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• Tjandra Hutama  + (Awareness of the meaning of the essence of … Awareness of the meaning of the essence of Tri Pramana where human existence in the world actually has the same place and position. Even though in this birth there are limitations and differences between them, all will experience death and continue the next life until moksha is achieved. Each individual still has advantages and disadvantages that can complement each other for current life.an complement each other for current life.)
• Wayan Suastama  + (Bisikan Pada Awan. by Wayan Suastama. Orig … Bisikan Pada Awan. by Wayan Suastama. Original artwork, acrylic on canvas. Exhibited in ‘World Without Sound, an Anthology’ at Sawidji Gallery April – May 2023.</br></br>About the artist Wayan Suastama.</br></br>‘Bisikan Pada Awan’ translates as ‘Whispers to the Clouds’ is a new work by Wayan Suastama. Since 1995 he has exhibited his works in joint and solo exhibitions, both at home and abroad. Suastamas’ works often feature female figures, a wide range of colours and textures, as a symbol of the regenerative and creative force. His new series which includes ‘Whispers to the Clouds,’ explores in detail the philosophical theme of ‘upstream and downstream’ in our relationship to the balance in Nature.</br></br>“In the quiet, these are the moments we can reflect. As a person who loves nature, I think of these whispers in Nature. When there is a change in the seasons.. the clouds still are messengers.. without language or words the clouds are messengers of nature that tell us that it is going to rain. The World Without Sound is perhaps where we see Nature’s language more clearly. It brings us back to our true selves.rly. It brings us back to our true selves.)
• Wayan Sujana Suklu  + (Epilogue by Suklu. Acrylic on Canvas, 2023. Explore the collection of contemporary art at Sawidji Gallery. Epilogue by Suklu is part of his Mata Kerta Gosa Series.)
• Dewi Dian Reich  + (Explores what lies within the character of … Explores what lies within the character of ‘Topeng Keras’. One of the sacred Masks that appear in Topeng Babad. One of Bali’s oldest and most sacred Dance Mask Rituals. A series of portraits exploring the character that resonates within the Mask 'Topeng Keras', the dance and the dancer. And the realtionship between the three.r. And the realtionship between the three.)
• Dewi Dian Reich  + (Five artists from various fields of art ac … Five artists from various fields of art active in the Sawidji Artist Collective explore the question ‘what makes us human?’ This is a collaboration titled “Manus, a Conscious Journey” which opened on December 15, 2023, and will be open to the public until February 3, 2024. The exhibition is a Sawidji Collaboration working in partnership with Sudakara Art Space, Sanur, Bali, Indonesia.</br></br>The artists involved in the Manus collaboration are Dibal Ranuh, Made Kaek, Nyoman Butur Suantara, Tjandra Hutama, and Dian Dewi. The five artists who have strong, militant and proven “colours” in their respective fields unite and dissolve in “Manus”.</br></br>Multi-disciplinary art collaboration including painting, sculpture, photography, digital media and film installation art., digital media and film installation art.)
• Dodit Artawan  + (From Exhibition LINES UPON RHYTHM December … From Exhibition LINES UPON RHYTHM December 2022 at Vin Gallery Vietnam:</br>He took his focus in a unique way by highlighting the shapes and designs of mass products that are available in the market. Those commodities are commonly found</br>and displayed everywhere with bright colours which can also be found in his artwork characteristics producing wonderful compositions.</br></br>“Lines” will be the main feature in this show, to present how he’s adopting and appropriating the lifestyle of contemporary society closely related to consumerism. Creating lines with rhythm and drawing with bright colours while at the same time, he’s playfully criticising and celebrating contemporary society often becomes</br>irrational when lured by consumerism. And the rhythm composition of colours and lines will reenact fantasies that capitalism has done to their products.hat capitalism has done to their products.)
• Nyoman Butur Suantara  + (I See Fire. ManButur Suantara shares his e … I See Fire. ManButur Suantara shares his experience and photography of the Ter-Teran fire ritual in the village of Jasri, Karangasem Bali on March 21st 2023. The full account and series of works by ManButur Suantara is published online at sawidjistudio.com/2023/03/31/i-see-fire/ </br></br>This ritual is known as Ter-Teran held in the village of Jasri in Karangasem Regency Bali. This ritual is held to keep the evil spirits away so that the silent day of Nyepi will be able to pass peacefully, quietly and with blessing...</br>Ter Teran is held only once every two years. and this is spontaneous without staging or planning. In other villages, this type of fire war enactment is ritualised whereas the process is a little bit more free-flowing, here in Ter Teran in Jasri. The atmosphere is truly mystical. It is not something planned or scripted. There are not many tourists as this is not a common attraction. There is a wildness about it. It does not look like a demonstration set up to cater to an audience. The sacred energy of this ritual still feels very strong.gy of this ritual still feels very strong.)
• Dewi Dian Reich  + (Kala and the Guardians Reflecting on the n … Kala and the Guardians</br>Reflecting on the nature of Time and our relationship to the Earth and Spirit through a conceptual journey.</br>A collaborative exhibition with the works of Dewi Dian, ManButur Suantara, Nyoman Handi.</br></br>Kala and the Guardians conceptualise an abstract idea. The primary themes that we explore here are Kala, Earth and Spirit. In and of themselves, their nature. In addition to seeing these three entities separately, the threading of them together in this collaboration is to ask you to explore your relationship to each of these elements.</br></br>Kala, Earth and Spirit</br>Kala is known to come with many definitions. Among these are time, death, performing arts, and specific deities in Hinduism, Javanese and Balinese mythologies. Yet, despite the many origin stories, there is a connecting thread that Kala is all of those manifestations. However, in this Collaboration, Kala is our canvas. Here Kala is defined specifically through her manifestation as TIME. Of the three characters that we introduce, Kala is the faceless one. She is not represented as a portrait, or in a painting. Yet, she is present in them and in a significant way. That is also part of our display and exploration of Time. Part of the reflections in which Sawidji invites you to contemplate.</br></br>How different art mediums reinforce the message..</br></br>Kala is experienced through the conceptual portraits of the two Guardians representing our Earthly World and our Spiritual World. The portraits of the Guardians of Earth and Spirit were created through a combination of installations and the photography of Dewi Dian and ManButur Suantara. The paintings of Nyoman Handi respond to the questions and reflections raised by the Guardian portraits.</br></br>Collaboration, More Than Just a Word</br></br>All the mediums present in this collaboration bring very different qualities. Sawidji leads with photography. However, the photographic works are actually partners to installation pieces. Installation pieces that we created together as a team. The making of the costumes and studio installations together as a team is truly at the heart of each of our collaborations. A seed of an idea may be singular, but as it germinates and grows, all the contributing elements are what make it possible for it to flourish and blossom. Much the same for Sawidji Collaborations.</br></br>The artists that come together agree on the message. We feel the same about the message. It resonates in each of us. With this trust and agreement, we move together throughout the day and create together, the best embodiment of our concept. There is in fact a lot of freedom. A lot of room for each person to spontaneously make changes and try new things. There is no shortcut to the process. Our work is a result of going through a growth and maturing process for each concept, and this is done together.</br></br>Online Exhibition available for viewing https://sawidji.com/2022/12/13/kala-and-the-guardians-a-timely-reflection/ala-and-the-guardians-a-timely-reflection/)
• Sang Ayu Putu Eny Parwati  + (Language is a resource capable of exposing … Language is a resource capable of exposing a cultural mystery and cultural can only be expressed in language. Balinese language and culture is a mirror of its speakers. The language and culture of “memasak” or ‘cooking’ in Balinese society has its own meaning which can be expressed through the study of Natural Semantic Metalanguage (NSM). The NSM theory is designed to exploit all meanings, both lexical, illocution, and grammatical meanings. “memasak” or ‘cooking’ in Balinese is included in the category of action and process. In the verb there is an uncompressed polysemic between DO and HAPPEN so the experiment has an exponent: “X does something on Y, and therefore something happens to Y”. The data is collected by involving the conversation method and observation and note taking techniques, there are 12 lexicons of data collected. Trough NSM approach, they applied to represent the semantic primitives. Based on the methods, instruments, and entities used in the verbs, lesksikon is divided into three group of instruments, namely (1) ‘cooking’ by water: nyakan, nepeng, ngukus, ngengseb, nglablab, ngnyatnyat (2) ‘cooking’ by fire: nunu, manggang, nambus, and nguling, (3) ‘cooking’ by oil and without oil: ngoreng and ngenyahnyah. All the lexicon that has the meaning of cooking on the pattern of NSM syntax: X doing something on Y and Y is cooked (well-done).omething on Y and Y is cooked (well-done).)
• Dewi Dian Reich  + (Natures' Blossoms Portraiture Series. With … Natures' Blossoms Portraiture Series. With our undeniable bond and complex relationship to that of our own visage and that of others, the exploration of portraiture continues. This time moving away from the individuality of self or our own personalities albeit psychologies. Instead we explore the identity of something greater than ourselves. </br>An exercise of empathy through the only way we know best.. through our own human limitations and emotive perceptions. A portrait of Nature through hypothetical ages and experiences. </br></br>Read full article in image reference link.Read full article in image reference link.)
• Dewi Dian Reich  + (Nungkalik International Art Festival Art F … Nungkalik International Art Festival</br>Art Festival debuting in 2023 by Institute of Art Denpasar, founded on themes discussed by Dr. Sujana Suklu. Featuring Artists Bambang Herras, Agung Gunawan, Martina Feirtag, Diwarupa, Made Kaek, Putu Bonuz Sudiana, Robert Martin, Galung Wiratmaja, Steve Bolton, Dewi Dian Reich, Ketut Sumerjana and Dr. Mas Ruscitadewi.</br>Nungkalik International Art Festival. An introduction to a contemporary art festival debuting this year in Bali that is in its early stages already showing signs of extraordinary possibilities. In nature Nungkalik is bold, experimental and conceptual. Centred on the idea offered by artist and lecturer Dr. Sujana Suklu that artists on a daily basis are subconsciously learning a universal intuitiveness whilst responding to the world throughout their lives.</br></br>That is to say, whether through their movements, musical or visual expressions as well as verbal interactions. Their bodies and memories compile experiences that keep developing and transforming with each day that passes. Their sensitivity to phenomena that occurs outside of themselves inevitably gets stronger and becomes a substantive sensitivity in their respective internal worlds. We may say this transforms into an instinctive sensitivity that does not require conscious deliberation when external elements circle close to their internal world.</br></br>The Premise of Nungkalik Art Festival</br></br>Artists are invited to participate in this experimental study, from different backgrounds, geographic locations as well as varying creative disciplines. Throughout the festival, community members with specialty areas in sociology, psychology, education and music were also invited to participate and observe. The global theme for the Nungkalik International Art Festival 2023 was introduced as ‘Exploring Archetypes’ with specific explorations on associated concepts during each workshop day.</br></br>Participating artists were involved in these workshops together with members of the Fine Arts and Performance Arts student body. Our day beginning with a discussion circle. Together exchanging thoughts and ideas about the proposed themes and the significance of the chosen mediums. Within these discussions, it is interesting how very naturally, abstract ideas and concepts were articulated by all artists.</br></br>full article.. https://sawidji.com/2023/07/27/nungkalik-festival-art-and-its-sacred-paradox/kalik-festival-art-and-its-sacred-paradox/)
• Dewi Dian Reich  +
• Dewi Dian Reich  + (Portrait of Artistic Director and Visual Artist Dibal Ranuh.)
• Dewi Dian Reich  + (Portrait of Aryani Willems by Dewi Dian Reich, Sawidji Art and Photography. Fine Art Photography.)
• Dewi Dian Reich  + (Portrait of artist Aryani Willems by Dewi Dian Reich, Sawidji Art and Photography. Taken in June 2023.)
• Dewi Dian Reich  + (Portrait of contemporary artist Wayan Suas … Portrait of contemporary artist Wayan Suastama by Dewi Dian Reich. Environmental portraiture, in an unstaged environment. Naturally depicting the artists studio workshop. Taken in early 2023 whilst cataloguing the artists works.</br></br>'Through the creative process, you learn to have honest conversations with yourself. That leads inevitably to peace in your life. That’s a gift of positivity.' ~ Wayan Suastama’s a gift of positivity.' ~ Wayan Suastama)
• Dewi Dian Reich  + (Portrait of contemporary artist Putu Bonuz … Portrait of contemporary artist Putu Bonuz Sudiana by Dewi Dian Reich. In Sawidji Studio. A multi disciplinary contemporary artist well known for his powerful abstract style. Putu Bonuz Sudiana is a dynamic and progressive artist with a creative charisma that attracts a wide range of audiences. His contributions have been in painting, installation, music, performance art and poetry.lation, music, performance art and poetry.)
• Dewi Dian Reich  + (Reflecting on the nature of Time and our r … Reflecting on the nature of Time and our relationship to the Earth and Spirit through a conceptual journey. Ref exhibition guide </br></br>https://sawidji.com/2022/12/13/kala-and-the-guardians-a-timely-reflection/</br></br>Kala is known to come with many definitions. Among these are time, death, performing arts, and specific deities in Hinduism, Javanese and Balinese mythologies. Yet, despite the many origin stories, there is a connecting thread that Kala is all of those manifestations. However, in this Collaboration, Kala is our canvas. Here Kala is defined specifically through her manifestation as TIME. </br></br>Kala is experienced through the conceptual portraits of the two Guardians representing our Earthly World and our Spiritual World. The portraits of the Guardians of Earth and Spirit were created through a combination of installations and the photography of Dewi Dian and ManButur Suantara. The paintings of Nyoman Handi respond to the questions and reflections raised by the Guardian portraits.lections raised by the Guardian portraits.)
• Dewi Dian Reich  + (Sawidji Comes Home is a celebration of our … Sawidji Comes Home is a celebration of our new home in the historic part of Plawa Denpasar, with a collection of works from our artist collective. A wonderful exposition of dynamic, multi-disciplinary creative voices. </br></br>We celebrate each individual passion, fixation, obsession, compulsion of each artist that is at the core of their creative drive. What compels them to create in this pure and selfless way. As artists we go through such a personal and intimate process, often filled with some form of struggle in the self, only to give birth to the physical form of an idea. This in itself is a wonder, a powerful seed that nourishes arts’ growth.</br></br>Exhibition Catalogue </br></br>https://sawidji.com/portfolio/sawidji-comes-home//sawidji.com/portfolio/sawidji-comes-home/)
• Putu Marmar Herayukti  + (The imposing 600 by 400 by 250 cm wood and … The imposing 600 by 400 by 250 cm wood and papier-mâché sculpture had an important, timely message. Made from sustainable items with traditional Balinese techniques that pushed the levels of materiality, ‘Pejuang Adat’ (Indigenous Warriors), was the artist’s bold call to his people. A traditional sailing vessel perched dangerously upon the crest of a wave and destined for disaster, ‘Pejuang Adat’ is a metaphor for the current plight of the Balinese society, that according to the artist, lacks in leadership and is without a strong vision for the future.is without a strong vision for the future.)
• Desak Ayu Putu Suciati  + (The purpose of this study is to design a f … The purpose of this study is to design a form of optimizing the role of the pecalang in helping to organize common order and public order organized by the Covid-19 Pandemic Prevention Task Force Team. This study is descriptive-qualitative writing which uses and collects more information by exploring every social phenomenon that occurs. The division of authority for the administration of common order and public order held by the Bali Provincial Civil Service Police Unit in an effort to prevent the Covid-19 pandemic experienced many obstacles. It is necessary to optimize the role of the pecalang in helping to organize common order and public order organized by the Covid-19 Pandemic Prevention Task Force Team.id-19 Pandemic Prevention Task Force Team.)
• Made Gede Wiguna Valasara  + (Valasara’s work, ‘Part of the Universe’ fi … Valasara’s work, ‘Part of the Universe’ finalised late in 2020, is much larger at 120 by 260 cm. His technical process is demanding. Initially, he sketches onto the canvas the structure. By pinching, filling, and making a volume in the canvas, the individual forms take shape, hand-stitched in cotton. Random threads then complete and inform the chaotic abstract elements, adding a unique potency to his works. The complex works require up to two months of painstaking focus to complete.</br></br>‘Part of the Universe’ is a flowing picture that draws the viewers eye naturally from left to right across the canvas. The top half of the composition is punctuated by three jagged forms, prominent structural features of a cremation ceremony, that pierce into vast empty space. This work is vastly different than ‘Universe’ 2021. It is defined by its large, negative space of empty canvas emphasising dynamic flowing form and movement within the composition, a technical attribute he has adopted from western art.attribute he has adopted from western art.)
• Nyoman Butur Suantara  + (Walakiri Tree is part of the series ‘Trees … Walakiri Tree is part of the series ‘Trees’ in Black and White by ManButur Suantara. Walakiri Tree is released as Limited Edition prints and signed by the artist. </br>Trees in Black and White by ManButur Suantara. The beauty and poetic vision of ManButur in a series of captures across the Indonesian landscapes. What do you feel when you see a trees’ shadow? When you look upon their reflections and silhouettes. There is something intrinsically human about them.</br></br>A Trees’ Reflection</br></br>Perhaps you can say, it may be that it is the other way around. There is something intrinsically tree like about human beings. Why we see our own reflection in the Earth’s oldest children. For of the oldest living things on this Earth, trees are amongst them. They carry the memories and earths’ blood in their veins.</br></br>There is this basic truth that trees bring life to others. From the time they are a seed, to their stems and flowers, there is no waste. From the beginning to the end of their life, they are givers to the world.</br></br>Nyoman ‘Butur’ Suantaraers to the world. Nyoman ‘Butur’ Suantara)
• Dewi Dian Reich  + (World Without Sound is an Anthology of art … World Without Sound is an Anthology of art and thought.With contributions from Putu Suasta, Warih Wisatsana, Made Kaek, Putu Bonuz, Ellen Lane, Made Artawa, Wayan Suastama, Agung Putra, Made Delo Budiarta, Nyoman Handi, Tjandra Hutama, Made Somadita, David Hopkins, Kadek Sudiasa, ManButur Suantara, Sun Rong Fang, Wayan Juniari, Dewi Dian Reich.</br></br>Sawidji has collated together a series of artworks and poetry for this special presentation. It is an anthology. This theme of ‘World Without Sound’ was inspired by the wonderful experiences we had in working together with the Sushrusa Deaf School Community. Not simply about raising awareness about those with differences in our community and sign language. Perhaps even more remarkable, is experiencing the reality of the nature of inclusivity. As a powerful value that nurtures a growing collective empathy.</br></br>Most art exhibitions have one primary objective and that is to feature and highlight artworks and artists. This is by no means very different. However, perhaps the spirit of which this was put together is a little different. Somewhat experimental that it could not be foreseen what will be the result. We invited those in our community, whether it be social, digital or local to participate in a contemplation. To contemplate the concept of ‘Dunia Tanpa Suara’. This translates to ‘World Without Sound’ (though may also be translated to ‘World without voice’). To contribute to this reflection using a creative piece.</br></br>The Spirit of Inclusivity</br></br>Our invitation was done in the spirit of inclusivity. It was not only artists but also other members of the community who felt reflections on this theme were worthwhile. With the time and space, we have available we can only say a heartfelt thank you to everyone. Those whose works and contributions made it possible for us to present this anthology. One for all of our community to enjoy. It is so so very rich with insight and learning. One that is deep with life lessons from all directions of life experiences.</br></br>With such personal freedom and intimacy, everyone came to their private message about their imagine ‘World Without Sound’. For each realisation in every individual, it is a lesson of wisdom, empathy or simply of beauty that we can partake in. </br>ur heartfelt gratitude to everyone who opened themselves and generously shared their time, creations and thoughts with us. We are honoured by the generosity of the talented artists and writers who have come together in this anthology of art and thought, living the very spirit of inclusivity.</br></br>Online Exhibition available for viewing at Sawidji.com https://sawidji.com/2023/04/16/world-without-sound-an-anthology/23/04/16/world-without-sound-an-anthology/)
• I Wayan Subudi Yadnyana  + (‘The Book of Infinite Knowledge’ 2020, exh … ‘The Book of Infinite Knowledge’ 2020, exhibited in ‘Raga Rhythm’ by Wildskids late in 2020 at Titik Dua in Mas, pays homage to Saraswati the Balinese Goddess of Knowledge, Music, Art and Learning. “The process of creating such layered works involves a dedicated focus. Working with cardboard cutting individual pieces attached to board he constructs 3-dimensional works of up to 10 layers. A single work of one-meter square may require up to one week.” Swoofone’s compositions give the impression of dimensional reliefs. One of the Balinese Classical paintings’ less-identified influences is the narrative reliefs of the 9th- century Central Javanese Buddhists temple, the Borobudur. Javanese Buddhists temple, the Borobudur.)

• Dewi Dian Reich  + (Portrait of Artist Sujana Suklu in the stu … Portrait of Artist Sujana Suklu in the studio drawing on novel. Exploring one of the Three Rooms of Art. Art by Interaction.</br>Art by Interaction refers to a process touched by interactivity or collaboration. It is worthwhile to note the differences between interaction and collaboration are different. A collaborative process suggests mutual agreement, whilst interactions may occur within an art process that is not deliberate. All collaborations are interactions, yet not all interactions are collaborations.t not all interactions are collaborations.)

• Gede Suanda  + ('Spiritual Healing’ 2022 is Sayur’s most … 'Spiritual Healing’ 2022 is Sayur’s most recent painting and a light-hearted response to Bali as an international spiritual tourist mecca. Beautiful soft colours and visual rhythms highlight the composition, an interesting fusion of creative influences inherited from his culture and others inspired by other painters. First, the soothing blue sky makes way for graceful curving lines of brown and orange clouds. Next, our eyes are drawn to the conical shape of the volcanic peak and immediately follow the gentle rhythm of the smoke wafting from the crater. Sayur’s description of the smoke is a modification of the cloud motif taken from the Classical Balinese style.</br>Harmonic colouration catches the eye. Two white herons on both sides of the smoke create a dynamic sense of movement, emphasising the bird’s motion of flight—our eye dances in tune, one-two-three, observing the icons. As we continue down the composition, the green foliage of the forest captures our attention. The visual rhythm changes again as our eye circumnavigates the leaves. The vertical lines of the tree allow the eye to sweep up and down the elongated trunks. To the right, the artist entertains us with other information, tall palms, curvaceous rice terraces, and round coconuts. He depicts a kite trapped in a tree as a simple, humorous distraction.</br></br>The focal point of the composition is the three figures. A Balinese woman carries an offering upon her head. A pale-skinned female tourist with her palms raised and water pouring onto her head participates in a Balinese cleansing ritual called melukat. A monkey upon a brown rock watches on with a grin of delight as he pushes a toy boat into the spring. The swirling curves on the stone are the artist’s modification of a classical icon. The visual rhythms change as the eye flows around the arcs of the figures, each with differing dimensions, colouration and feeling. Finally, we follow the shape of the skimpy blue G-string as it disappears into the tourists behind.as it disappears into the tourists behind.)
• Aditya Parama Setiaboedi  + (About this work Aditya explains In NOW Bal … About this work Aditya explains In NOW Bali magazine: “I have no manual skills of drawing and painting, my creativity developed within the design field. I became interested in graphic design at school as the technology I learned easily, and I perceived this as a career opportunity,” Aditya told me. “When the pandemic began, I was unsure what to do. I began following a collective of artists from Jakarta, IZZY, on the Internet who streamed information about 3-dimensional digital art. This offered me new insights, triggering my imagination to the possibility of fresh creative expressions. I became dedicated to understanding 3D animation from free open-source platforms.”</br>“Digital art rarely enters the normal art world and is mostly focused upon design and advertising. NFTs exist in an exciting and rapidly evolving decentralised and democratic art world, which eliminates the middleman. Anybody can become an artist or collector,” Aditya explained. “I have learned by watching online and joining Indonesian and international communities. I, therefore, do not need to enter the conventional Bali and Indonesian art worlds.”</br>“I have minted (the process of uploading digital works onto blockchain platforms for sale) over fifteen NFTs and sold more than 10 works. I have sold one exclusive NFT on the ETH platform for 0.1ETH the equivalent of USD $300 and am making series of ten works. More than five of my series have sold out at the price of 3 Tezos, a cryptocurrency valued at about $5 for 1 Tezos. In addition, I have sold two NFTs on the secondary market and received royalties. The royalty mechanism is the advantage of NFTs over conventional art which exists in a domain rife with dishonest practices and at the highest tier is flushed with fake work.”</br>“Many see NFTs as simply a cash grab. The technology is in its infancy, is unregulated, yet allows opportunities to create new artistic expressions and earn money.“</br> “When you talk to a human in 2035, you’ll be talking to someone that’s a combination of biological and non-biological intelligence,” says American futurist and Google’s Director of Engineering Ray Kurzweil. “I have set the date 2045 for the ‘Singularity’ which is when we will multiply our effective intelligence a billion fold by merging with the intelligence we have created.”</br>“I seek to create unique NFTs with references to Bali to provide an alternative for the crypto art market,” he stated. “I believe what is important is artists and creatives learning about new technologies and the growing array of opportunities available to them. Such as new expressive genres, reaching new audiences and securing alternative income streams.” and securing alternative income streams.”)
• Arie Smit  + (Article from Bali Post newspaper May 1980 … Article from Bali Post newspaper May 1980</br></br>Bali Post English Edition, May 1980</br>Conversation with Arie Smit</br>The name is synonymous for many with the 'Young Artist' movement of Penestanan, Ubud- a name that inevitably crops up when one studies the modern evolution of Balinese art. Some people feel that the introduction of the 'Young Artist' movement has only led to a crass form of art whose only merit is commercial, others feel that it is too 'un Balinese'.</br>Arie Smit himself doesn't elaborate much on his role in initiating this new school of art, he considers his role as that of a mere 'suggester'. He implies that he never taught the 'Young Artist's any fundamental concepts or techniques, insisting that he works not on "putting in but bringing out". He claims that he is more interested in the mental states and environment that influence art, the people and the culture that characterise it.</br>His romance with the imagery of Bali is on-going: "Bali is a bulwark of images" and though he admits that this source of inspiration is eventually limited, he cannot shake his passion for it. Perhaps this is a direct result of his philosophy of art, a philosophy that has been tested and refined over the many years that he has spent in Indonesia (he became an Indonesian citizen in 1951).</br>His fascination with Balinese imagery is linked with his interest in 'Child Art'. Fittingly his contribution to Bali has been to provide a vehicle for Naive Art in the ‘Young Artist’ movement.</br>To explain the beginnings and motives for this he takes us back to the Fifties when he was in Bandung. At the time he was working for the Publishing house "Masa Baru” as a lithographer. One of his colleagues was the Dutch born Rina Marsman, a remarkable woman who had once tutored Queen Wilhelmina’s children in exile during WWII.</br>Her extensive knowledge in the field of education led involvement in the area in Indonesia, a country she had learned to love. Rina Marsman had the foresight to include a formidable library of books on the subject amongst the possessions she brought to Indonesia. Arie Smit took full advantage of this opportunity to plunge into books on education and “child art”.</br>Prompted by her, he began working part time teaching members of the Yayasan Beribu organization (made up of influential society women of the time) in education techniques. The Yayasan Beribu was chaired by Mrs. Mary Effendy Saleh, whose husband was in charge of Indonesia's railroads at the time. Rina Marsman was bringing the latest education techniques to this group who in turn were to teach children.</br>In the spare time that he had Arie Smit managed to paint. Out of this set of circumstances grew the first real momentum towards the 'Young Artists'. At one point he was teaching lithography to Bandung's ITB (Technical Institute) students - and through this decided to mount an exhibition there. Via his contact with Mrs. Saleh he managed to distribute art materials to the children of railway workers. "These children drew what they saw around them, and the realities that they lived with. Children can only draw what they have experienced, their own mental environment - and it's spontaneous, non-intellectual...". It fascinated him to see the readiness with which children drew their world, the power of their observation - "there were locomotives, carriages, derailments (it was during the Darul Islam terrorist times), and we noticed that although fundamentally the same there were slight differences between the girls and the boys: the girls would sometimes put in a nurse!" The exhibition was a success. </br>Again when staying near Puncak on the Jakarta-Bandung route he would notice how the village children had 'spontaneously' acquired a catalogue-like knowledge of motor vehicle makes and specifications. He set about experimenting, providing these children with art materials. Once more there was a spontaneous outpouring of the details of their environment, the same overwhelming power of observation. He undertook these experiments wherever he went in Indonesia.</br>When he first arrived in Ball in 1956 he followed the same pattern. It proved to be a surprise: "It just all came pouring out. As there were no cars, ships, etc. then, they naturally drew what was in their environment. But the quality of their imagination was fantastic, the scope of the Balinese children was tremendous: dances, witches, cremations...” He noticed an emphasis on religion and ceremony, a factor he attributed to the wealth of the culture. But for him the most surprising aspect of these drawings was not the subject matter: “They did not depict objects from their immediate environment, or what was static in their surroundings, they almost always drew or painted what was about to happen. They were always anticipating events to come, such as the cremation next week or the dance the following night..” In all his experiments this 'anticipation' was unique to Bali: the tendency of children's imagination to project into the future.</br>It was precisely this type of exotic material that was to prove of interest to foreigners in Indonesia. In 1960 Arie Smit chose Penestanan as the site for his major ‘experiment’, the ‘Young Artist’ movement. It was a poor village virtually owned by neighbouring landowners who used their labor. Arie Smit began by bartering their first paintings for art materials from foreigners working in Jakarta. “During Sukarno's time art supplies were almost impossible to obtain - this source of supplies was vital to the movement". It grew and grew, and other intermediaries began to play a more active role in the marketing (Jimmy Pandy was one who in Arie's memory was most helpful). On the other hand others had to be convinced and won over - yet when these dealers finally started marketing Young Artists they were surprised to see it become one of the fastest selling items</br>An exhibition in Jakarta several weeks after Gunung Agung erupted was a roaring success, partly because Bali was the focus of public sympathy at the time. For Arie Smit it was a relief to get away from the marketing once things were rolling along by themselves - he never relished the role of salesman. "But it was mainly the diligence and industriousness of these painters that kept me going, I felt that I couldn't let them down.”</br>Despite the fact that the movement has now proliferated tremendously ("Nowadays even an expert would have a hard time wading through all these paintings”) he feels that the best of the Young Artist remain the same 40 that he started off - though they are hardly young anymore.</br>Getting back to 'child art’ Arie states again that all naive painting is a spontaneous, symbolic rendering of the ‘environment’ of the painter. He points out that the Balinese have a tremendous power or vision, and feels that they have no need to work from models or to do life sketches. Arie feels that human beings were never the all-important center of the Balinese Cosmos, and says that the renaissance emphasis on man as the center of the Universe is completely foreign to the Balinese. Thus, at least for Arie Smit, the Young Artist is closer to real Balinese art than the art of those influenced by Bonnet: According to him the 'real Balinese' art is embodied in the paintings that came out of Batuan during the Thirties - the depiction of the various different worlds, the symbolic style. Young Artists, by painting from their own imagination in an essentially symbolic style are closer to this Balinese concept of art than any other ‘modern movement’.</br>One of the important traits of ‘child art’ is the exemption of the intellectualization process - Arie worked mainly with young people under the age of 17, the age around which he says "comes an intellectual crisis. The intellect interferes with the direct expression of the imagination, sometimes to the point where hesitation blocks the expression completely." How did the children of the 60's, the young Artists of Penestanan, cope with growing up?</br>He admits that they ran into a couple of crisis points, where ‘intellectual’ concepts began to interfere with their free expression.</br>Despite his principle of non-interference he finally was compelled to step in: "I watched if for some time, letting it go. But at a certain point I had to re-suggest, to re-affirm their confidence in their own power of vision”.</br>He is obsessed with the ‘power of Balinese vision' - the ability to absorb details, the power of the imagination to recall.</br>When one questions the apparent stagnation of Balinese art, especially that of the Young Artists he admits that there is a need for new directions, not only now but continually. "But total freedom of expression is not an Asian trait. Asians, including Balinese, are more concerned with achieving perfection through repetition."</br>He thinks that this maybe the reason that so many Western Art. movements run dry so quickly, because of the tremendous pressure to create something new all the time, every time! To the oriental there is no such stigma attached to repetition. </br>His work with the Balinese has been one of careful balance between new inspiration and tradition, it was never easy. And not always welcome: once when residing in Ubud at Puri Kaleran, he tried to initiate some girls into painting. "It was back in the Fifties. Some of the girls were quite talented - but unfortunately the banjar community objected." Not only was painting not a woman's role, but for these young maidens to be working in the house of a bachelor was out of the question!</br>Rio Helmiachelor was out of the question! Rio Helmi)
• Alexander R. Cuthbert  + (Bali is a global tourist destination havin … Bali is a global tourist destination having had the added descriptor paradise for most of the last century. But it is now transparent to most visitors that serious problems prevail across the entire local economy and built environment. The incoherence of development is largely to blame. Given the failure to generate a new Balinese architecture that matches the integrity of the old, Balinese urbanists are now caught in a Gordian knot where a unified traditional architecture remains, yet a new architecture is not forthcoming. How to untie the knot is the question. Architecture suffered major discontinuity when traditional building was largely abandoned in the face of progressive urbanization. The problem remains unresolved. The following paper represents a preliminary attempt to expose key issues. It suggests methods of moving forward. But a new momentum demands a new philosophy in the realm of urban theory, the foundation of all professional activity. No significant progress can take place without it. My attention is therefore directed to answering the question how can the transition be made from traditional Balinese architecture emerging from the dynamics of feudalism, to its conscious translation and accommodation within post-modernity, informational capitalism, and globalization? While the problem needs tackled at several levels – education, policy, strategy and enforcement, I suggest in conclusion that these should be framed within generic principles derived from vernacular transformations, a culture of critical Balinese regionalism, and an adaptation of the New Urbanist lexicon to a tropical environment.rbanist lexicon to a tropical environment.)
• Anak Agung Gde Putera Semadi  + (Bali tourism performance art is a form of … Bali tourism performance art is a form of an art which is purposely processed to be served to tourists. This art has theatrical and spectacular characteristics which accentuate visual attractiveness more than scared, magical, and symbolic values. Some kinds of art such as Legong Dance, Ramayana Ballet, Barong and Keris Dance, Monkey Dance, Face Mask Dance, and Shadow Puppet Dance have been being main menu of art spectacle in Bali. Bali tourism performance art has appeared in a new package since 1980. This concept was dominantly affected by postmodern aesthetic characteristics such as: Pastiche, Parody, Kitsch, Camp, and Skizofrenia. Its purpose was to make performance art became more exotic which was related to economic interest. Therefore, many Bali cultural art activities included its sacred value have been eroded by a fast and fantastic secularization process in both quality and quantity.tion process in both quality and quantity.)
• Wayan Windia  + (Basically, agritourism is to place the pri … Basically, agritourism is to place the primary sector (agricultural sector) in the tertiary sector (tourism sector) to increase farmer's income. Farmers in the agricultural sector have to get some benefits from agritourism activities. Besides that, agritourism can secure agricultural sustainability and avoid the agricultural sector from the marginalization process. There are some reasons why tourists like to see natural activities and agritourism activities. In Bali, there are some agritourism regions with several different management models. This article discusses the general model of agritourism development in Bali and is hopefully useful for agritourism development in other areas in Indonesia.m development in other areas in Indonesia.)
• Made Sarjana  + (Basically, agritourism is to place the pri … Basically, agritourism is to place the primary sector (agricultural sector) in the tertiary sector (tourism sector) to increase farmer's income. Farmers in the agricultural sector have to get some benefits from agritourism activities. Besides that, agritourism can secure agricultural sustainability and avoid the agricultural sector from the marginalization process. There are some reasons why tourists like to see natural activities and agritourism activities. In Bali, there are some agritourism regions with several different management models. This article discusses the general model of agritourism development in Bali and is hopefully useful for agritourism development in other areas in Indonesia.m development in other areas in Indonesia.)
• Fitri Amalia Rhamadani  + (Deviations in the behavior of foreign tour … Deviations in the behavior of foreign tourists often occur in Badung Regency. Forms of deviant behavior include aggressive behavior, behavior against authority, disrespectful behavior and stupid behavior. The need for a preventive social control effort in anticipating the occurrence of deviations in the behavior of foreign tourists in the future. Determination of informants using purposive sampling and snowball sampling. Data collection is done by observation, interviews, literature study, and documentation. Data analysis techniques using qualitative analysis with the creditability test and the dependability test. The discussion resulted in a model of the construction display framework of preventive social control in Badung Regency, which was formed based on facts or the phenomenon of behavior deviations that often occur. In the introduction of the forms of deviant behavior of foreign tourists there are 4 forms and have a total of 17 behaviors and the total forms of such deviations require social control with a preventive approach. In the preventive approach there are 10 ways that can control foreign tourists to deviate. The role of tourism stakeholders (local communities, government and tourism entrepreneurs) is needed to distribute Do's and Don't's in Bali brochures. The brochure will later contain supporting pictures or illustrations to attract the reader's interest, understand the meaning in each sentence. Preventive social control material by dividing 3 material is presented, namely: Do's in Bali, Do's in Bali, and Why in Bali. After the mechanism for distributing brochures is carried out by stakeholders and there is still a deviation of tourist behavior, the next stage of violators will be subject to sanctions.of violators will be subject to sanctions.)
• Richard Fox  + (Grounded in ethnographic and archival rese … Grounded in ethnographic and archival research on the Indonesian island of Bali, More Than Words challenges conventional understandings of textuality and writing as they pertain to the religious traditions of Southeast Asia. Through a nuanced study of Balinese script as employed in rites of healing, sorcery, and self-defense, Richard Fox explores the aims and desires embodied in the production and use of palm-leaf manuscripts, amulets, and other inscribed objects.</br></br>Balinese often attribute both life and independent volition to manuscripts and copperplate inscriptions, presenting them with elaborate offerings. Commonly addressed with personal honorifics, these script-bearing objects may become partners with humans and other sentient beings in relations of exchange and mutual obligation. The question is how such practices of "the living letter" may be related to more recently emergent conceptions of writing—linked to academic philology, reform Hinduism, and local politics—which take Balinese letters to be a symbol of cultural heritage, and a neutral medium for the transmission of textual meaning. More than Words shows how Balinese practices of apotropaic writing—on palm-leaves, amulets, and bodies—challenge these notions, and yet coexist alongside them. Reflecting on this coexistence, Fox develops a theoretical approach to writing centered on the premise that such contradictory sensibilities hold wider significance than previously recognized for the history and practice of religion in Southeast Asia and beyond. of religion in Southeast Asia and beyond.)
• Putu Dyatmikawati  + (Hindu society in Bali still retaining a pa … Hindu society in Bali still retaining a patrilineal culture in social life. There are differences in inheritance rights between men and women in patrilineal culture system. Women did not have any right to inherit from their parents. While the issue of equality, fairness, the right to inherit their parents and etc., urged the patrilineal culture is more flexible and gives the right to women to inherit property from their parents. The development of knowledge, the law and the influence of new paradigms that are present in society, pressing the old system order to be able to accept the development of society. The Assembly of Pakraman Village(Majelis Desa Pakraman) Bali No. III of 2010 has taken the initiative to give women the right to inherit, limited tojoint property of her parents. This paper aims to analyze the development of customary law in Bali on, setting the women's right to inherit,because the constitution guarantees every citizen equal treatment before the law and society. By using the juridical research, will be examined how national laws and customary laws in Bali positioned the women, the right to inherit from their parentsn, the right to inherit from their parents)
• I Gusti Putu Hardi Yudana  + (In Bali’s regency called Tabanan, nowadays … In Bali’s regency called Tabanan, nowadays there are emerging home industries producing the Kerupuk Ladrang. Kerupuk Ladrang is crispy chips made of wheat flour with some eggs and spices. For our project, we have chosen two home industries as our partner industries. The first one is the “Biang Bagus” home industry which is owned and managed by Mrs. Gusti Ayu Putu Sukarini and the second one is the “Bu Gusti” home industry which is owned and managed by Ni Gusti Ayu Komang Niri. This project, namely Program Kemitraan Masyarakat, aims in improving the production process by solving the problems that are faced by the two partners. The given solutions are by providing the better production tools and equipment, facilitating the two partners with modern marketing skills (eg. for marketing in the social medias) with some training programs, as well as providing them an Android based software application to be used as a tool in purchase-order process. In short, there are four</br>main things done for the partners: providing them with new and better tools and equipment, services, training and guidance. The results shown the two partners have improved their production process which is now become more efficient and faster. Both of the partners are now having broader views, especially in using the modern technologies, which in this case the social medias and the Android based application software. The project is hoped to be continued so that the revenue of the two partners is increased. revenue of the two partners is increased.)
• I Gusti Ngurah Ady Kusuma  + (In Bali’s regency called Tabanan, nowadays … In Bali’s regency called Tabanan, nowadays there are emerging home industries producing the Kerupuk Ladrang. Kerupuk Ladrang is crispy chips made of wheat flour with some eggs and spices. For our project, we have chosen two home industries as our partner industries. The first one is the “Biang Bagus” home industry which is owned and managed by Mrs. Gusti Ayu Putu Sukarini and the second one is the “Bu Gusti” home industry which is owned and managed by Ni Gusti Ayu Komang Niri. This project, namely Program Kemitraan Masyarakat, aims in improving the production process by solving the problems that are faced by the two partners. The given solutions are by providing the better production tools and equipment, facilitating the two partners with modern marketing skills (eg. for marketing in the social medias) with some training programs, as well as providing them an Android based software application to be used as a tool in purchase-order process. In short, there are four</br>main things done for the partners: providing them with new and better tools and equipment, services, training and guidance. The results shown the two partners have improved their production process which is now become more efficient and faster. Both of the partners are now having broader views, especially in using the modern technologies, which in this case the social medias and the Android based application software. The project is hoped to be continued so that the revenue of the two partners is increased. revenue of the two partners is increased.)
• I Nyoman Wahyu Angga B. Santosa  + (Kakawin entitled PRAPANCA SUDDHANI. Is a l … Kakawin entitled PRAPANCA SUDDHANI. Is a literary work from an author, namely I Nyoman Wahyu Prapanca, in general it has the content or meaning contained, namely discussing the situation of the Covid-19 Pandemic by exploring more about our response to the Covid-19 pandemic so that we don't get carried away in the sadness or suffering caused by the Covid-19 pandemic. this pandemic. In this kakawin we are also taught more about maintaining our inner attitude in facing a difficult situation in this case, namely Covid-19.t situation in this case, namely Covid-19.)
• Ni Nyoman Tjandri  + (Ni Nyoman Tjandri, one of very few female … Ni Nyoman Tjandri, one of very few female Arja and Dalang (puppet masters) in Indonesia. Tjandri has had to refashion her participation in a 'male' art in order to make it acceptable for her as a woman artist and performer. There's a general discourse about women and the arts in Bali that accounts for the ability of women to participate in this kind of art forms.</br></br>The talented Tjandri gradually developed superb dance and vocal techniques through interaction with her father, I Made Kredek, who is also a performing artist. </br></br>Through Makara Dwaja Studio, Tjandri providing traditional arts training such as Arja Dance to the younger generation. She dedicating her life to conserve traditional Balinese culture from onslaught of foreign cultural flows that invading Bali.foreign cultural flows that invading Bali.)
• W.O.J. Nieuwenkamp  + (On the side of the main shrine is a depict … On the side of the main shrine is a depiction of a westerner riding a bicycle. The relief is a depiction of Dutch artist W.O.J. Nieuwenkamp who explored Bali with his bicycle in 1904. The man on a bicycle relief is not in its original condition as it was badly damaged in the 1917 earthquake and was altered during the restoration process. The restoration adds more floral decoration in the original bas-relief.ral decoration in the original bas-relief.)
• Adrian Vickers  + (Published exactly 50 years after Gregory B … Published exactly 50 years after Gregory Bateson's and Margaret Mead's "Balinese Character" (which still stands as a standard reference on Balinese culture), this study of the Balinese people - a collaboration between a Western psychiatrist with wide experience of Balinese culture and a Western-trained Balinese psychiatrist - finds their basic assumptions inherently flawed. The study concludes that their book presents an inaccurate and misleading characterization of the Balinese as they were 50 years ago. In addition to this critique, the authors present their alternative formulations of psychosocial aspects of Balinese culture, their aim being to establish a more correct and valid portrayal of the life of the Balinese.lid portrayal of the life of the Balinese.)
• Putu Ayu Sani Utami  + (The elderly is vulnerable to hypertension … The elderly is vulnerable to hypertension due to the accumulation of unhealthy lifestyles for a long time and can be exacerbated by the stress due to the inability to adapt to the decline in physical conditions, changes in roles and social relations, economic ability, degenerative diseases and treatment in the long term. Risk factors for hypertension can caused by stress. Stress management can be done with a combination of creative arts therapy that is singing, drawing, and storytelling which has a relaxing effect. This study aims to determine the effect of creative arts therapy on stress levels and blood pressure of the elderly with hypertension in Kesiman Kertalangu Village, East Denpasar City, Bali, Indonesia. This research was a quasi-experiment with pre - test and post - test design. Samples used were 63 elderly with hypertension who experience mild and moderate stress using simple random sampling technique divided into three groups of treatment with the amount 21 elderly of each groups. Stress level of hypertension were evaluated using The Stress Assessment Questionnaire and blood pressure measurement using manometer. The main results of this study indicated that creative art therapy can reduce stress of the elderly significantly with p value 0.000<0.05. An average of blood pressure in creative art therapy has decrease d. Wilcoxon test results showed the p value of blood pressure (sistole;diastole) for singing (0.002;0.014), storytelling (0.009;0.008) and drawing (0.016;0.011) <0.05 which means that there is an effect of those therapy on elderly blood pressure. The results of the Ancova analysis showed no difference in blood pressure results after each intervention was given to the elderly (p value 0.244>0.05 for systole dan p value 0.738>0.05 for diastole). That means that each intervention has a similar effect on reducing blood pressure. Creative arts therapy provides a relaxing effect while performing art activities so that feeling calms down and stimulates the healing process. Further research with a larger population needs to be done to increase public awareness of the benefits of creative art therapy to reduce stress and blood pressure in the elderly with hypertension.s and blood pressure in the elderly with hypertension.)
• I Nyoman Wardi  + (The study was conducted in 2008 in Gianyar … The study was conducted in 2008 in Gianyar, Badung and Denpasar. The goal was to inventory and describing the residential waste management system conducted by the Balinese, and to identify the various problems faced in community-based waste management. To achieve these objectives was done by gathering data through observation, interview and literature study. The collected data were analyzed by descriptive qualitative. The results showed that some of the constraints faced by village institution in waste management, namely: 1) low level of public awareness, 2) the difficulty of getting land for a depot for waste management; 3) the condition of garbage in front of the house (TPS) are not disaggregated (organic and inorganic waste mixed), 4) waste transportation time is not correct 5) lack thrasher; 6) marketing of compost that is not smooth and very limited; 8) waste processing workers’ health problems, and 9) the limited presence of operational funding for waste management. Socio-cultural-based waste management can be done to actualize and enhance the role of traditional institutions (traditional village/</br>banjar) as its support the vision and mission of Tri Hita Karana; change the paradigm of the Balinese culture (cultural engineering) in waste management; actualization of cultural values and the sanctity of the environment (resource of vital nature) and area / sanctuary, reviving the tradition of mutual help to clean of the environment, promoting efforts to 3 R (reduce, reuse and recycle) waste of rural community residents; enhance the active role of housewives (PKK) in waste management, implementation of household and environmental management rules (waste) effectively through the mechanism of reward and punishment in the form of customary rules (awig-awig).n the form of customary rules (awig-awig).)
• I Wayan Kiki Sanjaya  + (This research aims to analyze online Engli … This research aims to analyze online English learning activities in the rural area of Bali through a case study of Timpag Village, Tabanan Regency, Bali. A SWOT analysis was conducted to determine the strengths, weaknesses, opportunities, and threats that influence the decline in student enthusiasm related to online learning. The results obtained are a declining trend in teaching and learning activities in Timpag Village due to less interactive learning material and the lack of interaction between parents and teachers in monitoring student learning activities at home. The solution given is to improve coordination between parents and teachers and improve the quality of the material that will be provided.ity of the material that will be provided.)
• I Made Mahadi Sanatana  + (This study aims to analyze the urgency of … This study aims to analyze the urgency of the implementation of bureaucratic simplification through the transformation of positions on the effectiveness of governance in Indonesia, especially in Bali Province. This study uses qualitative research methods to obtain description of a phenomenon, thus encouraging a deep understanding of the substance of the phenomenon. The method of collecting data is through observation and literature study on the policy of bureaucratic simplification. Simplification of the bureaucracy through the transformation of positions is one of the positive efforts in this era of disruption in improving bureaucratic performance, but it must be carefully planned and structured and not carried out in a hurry without a clear concept. In the formation of agile culture, it requires leaders who are oriented towards creativity and innovation, emphasize the importance of adaptive and responsive performance, and focus on team collaboration and delegation of autonomy. collaboration and delegation of autonomy.)
• Thomas Wright  + (Water plays an important role in Balinese … Water plays an important role in Balinese society. Not only is it commonly featured in Balinese Hindu rituals, but its use and management also enables prosperity through rice cultivation. While these aspects of water have been discussed in many academic and non-academic publications, qualitative understandings of relations to seawater remain somewhat unexplored in the literature. The aim of this paper is to present a preliminary review of existing literature on water and marine environments in Bali, and argue the need for further qualitative social scientific understanding of contemporary Balinese relations to seawater. A discussion of existing research on ocean-centred communities and continued tourism development in Bali’s coastal areas is intended to add to current research in Balinese studies. By presenting literature on Balinese concepts of environment, water and the ocean, this paper seeks to highlight the benefits of continued research on perceptions of environment to discussions of pollution, water scarcity and resource management. Although maritime attractions such as the temples at Tanah Lot and Uluwatu as well as several popular beach communities play a significant role in the tourism industry, this paper suggests the need to further investigate the importance of these attractions to tourists and Balinese as well as the social interpretations associated with them.cial interpretations associated with them.)
• I Gusti Ngurah Ady Kusuma  + (Wireless sensor networks (WSN) consists of … Wireless sensor networks (WSN) consists of large number of sensor nodes with limited energy and computing resources. These facts have highlighted open problem to prolong the lifetime of sensor nodes while still maintaining the functional roles of WSN in reporting important events to a base station. These papers propose an approach for WSN inspired by the concept of immunity-based system where a set of reactions is performed in the appearance of nonself substances called syndromes. The notion of reactive cluster is introduced where only sensor nodes affected by the syndrome appearances need to perform reactions by establishing clusters among them. Since communication costs significant energy, each sensor nodes as an immune cell need to reduce impacts of the syndromes for itself and other sensor nodes in the routing paths to the sink node. It is done establishing adaptive data aggregation strategies. Depend on the critical level of the corresponding syndrome and error of wireless communications that may occur, the length of the aggregation window is adjusted. We show that the proposed approach shows promising results in minimizing dead sensor nodes, avoiding network congestion while still maintaining the functional roles of WSN in reporting important events to the sink node.porting important events to the sink node.)
• Nyoman Butur Suantara  + ("Guardian II" is part of a series of black … "Guardian II" is part of a series of black and white photographs by ManButur Suantara exploring Water. </br></br>When one hears ‘Water’, immediately our minds go to all the things that are sensory and visual. We think of the colour blue and we associate the feeling ‘wet’. Around us, Water is ocean, lake, rain, and dew. In feelings, we may associate coolness, wetness, thirst, and by association dryness. In ManButur’s Water series, its most interesting that those associations are the least pronounced.</br></br>We are inadvertently guided to experience Water, in a different way. Here, Water is present, but as a quiet supporting role. A presence that does not scream out. Yet, its presence transports us to a place quite different. Here, Water have merged together the earth and the sky.ave merged together the earth and the sky.)
• Dewi Dian Reich  + ('Dance is an ancient art that is intrinsic … 'Dance is an ancient art that is intrinsic to Balis’ creative spirit. One of the many forms of worship its people offer to the Creator. This is something we have in common with many cultures across the world. Forms of traditional dance are a natural and perhaps inevitable manifestation of human creativity. Modelled and tempered to embody our thoughts and philosophies.'</br></br>Looking at the rich heritage in traditional Balinese dance whilst discussing the impacts caused by a primarily commercial audience. Writing an article is one part, but it would not be possible without the full-hearted contributions of those who give fully to a collaboration for this type of project. Sri Apriani shares her experiences and performs the Tari Condong in Sawidji Studio whilst being a muse for a series of portraits by Dewi Dian Reich Exploring faces behind the dance.an Reich Exploring faces behind the dance.)
• Dewi Dian Reich  + ('Doa' is part of a series of images in 'Ka … 'Doa' is part of a series of images in 'Kala and the Guardians'. A Conceptual Art Collaboration.</br>Reflecting on the nature of Time and our relationship to Earth and Spirit through a conceptual mixed media narrative. A collaborative exhibition with the works of Dewi Dian, ManButur Suantara, Nyoman Handi.</br>Kala & the Guardians Limited Editions presents a selection of works from the second project presented by Sawidji in what has become our conceptual narrative way. Our story grew together from its initial theme to its installation-focused process in Sawidji Studio. From costume design to studio staging, the documentation of its process carries as much of its meaning for us as the final images that we present.ng for us as the final images that we present.)