emphasis. Capitalism or modernism, according to this theory, the human is seen as goods that can be traded-in value (price) is determined by how big can dihasilkannya. After World War II, people increasingly are seen as consumers and as producers. Advertising industry and create the image of commercial masmedia able to reduce the diversity of individuality. Personality into lifestyle. Human considered ago virginity but not by how much capacity model lifestyle. What we consider as "our own choices" in the case of music, food, and others, for the indulgence of the culture of a place that matches the structure of our economy and our society. For example, young people prefer to Indonesian music "rap" is not another is because each time they dijejali ear by music through radio, television, film, CD, and so forth. Love the music "rap" to adolescent lifestyle. And if they do not like music "rap" is not an adolescent lifestyle. Behavior of someone determined by the lifestyle of people in the surrounding, not by himself. Virginity lost individualitasnya vanish. That is the modern man, according to such views, the "posmo". Essentially, the theory of roles, expectations, representations, and illustrations provide posmodernisme structural perspective in terms of how expectations affect the social behavior of individuals. Consistent with this perspective, the structure of the pattern of social interaction is happening in this part masyarakat.Dalam view, individuals have a passive role in determining perilakunya. Individuals have the power to act as a pressing social structure. According to Pauline Rosenau (1992) defines the Postmodern explicit term in the opposite, among others: First, is the postmodernisme criticism over the failure of modern society and fulfill the promise-promise. Postmodern also tend to criticize all things associated with the accumulation of experience modernitas.Yaitu Western civilization is industrialization, urbanization, technological progress, the state of the nation, life in the fast lane. But their doubts priorities such as a modern career, occupation, personal responsibility, bureaucracy, liberal democracy, tolerance, humanism, egalitarianisme, research objectives, evaluation criteria, procedures neutral, impersonal rules and rationality. Second, teoritisi postmodern tend to reject what is usually known with a view of the world (world view), metanarasi, totality, and so forth. As Baudrillard (1990:72) who understand the movement of large or impulsi, with the power of positive, effective and attractive they are (modernis) was sirna. Postmodernis usually fill life with the explanation that is very limited or there is no explanation. However, this indicates that there is always a rift between the words postmodernis and what they apply. As we will see, at least some postmodernis create narratives of their own. Many are forming postmodernis theoretical Marxian, and consequently they always try to take a distance from the narrative of the menyifatkan position. Third, the postmodern thinkers tend to rant menggembor large pramodern phenomena such as emotions, feelings, intuition, reflection, speculation, personal experiences, customs, violence, metaphysics, tradition, cosmology, magic, myths, religious sentiment and mystical experience. As seen, in this case Jean Baudrillard (1988) is correct, especially the exchange of thoughts about the symbolic (Symbolic exchange). Fourth, teoritisi postmodern reject the modern trend of placing boundaries between things such as certain academic discipline, culture and life, fiction and theory, image and reality. Study most of the postmodern thinkers tend to develop one or more of the limit and suggested that others might do the same. For example, Baudrillard (1988) decompose in the form of social theory, fiction, science fiction, poetry and so forth. Fifth, many postmodernis reject modern style diskursus the rigorous academic and bernalar (Nuyen, 1992:6). Destination postmodern authors acapkali surprise and startle the reader rather than help the reader with a disputatious logic and reason. It also tends to be more literal than academic style. Finally, the postmodern rather focus on the core (core) of modern society, but the postmodern set teoritisi their attention on the edge (periphery). As described by Rosenau (1992:8) that in regard to what has been taken by the board (taken for granted), what has been ignored, the resistance-area, omission, ketidakrasionalan, ketidaksignifikansian, suppression, boundary lines, classic, confidentiality, ketradisionalan, eccentricity, kesublimasian, rejection, ketidakesensian, kemarjinalan, keperiferian, lack, weakness, residence, accident, dismissal, disqualification, delays, ketidakikutan. From some of the above, can be understood that teoritisi postmodern offer intermediasi from determinasi, the difference (diversity) than unity (unity), the differences and complexity of the synthesis of simplikasi. The more common, Bauman (1992:31) define the postmodern culture, among others: pluralistis, running under the constant changes, less in terms of the binding authority of the universal, involving a hierarkis levels, refer to the interpretation polivalensi, dominated by the media and message - messages, less in absolute terms because of the fact that there are signs, and is dominated by the audience. More Bauman (1992:98) explains that postmodernitas means that the exemption from the modern tendency to overcome the special ambivalence of clarity single plug akan uniformity ... Postmodernitas is that modernity has admitted the impossibility of a project originally planned. Postmodernitas modernity that is at peace with kemustahilannya and decided, about good and bad, to live with it. Modern practice continues today, although devoid objectives (ambivalence), which had memicunya. Thus it can be concluded that postmodernitas worrying but still brisk. Or in other words, postmodernitas with a full-inomic opportunity tercerabut between the open and he threats that lurk behind every opportunity. Also most people have postmodernis, as we know, a view that is much more pessimistic on the postmodern society. This is in line with the thinking Jameson (1989) that the postmodern society structured on the five main elements include: (1) divided by postmodern society superfisialitas and kedangkalannya, (2) there is a reduction of up emotions or influence in the postmodern world; (3) have historisitas a loss, a result of this postmodern world are characterized by pastiche; (4) is not productive technologies, even postmodern world is represented by reproductive technologies and, (5) multinational capitalist system.