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All Journal Nirmana ARS: Jurnal Seni Rupa Dan Desain DeKaVe Paramita: Historical Studies Journal Journal of Urban Society´s Arts ANDHARUPA Jurnal IPTEK-KOM (Jurnal Ilmu Pengetahuan dan Teknologi Komunikasi) PRODUCTUM : Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) Patrawidya: Seri Penerbitan Penelitian Sejarah dan Budaya Jurnal Desain Komunikasi Visual Nirmana
Baskoro Suryo Banindro
Jurusan Desain, Institut Seni Indonesia Yogyakarta
Arts Humanities Computer Science & IT Languange, Linguistic, Communication & Media Library & Information Science Social Sciences

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ANALISIS EFEKTIVITAS IKLAN-IKLAN TV BERTEMA LOCAL CONTENT DI INDONESIA TAHUN 2004 Maer, Bernadette Dian Arini; Tanudjaja, Bing Bedjo; Banindro, Baskoro Suryo
Nirmana Vol 9, No 2 (2007): JULI 2007
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (98.42 KB) | DOI: 10.9744/nirmana.9.2.pp. 57-68

Abstract

In the globalization era, local content TV commercials are considered to be more and more important. This thesis aims to analyze how far the local content TV commercials can be accepted by the Indonesian audience, who are culturally diverse; moreover, this thesis would analyze how these commercials contribute positively to the advertisers. Abstract in Bahasa Indoensia: Dalam era globalisasi, iklan bertema local content semakin dianggap penting. Karya tulis ini menganalisis sejauh mana iklan televisi bertema local content dapat diterima oleh masyarakat Indonesia yang memiliki kemajemukan budaya tinggi, serta memberikan kontribusi bagi pengiklan. Kata kunci: Efektivitas, iklan televisi, local content, Indonesia
GAYA PSYCHEDELIA COUNTER CULTURE AMERIKA KOMODIFIKASI INDONESIA KINI Banindro, Baskoro Suryo
Nirmana Vol 9, No 2 (2007): JULI 2007
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1625.304 KB) | DOI: 10.9744/nirmana.9.2.pp. 69-76

Abstract

The art of psychedelia is an example of art that uses a nation’s cultural consciousness as a source of expression of the past. Conceptually, the spirit of this art is to connect the modern movement with the effects of drug use. The American youths utilized this movement as counter culture that gave the birth to the flower generation in a settled community. Psychedelic style which in the beginning was an identity, a symbol of anti settledness, and Uncle Sam’s youth’s fight against its politics in the 1960’s. At the end it became the signs of times. The zeitgeist movement in the next decade entered Indonesia with new packaging that transforms into comodification that can be applied to various media through popular culture of its youths. Abstract in Bahasa Indonesia: Seni penggunaan kesadaran budaya bangsa untuk diubah sebagai sumber pengungkapan yang terjadi di masa lalu salah satu contohnya ialah “seni psychedelic”. Secara konseptual jiwa seni ini ialah menghubungkan kepada pergerakan modern yang berhubungan dengan perasaan yang diakibatkan oleh pengaruh obat bius. Kaum muda Amerika meman¬faat¬kan pergerakan ini sebagai budaya tanding “counter culture” yang melahirkan “generasi bunga” di komunitas yang telah mapan. Gaya psychedelia yang pada mulanya dijadikan “jati diri” dan simbol anti kemapanan dan perlawanan kawula muda negara “Paman Sam” terhadap kebijakan politik di negaranya tahun 1960an, pada akhirnya menjadi sebuah penanda jaman. Gelombang “zeitgeist” ini pada dekade berikutnya masuk ke Nusantara dengan “kemasan baru” yang menjelma dalam bentuk komodifikasi yang aplikatif di berbagai media melalui budaya popular yang lekat di hati generasi muda Indonesia. Kata kunci: gaya, psychedelic, counter culture, komodifikasi.
TINJAUAN VISUAL GAMBAR UANG KERTAS INDONESIA Banindro, Baskoro Suryo
Nirmana Vol 10, No 1 (2008): JANUARY 2008
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (701.479 KB) | DOI: 10.9744/nirmana.10.1.pp. 12-19

Abstract

Images depicted on currency bills are works of art containing aesthetic value. They involve elements of letters, pictures, colors, and specialized printing techniques. Moreover, the images indicate information and even visual codes. Understanding art is attempt to interpret symbols used in a certain culture. One can express and implement one’s experience in forms or images. In images of currency bills, their visual expressions can reflect ideas, concepts, or political legitimation and ideology. Thus, this article investigates symbolic meanings through visual semiotic descriptions of images in Indonesian currency bills. Abstract in Bahasa Indonesia: Gambar pada uang kertas adalah salah satu hasil karya seni rupa, di dalam uang kertas terkandung nilai estetika yang berhubungan dengan masalah keindahan visual, antara lain tersusun atas elemen huruf, gambar, warna serta teknik cetak yang khas. Selain itu gambar pada uang kertas sarat dengan muatan informasi, atau bahkan kode visual. Memahami seni adalah usaha membaca simbol yang digunakan dalam budaya masyarakat tertentu, manusia dapat mengekspresikan dan memancarkan pengalamannya dalam bentuk ujud atau rupa. Dalam gambar uang kertas, ekspresi visual yang dituangkan dapat mencerminkan gagasan, ide, konsep atau muatan politik terkait legitimasi dan ideologi. Melalui uraian semiotika visual gambar uang kertas yang pernah beredar di Indonesia, akan dikaji makna-makna simbolik bahasa rupa di dalamnya. Kata kunci: bahasa rupa, semiotika visual, Uang Kertas Indonesia.
Socio-Historical Media Tourism Promotion Study during the Dutch East Indies Period of 1930 - 1940 Banindro, Baskoro Suryo; Swasono, Arif Agung; Ardila, Rikhana Widya
Paramita: Historical Studies Journal Vol 30, No 2 (2020): PARAMITA
Publisher : History Department, Semarang State University and Historian Society of Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/paramita.v30i2.20890

Abstract

This study discusses the media of tourism promotion in the Dutch East Indies period, in the form of lithographic print art images. The purpose of this research is to determine the meaning of visual language in the promotional media images. Promotional objects in question are pictures of lodging, photos of exotic cultural and natural products of the colonies insulinde printed between 1930 and 1940. With socio-historical methods consisting of social and historical studies, data obtained from literature studies, literature studies, and field observations will be analyzed using Teun A. van Dijk’s critical discourse approach. Furthermore, the results of the study will be interpreted descriptive qualitatively and presented with a historiographic approach. The findings of this study are there had been a process of Westernization in visual culture in the colonial period. The conclusion of this research is the portrayal of media promotion tourism during the Dutch East Indies of 1930-1940, which has given birth to traces of art deco style lithographic print as an effort of modernization in supporting modernity and developing a modernistic Dutch colonialist tourism aimed at European travelers. Penelitian ini membahas tentang media promosi wisata di masa kolonial Belanda, berupa gambar seni cetak litografi. Tujuan penelitian untuk mengetahui makna bahasa rupa yang ada dalam gambar media promosi tersebut. Objek promosi yang dimaksud adalah gambar penginapan, gambar hasil budaya dan alam eksotik pedalaman tanah jajahan insulinde yang dicetak antara tahun 1930 hingga 1940. Dengan metode sosio historis yang terdiri dari kajian sosial dan sejarah, data yang diperoleh dari studi literatur, kajian pustaka dan observasi lapangan akan dianalisis dengan pendekatan wacana kritis Teun A. van Dijk. Selanjutnya berdasarkan data yang ada, hasil penelitian akan diintepretasikan secara deskriptif kualitatif dan dipaparkan dengan pendekatan historiografi. Hasil temuan dari penelitian ini adalah bahwa telah terjadi proses pembaratan dalam budaya visual di masa kolonial. Adapun kesimpulan penelitian ini yaitu penggambaran media promosi wisata masa Hindia Belanda 1930 - 1940, telah melahirkan jejak seni cetak litografi bergaya art deco sebagai upaya modernisasi dalam mendukung modernitas dan memajukan pariwisata kolonialis Belanda yang modernistik di Hindia Belanda yang ditujukan bagi pelancong orang-orang Eropa. 
DAYA GAGAS POSTER DALAM PERGERAKAN DAN KEBEBASAN REVOLUSI INDONESIA 1945 - 1965 Baskoro Suryo Banindro
Ars: Jurnal Seni Rupa dan Desain Vol 21, No 1 (2018): APRIL 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1048.91 KB) | DOI: 10.24821/ars.v21i1.2873

Abstract

Wacana ini bertujuan untuk merekonstruksi sejarah perjalanan poster dalam pergerakan kemerdekaan Indonesia. Adapun data diperoleh berdasarkan studi pustaka dan observasi lapangan. Data dipaparkan secara deskriptif dengan pendekatan sketsa historis dalam untaian diakronik. Diharapkan melalui wacana ini maka diharapkan dapat menambah wacana tentang media publikasi khususnya poster sejak masa revolusi hingga akhir demokrasi terpimpin era 1945 - 1965.
MEMBACA GAMBAR BERPIKIR VISUAL Drs. Baskoro Suryo Banindro
Ars: Jurnal Seni Rupa dan Desain No. 4 / Januari - April 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i4.243

Abstract

Reading a picture is no different to reading verbal text. The brain sensors o f the obsener willidentify and the psyche will translate the results differently based on the references and experiences o f theaudience. Technical illustration as an element o f visual language has its own illusive property because thecomponents are assembled from a mechanical series. This technical illustration should enable to provide athree-dimensional visual information on the material composite, the works, and placement.Keywords: Technical illustrations, visual information, monosemic, three-dimensional.
BOROBUDUR TEMPLE PRE AND POST COLONIAL ERA Baskoro Suryo Banindro
DeKaVe Vol 8, No 1 (2015): DeKaVe Vol. 8 No. 1 Januari-Juni 2015
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1012.07 KB) | DOI: 10.24821/dkv.v8i1.1544

Abstract

Borobudur temple is a heritage of Buddhism culture in Indonesia, which located at Magelang city, Central Java Province. The temple was built at the golden era of Syailendra dynasty, built among 800 AD or around 9th century. Beside known as one of Indonesia’s main tourism destination, it is also a central of Buddhism spiritual religion liturgies and rituals. Borobudur ever was in a tremendous golden era but also the darkness was covered its existence until hundred of years and it’s began to be revealed in the era of colonial. For decades, the rejuvenation and revitalization effort to rebuild the temple back to the original shape been accomplished. Through serious treatments, Borobudur becoming the inspiration source of cultural activities of various aspect that manifested, mainly history, arts, tourism, economy, research, science and also religion. The walls of Borobudur are full of reliefs that picture the Buddhism philosophy, and turn out to be a masterpiece with a high aesthetic in the accession of civilization in its era. Now, beside stated as one of the World Heritages by UNESCO, also 2 titles given to the temple; as the archeology site heritages, the biggest Buddhism temple in the world, and also recorded in Guinness World Records. 
RESENSI BUKU "PLAGIARISME: PELANGGARAN HAK CIPTA DAN ETIKA” Baskoro Suryo Banindro
DeKaVe Vol 1, No 2 (2011): DeKaVe Vol. 1 No. 2 2011 Juli-Desember 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i2.160

Abstract

Jika kita melihat judul buku di atas, maka yang terlintas di benak kita, buku tersebut khusus diperuntukkan bagi para praktisi hukum, apalagi ditulis oleh seorang doktor bidang hukum, sehingga semakin melengkapi persepsi atau pandangan kita akan status buku tersebut . Namun demikian, jika kita baca dan kita lihat lebih dalam isi buku tersebut, maka pandangan tersebut sama sekali keliru. Henry selaku penulis mencoba memberikan penjelasan, deskripsi dan referensi plagiarisme tersebut tidak sekedar wawasan dari aspek hukum tindak plagiarisme, akan tetapi dimensi lain dari sisi moral, etika dan bagaimana plagiarisme itu sendiri “selayaknya dilakukan”. Mengingat buku ini membahas masalah plagiarisme atau lebih sangat dekat dengan padanan kata “jiplak” atau kata yang lebih halus “mirip”, Henry mencoba menjelaskan sebagai excuse dalam catatan pengantarnya bahwa diterbitkannya buku ini semata-mata murni untuk kebutuhan akademik! (dengan sengaja Henry melengkapi dengan atribut tanda seru), artinya tidak ada tendensi apapun dibalik penulisan buku tersebut dari delik pencemaran, mengingat kasus yang disampaikan merupakan contoh nyata kegiatan plagiarisme yang telah dilakukan oleh beberapa tokoh akademisi, peneliti bahkan pejabat publik.
Representasi Realitas Dunia Pop Art Warhol Sebuah Tinjauan Semiologi Baskoro Suryo Banindro
DeKaVe Vol 12, No 1 (2019): Jurnal DeKaVe Vol.12 No.1 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (430.465 KB) | DOI: 10.24821/.v12i1.2753

Abstract

Abstract.This study is the result of a pre-discussion on the meaning of Andy Warhol's printmaking object material. The purpose of this study is to obtain an outline of the description of the reality and myths in Warhol's work. Data is obtained from visual objects in the field and relevant literature studies, then descriptively will be analyzed by Danesi, semiological approach. The results of this study concluded that through printmaking's pop art work, Warhol wanted to build an ideology perpetuated by the dominant forces in society.Keywords:Warhol, pop art graphic art, ideology
IKLAN MASA KOLONIAL 1930 - 1942 TINJAUAN SOSIOHISTORIS Baskoro Suryo Banindro
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.150

Abstract

Dutch colonial culture that come to enrich the culture of Indonesia, it joined the growing culture of modern Indonesia, it can be observed through the lifestyles of people and uptake of aesthetic value. Graphic design style developed in the colonial Indies Dutch East Indies and had peaks in the artistic developments of the 1930s. The design style developed by Dutch graphic designer is a blend of modern design style that flourished in Europe early 20th-century art with a product of local culture. The combination has created a style of indie that became a source of inspiration for creativity designer graphic design of the future. Advertising colonial period in Indonesia, developed along with the progress of knowledge, especially in the fields of economy and industry, idiom - idioms unsure that are tailored to its target audience. In the context of social phenomena and the idea of ??modern advertising in Indonesia now, of course, inseparable from the history of the Dutch East Indies colonialism itself.Keyword: Advertising colonial period, westernization, a zeitgeist
Co-Authors Agave Teofilus Sunarto aldrin yoel kaawoan Alvin Febrian Yusuf Anastasia Safira Sugiharto Anastasia Safira Sugiharto Anastasia Vania Seputra ANDRE PRASTYA DHARMA Ardila, Rikhana Widya Arif Agung Suwasono Asnar Zacky Bernadette Dian Arini Maer Bing Bedjo Tanudjaja Bing Bedjo Tanudjaja Brian Steven Susilo Brian Steven Susilo, Brian Steven Christie, Natalia David Budi Prasetyo David Victor Hariawan Dedy Tanjaya Dominicus Fredrikson Jacob Edwin Hendrawan Elim Elim Elim Elim Erny Ferniaty Anggara Ang Fransiscus Erryanto Jasi Gracia Monica Goeifanny hami, yoko galatia Hans Arya Sinatra Irene Ria Santoso Irene Ria Santoso, Irene Ria Jayadi, Lily Meliana Jennifer Budiono Sadono Jennifer Budiono Sadono Jeremy Adrian Sutanto Joshua Kevin Pari Matulessy kaawoan, aldrin yoel Kwang, Yong Lilian Angeline Soesanto Lilian Angeline Soesanto Lily Meliana Jayadi M Faizal Rochman Marcelino Michael Madjid Mario Bonaventura Sunyoto Melissa Puspita Melissa Puspita, Melissa Michelle Hartanto Mickael Elia Bong mickael elia bong, mickael elia Natalia Christie Niko Halimsaputra Novita Condro Dewi Novita Condro Dewi Olivia Onggo Olivia Onggo Oshi Paulina Oshi Paulina Owen Wira Prayoga Prasetyo, David Budi Reyner Valiant Sanjaya Richard Karjohardjo Richard Karjohardjo, Richard Rikhana Widya Ardilla Rima Sukmawaty Tambunan Rima Sukmawaty Tambunan Robby Gunawan Samuel Adi Nugraha Selina Siswanto Selina Siswanto, Selina Sinatra, Hans Arya Stefanie Meilisa Wijanto Stefanie Meilisa Wijanto Stefanus Santoso Sunyoto, Mario Bonaventura Tivoli Yve Gozali Tivoli Yve Gozali Yohanes Yansen Saputro yoko galatia hami Yong Kwang Yusuf Hendra Yolianto Yusuf Hendra Yulianto Yusuf Hendra Yulianto Yusuf Hendra Yulianto Yusuf Hendra Yulianto Yusuf Hendra Yulianto Yusuf Hendra Yulianto