Journal articles on the topic 'Tariff on flour'

Recent developments in the world market such as the General Agreements on Tariff and Trade (GATT), quality management systems (ISO 9000), environmental management systems (ISO 14000), etc. force industries to re-evaluate their existing products and manufacturing systems and procedures. Suddenly, being ISO certified has become both the tool and the badge for the goal of global competitiveness. It is a well known fact that to be globally competitive and to be ISO certified, one must be able to produce quality products at the least cost and with the least waste of materials. This can be done by producing more value-added products from a single raw material with the least inputs.

After the railroad had been built through the mountains of the Southern Urals in 18881892, the economic ties between Ufa and Siberian regions began to develop rapidly. Loads of Siberian grain poured westward to the European Russia markets through Ufa, and even the Chelyabinsk tariff wall could not hold it back. Ufa is located west of the Southern Urals, and the Trans-Ural cereals and the Siberian flour, produced by the mills in Chelyabinsk and Miass, entered the Ufa market without hindrance, creating competition for local producers. At the same time, starting from the early 1890s, caravans with Kyakhta (Chinese) tea, which used to have travelled to Irbit, went to the nearest railway station. From there tea was exported to Ufa that turned into a large centre of tea trade in Imperial Russia. The network of branches of the Volga-Kama Commercial Bank, established by the early 20th century, provided fast money transfers from Ufa to the main economic centres of Siberia and the Far East. The scope of transfers exceeded one million roubles in the 1900s. The main trading partners of Ufa in Siberia were Irkutsk, Kurgan, Omsk, and Tyumen. The last round of establishing the economic ties between Ufa and Siberia and the Far East took place during World War I. Provand for Ufa was purchased there.

<p><strong>English<br /></strong>Since December 1, 1998 the government has taken discrete measures of abolishing fertilizer subsidy and liberalized rice and fertilizers trade. To compensate the rice producing farmers the government decided to increase the hulled dry rice floor price from Rp. 1,000.- to Rp. 1,400.- - Rp. 1,500.- per kg. To implement effectively the new floor price mentioned above the government of Indonesia has one choice only which is in accordance with GATT/WTO rules, i.e. to impose an import tariff. Results of the analyses indicate that the ad valorem tariff applicable as high as 40 percent is effective for the whole year or 30 percent if it is applied in January to June period only. The application of this rice import tariff is good for one or two years only in line with the restructured rice agribusiness system.</p><p> </p><p><strong>Indonesian<br /></strong>Sejak tanggal 1 Desember 1998, pemerintah telah mengambil kebijakan berupa penghapusan subsidi pupuk dan membebaskan perdagangan serta tataniaga pupuk dan beras. Sebagai kompensasi kepada petani produsen padi, pemerintah juga mengamankan harga dasar yang baru tersebut, pemerintah Indonesia hanya memiliki satu pilihan yang sesuai dengan kesepakatan GATT/WTO yaitu menerapkan tarif impor beras. Hasil analisis menunjukkan bahwa tarif ad valorem yang dapat dikenakan adalah 40 persen bila diberlakukan sepanjang tahun, atau 30 persen bila hanya berlaku selama masa panen raya padi yang berlangsung antara bulan Januari sampai Juni. Penerapan tarif impor beras ini sebaiknya hanya ditempuh selama satu sampai dua tahun, seiring dengan penataan kembali sistem agribisnis beras yang berlangsung sekarang.</p>

Abstract "Reciprocity is a relation between two independent powers, such that the citizens of each are guaranteed certain commercial privileges at the hands of the others". The arrangement obtained under the Reciprocity Treaty of 1854 might perhaps be appropriately described as a partial "free-trade area" rather than as a "customs union" since the United States and the British North American Provinces were not assumed to draw up a common tariff schedule for their imports from the outside countries. Each participant maintains its own duties against other countries or even colonies. The Reciprocity Treaty permitted free access in the coastal fisheries to Americans and abolished duties on a wide range of natural products (grain, flour, fish, livestock, coal, timber and other less important natural produce). At the same time, American vessels were admitted to the use of Canadian canals on the same terms as British and colonial vessels. Reciprocity was to apply to Canadian vessels going to United States. In the late 1840's the B.N.A. Provinces were faced by that policy which the literature has called "Little Englandism". When Britain repealed the corn laws and gradually the preferential tariffs on timber the B.N.A. Provinces were shocked to be left on their own. A new commercial system had to be developed: reciprocity was the answer. But, it could have been something else: protection or annexion. The direction of the external trade changes with the Reciprocity Treaty. Before 1851, Britain was Canada's main partner (59% of Canada's Exports). But a decade later, the United States was both Canada's major supplier and its best customer. Neither the Treaty nor the loss of preference in the British Market succeeded in destroying the Trade of B.N.A. Provinces with the United Kingdom. In fact, trade with Britain was greater in 1865 than in 1854. Later, in 1870, Britain took back its leading position. What we see is a diversion of trade from Britain to the United States and back to Britain where the basic commercial connections were well established. The Treaty was disappointing for the "dream" of using the St. Lawrence as the main route to capture the trade of the West did not materialize. The consequence of abrogation was less unfortunate than had in some quarters been anticipated. The Treaty came late after the abolition of the preferential tariffs, and it was disturbed by major events (the crisis of 1857; the American Civil War). After the treaty, recovery of the American currency reconstruction, proximity of the two countries, a new boom in foreign investment in Canada, etc., combined to reduce considerably the potential blow to Canada of the Abrogation. The agreement lasted for twelve years and was finally overwhelmed by the rising tide of protectionism and commercial jealousies and political hostilities of the time. Reciprocity, Confederation, the Nation Policy, the St. Lawrence Seaway (1840/1950), the National Corporations, the pipelines are all the elements of the same continuum: economic and political integration of isolated markets in North America.

Tariffs or price control has been a controversial subject in recent years. The debate between legal experts and economists is still a hot topic in any discussion. Tariff control regulated in the work creation omnibus law seems to be a topic that must be discussed again regarding this regulation’s urgency. Are specific prices so impressive that the government can intervene in regulating them? This article examines the urgency of rules regarding price controls to create a healthy competitive environment. After conducting a critical literature review, it was analyzed with critical analysis and looking at the objective of competition law was to maximize welfare by protecting competition. The results in this article indicated that the government could only intervene in regulating price-fixing only if companies’ pricing could harm the country’s economy and consumer welfare. The government, therefore, had an interest in regulating the price ceiling. Meanwhile, the price floor, which was believed to be pro-consumer and could promote consumer welfare had no interest and should not have been limited by the government.

Abstract The focus of the paper is the evaluation of the performance of domestic rainwater harvesting (DRWH) systems in multi-family buildings with one- to three-floor elevations by means of a cost–benefit analysis. The rainwater is here used for both indoor and outdoor non-potable water consumption. The study was carried out with reference to different residential building typologies (flat and condominium) in a specific local climate condition (Ancona). The buildings are characterized by different rooftop areas (100–400 m2), building floor elevations (one to three floors) and inhabitant numbers (3–54 persons). Moreover, in order to highlight the role of the tank capacity on the performance of DRWH, its capacity was changed in the range 50–200%. The combinations of all these parameters led to 276 test cases. The technical performance is evaluated by means of the water saving and retention efficiencies. The economical assessment is provided by comparing the costs and the savings due to the replacement of the water supplied with the rainwater. It is found that the payback periods changed in the range 10–35 years for the site-specific variables such as local rainfall and water service tariff. Cost–benefit analysis can help the design of DRWH systems, with particular attention to the sizing of the tank.

Nos anos de 1969 e 1970, a pedido do antropólogo Jorge Dias, efectuámos uma recolha de peças para o Museu de Etnologia, de Lisboa, então chamado "Museu das Prateleiras", uma vez que o espaço era exíguo, num dos edifícios do palácio Vale Flor. Esta tarefa iniciou-nos nas questões museológicas: para além da recolha propriamente dita, tivemos que elaborar fichas das peças, do conteúdo, contexto e função das mesmas.

Esse artigo pretende investigar como o filósofo F. Nietzsche se lançou em defesa de um saber trágico, exaltando uma verdade artística em contraposição a uma verdade científica. Como pano de fundo para essa tarefa aparecerá a arte trágica dos gregos e como flor terminal a crítica nietzschiana ao estabelecimento da verdade como uma consequência moral. Por isso, há uma explicação para a junção das duas pulsões dionisíaca e apolínea na arte grega da tragédia e outra para sua separação através do consciente indivíduo socrático, neste caso, puramente apolíneo.

As winter descended on Washington in December 1878, the Forty-fifth Congress gathered for what promised to be a hectic third and final session. Emotions ran high. In this era, Congress habitually reserved much of its business for these brief, intense “lame duck” sessions that fell between the election of legislators in November and the adjournment of Congress the following March. Compounding the usual sense of urgency was the startling result of the recent election: the Democratic party had gained control of the Senate and, when the next Congress convened, would control both the Senate and the House for the first time since before the Civil War. Senate Republicans well understood that they had but a few precious months to close ranks and enact legislation on some of the burning issues of the day: civil rights, the currency, the tariff. Yet when the session opened, none of these issues made their way to the floor. Instead, and despite howls of protest from senators eager to move on to what they plainly regarded as more urgent concerns, the Senate assembled on many afternoons for several weeks to debate a completely different matter: a proposed law concerning the rights of inventors. At this critical juncture in American politics, the Senate found itself embroiled in a long and complex discussion of the virtues and deficiencies of the patent system.

ABSTRAKPola lantai Tari Rejang Sakral Lanang di Desa Mayong berkonsep rwa bhinedha yang terlihat dari garis lurus satu banjar lalu membentuk garis melengkung. Kedua garis tersebut merupakan simbol purusa dan pradana untuk mencapai suatu kehidupan atau keseimbangan. Tujuan penelitian ini adalah mengetahui konsep rwa bhinedha dalam pola lantai tarian tersebut. Teknik pengumpulan data penelitian ini adalah metode observasi tidak berstruktur, metode wawancara, studi dokumentasi, dan studi kepustakaan. Berdasarkan analisis data yang dilakukan, diperoleh hasil bahwa pola lantai Tari Rejang Sakral Lanang di Desa Mayong pada saat pementasan menggunakan konsep rwa bhinedha yang dilakukan di Jaba Tengah berbentuk kalangan pada setiap pura (Kahyangan Desa) yang terdapat di Desa Mayong. Pola lantai hanya terdiri dari satu banjar panjang yang membentuk garis lurus dan melengkung di dalamnya. Penelitian ini menggunakan Teori Semiotika dari Ferdinand de Saussure yaitu penanda dan petanda. Garis lurus dan garis melengkung yang membentuk lingkaran pada pola lantai sebagai penanda dan petanda adalah garis lurus tersebut merupakan simbol purusa dan garis lengkung merupakan simbol pradana. Kedua garis tersebut merupakan bagian dari konsep rwa bhinedha. ABSTRACT The floor pattern of the Rejang Sakral Lanang Dance in Mayong Village has a rwa bhinedha concept which is seen from a straight line and forms a curved line. Both of these lines are purusa and pradana symbols to achieve a life or balance. The purpose of this study was to determine the concept of rwa bhinedha in the dance floor pattern. The research data collection techniques are unstructured observation methods, interview methods, documentation studies, and library studies. Based on the data analysis, the results showed that the floor pattern of the Lanang Sacred Rejang Dance in Mayong Village during the staging used the concept of rwa bhinedha which was carried out in Jaba Tengah in the form of circles in each temple (Kahyangan Desa) located in Mayong Village. The floor pattern consists of only one long line that forms a straight and curved line in it. This study uses the Semiotics Theory of Ferdinand de Saussure namely markers and markers. Straight lines and curved lines that form a circle on the floor pattern as markers and markers are straight lines are symbols of the purusa and curved lines are symbols pradana. These two lines are part of the concept of rwa bhinedha.

Food security deals with food availability, accesscibility and stability. Food availability can be from domestic production and import. Although the production of cereals in developing countries almost equal to the production in developed countries, the much greater population of almost 79 % of the world population, the self sufficiency rate of cereals in developing countries is only 91% and to be net importer, while the self sufficiency rate of the developed countries, are more than 100 % (108 %). There are some exception for several developing countries to be big rice exporters such like Thailand, Vietnam, India, China and Pakistan.Cereal staple foods in developing countries is dominated by rice especially in East and South Asia, includes Indonesia. International rice market is characterized with oligopolistic since only six big exporting countries supllying the international rice market.After experiencing rice self sufficiency in 1984 – 1994 Indonesia have been net rice importer again, even in 1998 21% of marketed rice ini the world market were imported by Indonesia. There should be a policy to increase production to a certain rate of rice self sufficiency that will not influence the world rice market equilibrium.The food accessibility depend closely on the wider economic condition such as income distribution, poverty and unemployment, Government intervention is needed toreduce instability including to protect from the international market instability by flexible tariff. Stabilizing the seasional price fluctuation by floor price and ceiling price policy combined with buffer-stock policy had been successful. However, there should be a modified policy toward more liberized without import monopoly

Due to the availability of smart metering infrastructure, high-resolution electric consumption data is readily available to study the dynamics of residential electric consumption at finely resolved spatial and temporal scales. Analyzing the electric consumption data enables the policymakers and building owners to understand consumer’s demand-consumption behaviors. Furthermore, analysis and accurate forecasting of electric consumption are substantial for consumer involvement in time-of-use tariffs, critical peak pricing, and consumer-specific demand response initiatives. Alongside its vast economic and sustainability implications, such as energy wastage and decarbonization of the energy sector, accurate consumption forecasting facilitates power system planning and stable grid operations. Energy consumption forecasting is an active research area; despite the abundance of devised models, electric consumption forecasting in residential buildings remains challenging due to high occupant energy use behavior variability. Hence the search for an appropriate model for accurate electric consumption forecasting is ever continuing. To this aim, this paper presents a spatial and temporal ensemble forecasting model for short-term electric consumption forecasting. The proposed work involves exploring electric consumption profiles at the apartment level through cluster analysis based on the k-means algorithm. The ensemble forecasting model consists of two deep learning models; Long Short-Term Memory Unit (LSTM) and Gated Recurrent Unit (GRU). First, the apartment-level historical electric consumption data is clustered. Later the clusters are aggregated based on consumption profiles of consumers. At the building and floor level, the ensemble models are trained using aggregated electric consumption data. The proposed ensemble model forecasts the electric consumption at three spatial scales apartment, building, and floor level for hourly, daily, and weekly forecasting horizon. Furthermore, the impact of spatial-temporal granularity and cluster analysis on the prediction accuracy is analyzed. The dataset used in this study comprises high-resolution electric consumption data acquired through smart meters recorded on an hourly basis over the period of one year. The consumption data belongs to four multifamily residential buildings situated in an urban area of South Korea. To prove the effectiveness of our proposed forecasting model, we compared our model with widely known machine learning models and deep learning variants. The results achieved by our proposed ensemble scheme verify that model has learned the sequential behavior of electric consumption by producing superior performance with the lowest MAPE of 4.182 and 4.54 at building and floor level prediction, respectively. The experimental findings suggest that the model has efficiently captured the dynamic electric consumption characteristics to exploit ensemble model diversities and achieved lower forecasting error. The proposed ensemble forecasting scheme is well suited for predictive modeling and short-term load forecasting.

The mechanism of distribution relations regarding the exchange of intermediate products, resources and services and the distribution of income from the sale of final products on the external market is an important part of economic relations within the cluster. The distribution mechanism ensures that the interests of cluster subjects are respected, and the mechanism of the grain product cluster is based on the fact that revenues from the sale of final products are distributed along the chain of the technological cycle, distributed through prices, tariffs, and centralized funds created by the cluster participants. In the grain-product complex, when using market prices, some enterprises become profitable, some-unprofitable, and when clustering, these processes can be preserved. An important element of the regional grain cluster is large grain companies and holdings that have concentrated large grain receiving enterprises for receiving, drying, storing and shipping grain. They include high-performance flour milling enterprises that have modern equipment from international manufacturers. These companies also include large, medium and small agricultural enterprises that produce grain, which have developed their own technological strategy and production structure, tactics, market behavior, and pricing policy. Regulatory mechanisms should be used to regulate relationships between cluster entities, ensure interests, coordinate individual and corporate goals, and regulate internal assortment, resource, price, and other proportions: standards of exchange and distribution relations; prices for products and final products sold. The issues of forming optimal economic relations between regional cluster entities, ensuring the implementation of individual and corporate goals, and regulating assortment, resource, and price interests are complex. The main part of economic relations within a cluster is the mechanism of distribution relations arising from the exchange of intermediate products, resources and services and the distribution of income from the sale of final products on the foreign market. The distribution mechanism should ensure that the interests of cluster members are realized. It should also be noted the peculiarity of regional clusters as a broad field of activity of enterprises.

The purpose of this research is to study Tarek Pukat Dance as an expression of coastal community life and its inheritance efforts in Cut Nyak Dhien studio. The research method used qualitative method with interdisciplinary approach. The research data was collected by observation, interview, and documentation. The validity check of data using source triangulation, then analyzed using flow reduction, presentation, and data verification The results showed that, Tarek Pukat Dance was created by Yuslizar in 1958. Tarek Pukat describes the activities of fishermen who catch fish at sea tarek means tug whereas trawl is a kind of net used to catch fish. This dance is danced by 13 dancers consisting of 8 femaledancers and 5 male dancers. Dance has 19 motion patterns that are divided into two namely 7 patterns of movement for female dancers and 14 for male dancers movement patterns with various floor patterns for male dancers dancedisari danced women dance with sitting position bersaf. The theme used in this dance is the activity of fishermen who are looking for fish at sea. His companions are Serune Kalee, Geundrang Aceh and Rapa'I and Tarek Pukat dance poems. the clothing used in this dance is very simple from the original grip of Aceh tradition. From the clothing of women dancers Acehnese clothes, long black trousers, songket covering up to the knees and scarves wrapped around the head, ropes of Aceh Pangang, Aceh necklaces and Aceh clothing bros while male dancers wear only black long-sleeved shirts and black trousers wrapped in kebuang and headbands. The property used is fish body, fishing hat and rope as trawl. from the motion of the endangered handler to the closing motion is an expression of the life of the fishermen looking for the fish at sea. So this dance should remain inherited and forwarded to future generations who will come with Inheritance Dance Tarek Pukat through Learning In Studio Cut Nyak Dhien. the existing activities were violated by Cut Nyak Dhien while the first thing involved about the general pattern of the existing training at Cut Nyak Dhien studio were: training schedule in Sanggar, training guidance from the studio coach, making basic movements as warming up, distributing material for training and organizing dance groups . In the process of learning the existence of students, trainers, goals, materials, media methods, embedded values are violated and evaluation. Abstrak Tujuan penelitian ini adalah mengkaji Tari Tarek Pukat sebagai ekspresi kehidupan masyarakat pesisir dan upaya pewarisannya di sanggar Cut Nyak Dhien. Metode penelitian menggunakan metode kualitatif dengan pendekatan interdisiplin. Data penelitian dikumpulkan dengan teknik observasi, wawancara, dan dokumentasi. Pemeriksaan keabsahan data menggunakan triangulasi sumber, kemudian dianalisis menggunakan alur reduksi, penyajian, dan verifikasi data. Hasil penelitian menunjukan bahwa, Tari Tarek Pukat diciptakan oleh Yuslizar pada tahun1958. Tarek Pukat menggambarkan aktivitas para nelayan yang menangkap ikan dilaut tarek berarti tarik sedangkan pukat adalah alat sejenis jaring yang digunakan untuk menangkap ikan. Tarian ini ditarikan oleh 13 penari yang terdiri dari 8 penari wanita dan 5 penari pria. Tarian ini mempunyai 19 pola gerakan yang dibagi menjadi dua yaitu 7 pola gerakan untuk penari wanita dan 14 untuk pola gerakan penari pria dengan pola lantai bermacam ragam untuk penari lelakisedangkan penari wanita menari dengan posisi duduk bersaf. Tema yang digunakan pada tarian ini yaitu aktivitas masyarakat nelayan yang sedang mencari ikan dilaut. Pengiringnya yaitu Serune Kalee, Geundrang Aceh dan Rapa’I serta syair tari Tarek Pukat. busana yang digunakan dalam tarian ini sangat sederhana dari pakain tradisi Aceh yang sebenarnya.dari pakain penari wanita baju Aceh,celana hitam panjang, songket yang menutup sampai lutut dan selendang yang dililitkan di kepala,tali Pinggang Aceh, kalung Aceh dan bros baju Aceh sedangkan para penari laki-laki hanya menggunakan baju lengan panjang berwarna hitam dan celana panjang berwarna hitam sarung yang di selempangkan kebahu serta ikat kepala. Properti yang digunakan yaitu raga ikan, topi nelayan dan tali sebagai pukat. dari gerak pawang engkot sampain gerak penutup merupakan ekspresi kehidupan para nelayan yang mencari ikan dilaut. Sehingga tarian ini harus tetap diwariskan dan diteruskan kepada generasi penerus yang akan datang dengan Pewarisan Tari Tarek Pukat melalui Pembelajaran Di Sanggar Cut Nyak Dhien. kegiatan yang ada disanggar Cut Nyak Dhien adapun hal yang terlibat pertama mengenai pola umum latihan yang ada pada sanggar Cut Nyak Dhien yaitu: jadwal latihan di Sanggar, bimbingan latihan dari pelatih sanggar, membuat gerakan dasar sebagai pemanasan, pembagain materi untuk latihan dan pembagain kelompok penari. Didalam proses pembelajaran adanya siswa, pelatih,tujuan,materi,metode media,nilai-nilai yang ditanamkan disanggar dan evaluasi. Kata Kunci: Tari Tarek Pukat

AbstrakAceh erat kaitannya dengan syariat Islam. Kesenian dimanfaatkan sebagai media dakwah untuk mensyiarkan agama Islam kepada seluruh masyarakat diberbagai wilayah Provinsi Aceh. Tari Seudati Inong merupakan tarian tradisonal masyarakat Aceh yang ditarikan oleh perempuan dan gerakannya merupakan imitasi dari Tari Seudati yang ditarikan oleh laki- laki. Tari Seudati Inong biasa juga disebut sebagai Tari Laweut, tarian ini berkembang di pesisisr utara hingga timur daerah Aceh dengan menggambarkan semangat, perjuangan dan doa-doa dalam syair tari tersebut. Tujuan dalam penelitian ini membahas bagaimana bentuk tari Seudati Inong di Kabupaten Aceh Besar dan mengetahui bagaimana tari Seudati Inong sebagai wujud reperesentasi kesetaraan gender di Kabupaten Aceh Besar. Pengumpulan data dan penelitian dilakukan dengan beberapa tahap seperti tinjauan pustaka untuk mendapatkan berbagai informasi tertulis, observasi, wawancara dan dokumentasi untuk mengamati secara langsung perkembangan dan pristiwa yang terjadi dilapangan dan lokasi penelitian berada di Desa Cucum, Kecamatan Kota Jantho, Kabupaten Aceh Besar. Data-data yang telah didapatkan kemudian dianalisa sehingga menghasilkan hasil penelitian lalu disajikan ke dalam bentuk deskriptif. Tari Seudati Inong merupakan salah satu wujud dari representasi kesetaraan gender yang telah ada sejak zaman dahulu. Mengingat Aceh yang merupakan daerah dengan syariat Islam, tarian ini muncul dan berkembang ditengah masyarakat dengan wujud representasi kesetaraan gender, gerakkan tarian dari tari Seudati yang dilakukan oleh laki-laki dan saat ini dengan perkembangan zaman ditarikan oleh perempuan. Tari Seudati Inong tidak memiliki perbedaan gerak dengan tari Seudati, perbedaan hanya berada pada gerak pukulan tangan dimana laki-laki pukulannya di bagian dada dan perempuan di bagian paha. Pola lantai juga memiliki kesamaan dan juga semangat dari tariannya sama dengan tari Seudati. Kata Kunci: seudati inong, kesetaraan gender, Aceh.AbstractAceh culture is closely related to Islamic law. Art is used as a medium of preaching to broadcast Islam to all communities in various regions of Aceh Province. Seudati Inong dance is a traditional Acehnese dance that is danced by women and its movement is an imitation of Seudati Dance which is danced by men. Seudati Inong dance, also known as Laweut Dance, is a dance that develops in the northern to eastern coast of Aceh by depicting the spirit, struggle and prayers in the lyrics of the dance. The purpose of this research is to discuss how the Seudati Inong dance form in Aceh Besar District and to find out how the Seudati Inong dance is a form of representation of gender equality in Aceh Besar District. Data collection and research were carried out in several stages such as literature review to obtain various written information, observations, interviews and documentation to directly observe developments and events that occurred in the field and the research location was in Cucum Village, Jantho City District, Aceh Besar District. The data that has been obtained are then analyzed so that the results of the research are then presented in a descriptive form. Seudati Inong dance is a form of representation of gender equality that has existed since ancient times. Given that Aceh is an area with Islamic law, this dance appears and develops in the community with a form of representation of gender equality, moving the dance from the Seudati dance which is performed by men and nowadays it is danced by women. Seudati Inong dance has no different movements with Seudati dance, the only difference is in the motion of the hand strokes where the male punches on the chest and the female on the thigh. The floor pattern also has similarities and the spirit of the dance is the same as that of the Seudati dance.Keywords: seudati inong, gender equality, Aceh.

KOREOGRAFI DI MALAYSIA DALAM KONSEP MULTIKULTURAL: KAJIAN KES PROGRAM MINOR SENI TARI UPSIAbstractThis writing is the result of my research entitled “Analisis Deskriptif Koreografi Pelajar Minor Seni Tari UPSI: Kajian Kes Tiga Produksi Tari 2008 – 2011”. The aim of the research is to answer the question: To what extend the dance work by Minor Dance Art students which was presented in Art Dance Production fulfills the coreography elements, by using descriptive analysis method from primary and secondary data. By using qualitative approach which involved library research, observation, interview and by using coreography theory, the research result proves that seventeen Minor Art Dance students’ dance works has been fulfilled the coreography elements. The elements are (a). The choice of theme or idea of work with the early stimulus, that is the stimulation of idea and concept, cinestetic, auditive, and visual. (b). Exploration and improvitation (c). Smoothing and composition. The composition elements has also been described, which include (1). The structure of the work (2). The body movement of the dancer (3). Th floor pattern (4). Music and lighting (5). Costum and make up, lighting. The research also found that eleven of students’ dance works has applied the multicultural concept which has ethnic and classic themes. The multicultural which is viewed as various of uniqueness and the diversity of the cultural ethnic, reflected by each work that is limited by historical context, social, and the origin culture, that includes Melayu ethnic, Minangkabau, Java, Sabah and Serawak, Kelantan, Hindia, and Chinese. Those eleven dances are Andai Randai, San Kipas, Iras, Ngayau, Tatoo Gendup Berpantang, Gawai Batu, Sekar Wangi, Kondattam, Sense of Beauty, Cinta Za’yu dan Jepit.Keywords: Multicultural, Minor Dance, CoreographyAbstrakTulisan ini merupakan hasil penelitian saya yang berjudul "Analisis Deskriptif Koreografi Pelajar Minor Seni Tari UPSI: Kajian Kes Tiga Produksi Tari 2008 - 2011". Tujuan dari penelitian ini adalah untuk menjawab pertanyaan: Untuk memperluas tarian para siswa Seni Tari Minor yang dipresentasikan dalam Art Dance Production memenuhi elemen-elemen inti, dengan menggunakan metode analisis deskriptif dari data primer dan data sekunder. Dengan menggunakan pendekatan kualitatif yang melibatkan penelitian kepustakaan, observasi, wawancara dan dengan menggunakan teori inti, hasil penelitian membuktikan bahwa tujuh belas karya tari tari Seni Tunggal telah memenuhi unsur-unsur inti. Unsur-unsurnya adalah (a). Pilihan tema atau ide kerja dengan stimulus awal, yaitu stimulasi ide dan konsep, cinestetic, auditive, dan visual. (B). Eksplorasi dan peningkatan (c). Smoothing dan komposisi. Unsur komposisi juga telah dijelaskan, yang meliputi (1). Struktur pekerjaan (2). Gerakan tubuh para penari (3). Pola lantai (4). Musik dan pencahayaan (5). Costum dan make up, lighting. Penelitian ini juga menemukan bahwa sebelas karya tari siswa telah menerapkan konsep multikultural yang memiliki tema etnik dan klasik. Multikultural yang dipandang beragam keunikan dan keragaman etnik budaya, tercermin dari setiap karya yang dibatasi oleh konteks sejarah, sosial, dan budaya asal, yaitu etnis Melayu, Minangkabau, jawa, sabah dan Serawak, Kelantan, Hindia, dan Cina. Sebelas tarian tersebut adalah Andai Randai, San Kipas, Iras, Ngayau, Tatoo Gendup Berpantang, Gawai Batu, Sekar Wangi, Kondattam, Rasa Kecantikan, Cinta Za'yu dan Jepit.Kata kunci: Multikultural, Tari Kecil, koreografi

AbstrakTari Piring Suluah merupakan tarian tradisi yang terdapat di Nagari Gunuang Padangpanjang. Tari Piring Suluah ini ditarikan oleh laki-laki maupun perempuan berjumlah genap 2 sampai 10 orang, memakai properti piring yang diujung jari tengahnya dipasang cincin yang terbuat dari dama atau buah kemiri dan Suluah yang menyala diletakkan di atas kepala dengan membawakan gerak-gerak tari yang bersumber dari manusia, alam, dan binatang. Suluah merupakan penerangan masyarakat Gunuang sebelum masuknya listrik. Tari Piring Suluah ditarikan untuk upacara adat seperti pengangkatan panggulu (pemimpin adat), pesata kawinan, kitanan dan acara alek nagari. Tujuan penelitian ini adalah mengungkap nilai estetika yang terkandung dalam tari Piriang Suluah di Nagari Gunuang Padangpanjang Sumatera Barat. Tari ini khasnya menggunakan Suluah yang diletakkan di atas kepala. Metode yang digunakan adalah metode kualitatif, pengumpulan data dilakukan melalui observasi dan mengamati pertunjukan Tari Piring Suluah. Hasil penelitian ini mengungkapkan bentuk, estetika yang terdapat dalam tari Piring Suluah. Nilai estetika tari Piring Suluah tercermin pada unsur-unsur yang membentuk tari Piring Suluah, yaitu adanya gerak, penari, properti, pola lantai, rias busana, musik, dan tempat pertunjukan.Kata Kunci: piring suluah, estetika , nagari gunuang.AbstractSuluah Plate Dance is a traditional dance found in Nagari Gunuang Padangpanjang. The Suluah Piring Dance is danced by even men and women of 2 to 10 people, using a property of a plate on which the middle finger is placed on a ring made of dama or candlenut and Suluah which are lit above the head by bringing dance movements sourced from humans, nature and animals. Suluah is the lighting of the Gunuang community before the entry of electricity. Suluah Piring Dance is danced for traditional ceremonies such as the appointment of the pelulu (traditional leader), marriage ceremony, kitanan and the alek nagari event. The purpose of this study was to reveal the aesthetic values contained in the Piriang Suluah dance in Nagari Gunuang Padangpanjang West Sumatra. This dance is typical of using Suluah which is placed on the head. The method used is a qualitative method, data collection is done through observation and observing the performance of the Suluah Plate Dance. The results of this study reveal the aesthetic form found in the Suluah Plate dance. The aesthetic value of the Suluah Plate dance is reflected in the elements that make up the Suluah Piring dance, namely the existence of movement, dancers, property, floor patterns, dress makeup, music, and the venue.Keywords: suluah plate, aesthetics, nagari gunuang.

Ranub Lampuan dance is danced in groups by 7 female dancers consisting of 1 queen and 6 maids (regular dancers). Ranub Lampu dance is danced to honor and officially welcome guests. The work of the Ranub Lampu dance art created by Yuslizar by observing social phenomena and the behavior of the Acehnese people is the basis for his work. The choreography of the Ranub Lampuan dance tells about Acehnese girls serving betel to the guests who come and the movement tells of the process of picking, wrapping, putting betel leaves into Puan, to serving betel to guests who come. This research uses qualitative research by using field research method (field research). The results of the research show that Local Wisdom Education for Early Childhoods through Ranup Lampuan Dance in Children at Tkit Athfal Al Qur'aniyyah Banda Aceh City is quite good with the number of children in dance training process for 14 children in 2 dance groups tested at 1 school in July 2020. an overview of the results of education. Local wisdom can be carried out well through the Ranup Lampuan dance. It can be seen from the way children move in layers according to the next one movement stage by following the rhythm of the Ranup Lampuan music, by being able to remember the arrangement of floor patterns in the Ranup Lampuan dance. Abstrak Tari Ranub Lampuan ditarikan secara berkelompok oleh 7 orang penari wanita yang terdiri dari 1 orang Ratu dan 6 dayang (penari biasa). Tari Ranub Lampuan ditarikan untuk penghormatan dan penyambutan tamu secara resmi. Hasil karya seni tari Ranub Lampuan yang diciptakan oleh Yuslizar dengan mengamati fenomena sosial dan tingkah laku masyarakat Aceh menjadi dasar pijakan dalam karyanya. Secara koreografi tari Ranub Lampuan menceritakan tentang gadis-gadis Aceh menghidangkan sirih kepada tamu yang datang dan geraknya menceritakan proses memetik, membungkus, meletakkan daun sirih ke dalam Puan, sampai menyuguhkan sirih kepada tamu yang datang. Penelitian menggunakan jenis penelitian kualitatif dengan mumasatkan pada metode fieldreseacrh (riset lapangan),Hasil peneliti menunjukan bahwa Pendidikan Kearifan Lokal Untuk Anak Usia Dini Melalui Tari Ranup Lampuan Pada Anak Di Di Tkit Athfal Al Qur’aniyyah Kota Banda Aceh sudah sangat baik dengan melihat anak mampu bergerak dengan melihat dari daya ingat anak ketika menghafal bentuk gerakan tari yang mengikutin proses dalam latihannya dengan jumlah anak dalam proses latihan tari 14 anak dalam 2 kelompok tari yang di uji pada 1 sekolah pada bulan juli 2020. gambaran hasilnya pendididkan. Kearifan lokalnya dapat dilaksanakan dengan baik melalui tari ranup lampuan ini terlihat dari cara anak bergerak bersusun sesuai tahap gerak satu gerak selanjutnya dengan mengikuti irama musik ranup lampuan, dengan mampu mengingat susunan pola lantai dalam tarian ranup lampuan. Kata Kunci: Pendidikan Kearifan Lokal, Ranup Lampuan

Tulisan ini mengupas “Fungsi Tari Manganjan Dalam Upacara Tiwah Dayak Ngaju Kabupaten Gunung Mas Provinsi Kalimantan Tengah”. Manganjan adalah tarian yang dilakukan oleh Anak Tiwah untuk berkomunikasi dengan roh leluhur dalam upacara Tiwah. Tiwah dalam suku Dayak Ngaju adalah ritual tertinggi dalam rukun kematian agama Hindu Kaharingan, dengan tujuan untuk mengantarkan arwah ke negeri para arwah. Tari dan semua aspek pendukung yang telah terstruktur dalam upacara Tiwah memiliki peran yang sangat penting. Untuk memecahkan permasalahan penelitian ini digunakan teori struktural fungsionalisme dalam perspektif antropologi dari landasan pemikiran A.R. Radcliffe Brown. Teori ini mengupas tentang struktur dan fungsi dalam masyarakat primitif. Brown menyatakan sebuah kerangka kerja yang menggambarkan konsep-konsep dasar yang berkaitan dengan struktur sosial dari peradaban masyarakat tertentu, di mana berbagai upacara agama dikaitkan dengan mitologi atau dongeng-dongeng suci yang bersangkutan, dan pengaruh dan efeknya terhadap struktur hubungan antara warga dalam suatu komunitas. Hasil penelitian memperlihatkan bahwa Tari Manganjan dalam upacara Tiwah memiliki unsur-unsur seperti, pelaku, gerak, iringan musik, syair, tempat pertunjukan, busana, properti, pola lantai, perlengkapan upacara, dan sebagainya. Unsur-unsur tersebut saling berhubungan, berelasi antara satu dengan yang lainnya sehingga menjadi sistem yang kompleks dan terstruktur. Unsur-unsur tersebut yang saling berhubungan satu sama lain dalam upacara Tiwah, berfungsi, beroperasi dan bergerak dalam satu kesatuan. ABSTRACT This paper explores "The Function of Manganjan Dance in the Tiwah Dayak Ngaju Ceremony of Gunung Mas Regency, Central Kalimantan Province". Manganjan is a dance performed by Anak Tiwah to communicate with ancestral spirits in a Tiwah ceremony. Tiwah in the Dayak Ngaju tribe is the highest ritual in the pillars of the death of the Hindu Kaharingan religion, with the aim of delivering spirits to the land of the spirits. Dance and all supporting aspects that have been structured in the Tiwah ceremony have a very important role. To solve this research problem, structural theory functionalism is used in the anthropological perspective from A.R. Radcliffe Brown. This theory explores the structure and function in primitive societies. Brown states a framework that describes the basic concepts relating to the social structure of a particular civilization, in which various religious ceremonies are linked to the mythology or sacred tales in question, and their influence and effect on the structure of the relationship between citizens in a community. The results showed that the Manganjan Dance in the Tiwah ceremony had elements such as actors, movements, musical accompaniment, poetry, venues, clothing, property, floor patterns, ceremonial equipment, and so on. These elements are interconnected, related to one another so that it becomes a complex and structured system. These elements which are interconnected with each other in the Tiwah ceremony, function, operate and move in one unit.

Purpose – The aim of the present work is to provide a case study where lean production (LP) techniques are implemented in a semi-automated assembly line with O-shaped (closed-loop) layout configuration. The action research has been conducted within an assembly line for automotive components. The work aims to provide insights on the impact of loop layout features with respect to lean principles’ application; operative solutions related to some logistic limit of loop layout; and how kanban technique can be adapted to an O-shaped layout. Design/methodology/approach – The main research methodology is based on action research within an assembly line of oil pumps. The two research questions find answer through literature analysis and implementation of LP in the O-shaped layout. In the A3 step, we identify the main weak points of a loop layout also under the perspective of operators’ feeling. The analysis of the main constraints is conducted in this step, with respect to the most common layout used within LP adoption. Steps A4 and A5 answer to RQ2 by an on-field results’ analysis. Findings – The use of an O-shaped layout may allow to improve ergonomic conditions for workers; to better organize parts feeding through slides and chutes because of the presence of operators outside the line. The new approach to determine the number of withdrawal kanban potentially extends the findings of Tardif et al. (2012): the minimum of the objective function is reached with a higher number of withdrawal kanbans. Research limitations/implications – The approach is applied within a stand-alone line, while in several industrial contexts, we may find several of these lines in the same shop floor. In this case, LP implementation would cope with the several kanban cards circulating, the over-saturation of the logistic operator in supplying all the lines with smaller quantities of materials. Practical implications – The action research resulted in the introduction of a new concept of supermarket, conceived as a decoupling buffer that lies near the line and in the review feeding devices, with the adoption of bins and operators’ feeding chutes. Parts’ feeding systems is reorganized with a two levels of withdrawal kanban. The introduction of line supermarket and the change of supply policies from pallets to bins contributed to the strong reduction of average work-in-progress. Yet, the double-withdrawal kanban and the small quantities supplied may cause an increase of material handling times and meters covered by operators. Social implications – Better working condition of the line operators because of the presence of ergonomic chutes for parts’ feeding. In contrast, we observed a high saturation of logistic operator because of the small quantities of components supplied on the line, with an increased stress of this worker. Originality/value – A decoupled withdrawal kanban (DWK) is developed. In DWK, the first withdrawal is issued to the supermarket that serves the line. The second withdrawal kanban is issued from the supermarket to the central warehouse. Within DWK, we propose a modified dimensioning formula through minimization of the objective function Z(k). Parts’ feeding is now organized with sliding chutes on operators’ workstations to collect components in accordance to kanban dimensioning.

This study aims to analyze the competitiveness, trade integration, trade complementarity, and factors affecting the export and import of main commodities between Indonesia and Turkey. Data used in this study is time series data in 1996-2018 and the methods used are Revealed Comparative Advantage (RCA), Intra-Industry Trade (IIT), Trade Complementarity Index (TCI), and Ordinary Least Square (OLS). Results of RCA showed Indonesia's main export commodities to Turkey are woven fabrics, stearic acid, palm oil and natural rubber. While IIT showed that there is only one way trade from Indonesia. Import commodities from Turkey are carpets, borax, wheat flour, and tobacco. TCI showed low complementarity between Indonesia�s export and Turkey�s import. GDP per capita has positive impact on exports and imports. The exchange rate has positive impact on exports and negative on imports. Price and tariff rate have negative impact on both exports and imports. Dummy Non-tariff barrier has negative impact on exports while in import side, it only affects the wheat flour negatively. The Government of Indonesia should pursue a strategy in trade cooperation as efforts to reduce trade barriers such as tariffs and non-tariffs for some commodities that have competitiveness in the Turkish market.

This paper studies the impact of using different types of energy storages integrated with a heat pump for energy efficiency in radiant-floor buildings. In particular, the performance of the building energy resources management system is improved through the application of distributed model predictive control (DMPC) to better anticipate the effects of disturbances and real-time pricing together with following the modular structure of the system under control. To this end, the load side and heating system are decoupled through a three-element mixing valve, which enforces a fixed water flow rate in the building pipelines. Hence, the building temperature control is executed by a linear model predictive control, which in turn is able to exchange the building information with the heating system controller. On the contrary, there is a variable action of the mixing valve, which enforces a variable circulated water flow rate within the tank. In this case, the optimization problem is more complex than in literature due to the variable circulation water flow rate within the tank layers, which gives rise to a nonlinear model. Therefore, an adaptive linear model predictive control is designed for the heating system to deal with the system nonlinearity trough a successive linearization method around the current operating point. A battery is also installed as a further storage, in addition to the thermal energy storage, in order to have the option between the charging and discharging of both storages based on the electricity price tariff and the building and thermal energy storage inertia. A qualitative comparative analysis has been also carried out with a rule-based heuristic logic and a centralized model predictive control (CMPC) algorithm. Finally, the proposed control algorithm has been experimentally validated in a well-equipped smart grid research laboratory belonging to the ERIGrid Research Infrastructure, funded by European Union's Horizon 2020 Research and Innovation Programme.

The article presents a hitherto unknown painting by Edward Mateusz Römer (1848–1900), a representative of a painters’ dynasty from Vilnius. The painting, which is currently referred to as “Spring in Vilnius”, features the house of the artist’s family in Vilnius. In order to fully evaluate the iconography of the work, considerable attention is given to the object of the work itself. The canvas features the courtyard and northern-side buildings of Römersʼ house in Vilnius, at the intersection of Savičiaus and Bokšto streets. Based on various written sources (house descriptions in tariff books, egodocuments of the Römer family), the development of the possession over the years and the functioning of the house in the nineteenth century are reconstructed. Also, changes in the structure of the living spaces are revealed, including the localisation of various premises and specification of the whereabouts of E. M. Römerʼs painting studio within the building complex. Throughout the nineteenth century, Römer’s house in Bokšto Street in Vilnius was the centre of the family’s social and cultural life. The main residential masonry buildings were mostly concentrated in the northern and eastern parts of the courtyard, whereas the wooden residential and livestock buildings were on the opposite side of the courtyard, to the right of the gate. After 1948, all the buildings in the southern part of the house were destroyed. Only the residential masonry houses consisting of three buildings located along the northern and eastern boundaries of the possession have survived to this day. The analysis of the origin revealed that the masonry in the northern part, which almost reached the top of the walls, dates back to 1792–1808. The reconstruction could have been related to Michał Józef Römer’s marriage in 1799. Most probably the “illusory” wall imitating the facade was built during the same year. At the end of the eighteenth and the beginning of the nineteenth century, the eastern building on the hillside was the main building of the house. According to the data of 1812, by that time M. J. Römer’s apartment was in the more spacious part of the northern building (on the second floor), but from 1816 to1821, seven rooms of this apartment, rearranged according to the design of the architect Joseph Poussier, were leased to “Gorliwy Litwin”, the Masonic Lodge of Vilnius. In 1816, Michał Józef Römer and his wife Rachel moved back to the eastern building where they lived until M. J. Römer’s death. Their children with families lived in the apartments of the northern building, which were reconstructed between 1834 and 1837. From the end of eighteenth century until 1863, the first floor of the more spacious northern building, the so called “courtyard building” located away from the street, served as a stable and a carthouse. Later this part of the building was reconstructed, served as a painting studio of Adam Szemesz until 1864, and was E. M. Römer’s painting studio after 1877. The courtyard was a very important part of the complex of buildings. Part of it was occupied by an orchard and a small vineyard. After 1863, E. J. Römer decided to arrange the so-called “grove” of decorative plants for walking and relaxation. In 1850, a masonry studio for the painter Kanuty Rusiecki (1800–1860) was built in the courtyard of Römers’ house. For some time, this studio was also used by the painter Jan Zenkiewicz (1825–1888). Unfortunately, the building did not survive to this day. In the creative legacy of E. M. Römer, the paintings featuring the house in Bokšto Street are especially valuable. The painter concentrated on these motives during the last decade of his life, especially before 1897, when he mainly resided in Vilnius. E. M. Römer immortalised part of the courtyard and the northern buildings in the painting of 1893, which is now called “Spring in Vilnius”. Due to the painting quality of the work and its historical/iconographic value, this canvas is attributed to E. M. Römer’s most important extant works. In all likelihood, this painting is identical to the canvas “Under the Poplars” mentioned in the literature; in 1896, it was donated for the establishment of Jan Matejko’s museum in Krakow.

AbstrakSrimpi Sangupati merupakan salah satu tarian yang berasal dari Keraton Kasunanan Surakarta. Srimpi Sangupati Keraton Kasunanan Surakarta disebut juga dengan Srimpi Sangupati “utuh” karena pada tari Srimpi ini berdurasikan ±1 jam dan menggunakan properti lengkap yaitu meja kecil, kenthi, sloki, dan juga pistol. Srimpi Sangupati dipadatkan oleh Agus Tasman menjadi ±16 menit dan juga tidak menggunakan properti seperti yang ada di Srimpi Sangupati Keraton Kasunanan Surakarta. Pemadatan yang dilakukan oleh Agus Tasman bertujuan untuk menjaga agar kelestarian, eksistensi, dan kontinuitas seni pertunjukan tradisi keraton terjaga. Penelitian pemadatan Srimpi Sangupati Keraton Kasunanan Surakarta oleh Agus Tasman merupakan penelitan kualitatif dengan menggunakan pendekatan deskriptif analisis. Penelitian ini menggunakan teori perubahan menurut Giddens yang diperkuat oleh Douglas dan Goodmans mengenai faktor yang mempengaruhi perubahan yaitu agen dan struktur. Untuk membahas bentuk pertunjukan menggunakan teori Soedarsono, yang menyatakan bahwa elemen-elemen pendukung pertunjukan tari antara lain gerak, musik tari, rias busana, desain lantai, dan pendukung tari lainnya (properti dan lighting). Hasil penelitian menunjukan bahwa Pemadatan Srimpi Sangupati Keraton Kasunanan Surakarta oleh Agus Tasman dilakukan dengan menggarap dan menyusun kembali materi yang telah ada meliputi pemadatan waktu, mengurangi pengulangan gerak, menggarap gendhing, variasi pola lantai, menghilangkan properti dan juga mengubah rasa yang ditimbulkan pada Tari Srimpi Sangupati. Dampak dari perubahan itu menjadikan Srimpi Sangupati menjadi lebih akrab dengan masyarakat luas baik dari dalam keraton maupun luar keraton. Tari Srimpi Sangupati menjadi lebih menarik, tidak monoton, dan laris.Kata kunci: Srimpi Sangupati, Keraton Kasunanan Surakarta, pemadatan, Agus Tasman.AbstractSrimpi Sangupati is one of the dances that come from Keraton Kasunanan Surakarta. Srimpi Sangupati Keraton Kasunanan Surakarta is also called Srimpi Sangupati “intact” because in this Srimpi dance is ± 1 hour duration and use complete property that is small table, kenthi, sloki, and also pistol. Srimpi Sangupati compacted by Agus Tasman to ± 16 minutes and also do not use the property as in Srimpi Sangupati Keraton Kasunanan Surakarta. Compaction conducted by Agus Tasman aims to maintain the sustainability, existence, and continuity of performing arts tradition awakened. Research compaction Srimpi Sangupati Keraton Kasunanan Surakarta by Agus Tasman is a qualitative research using descriptive analysis approach. This study uses the theory of change according to Giddens reinforced by Douglas and Goodmans about the factors that affect the change of agents and structures. To discuss the form of performances using Soedarsono’s theory, which states that the supporting elements of dance performances include motion, dance music, dress makeup, floor design, and other dance supporters (property and lighting). The results showed that the compression of Srimpi Sangupati Keraton Kasunanan Surakarta by Agus Tasman was done by working on and rearranging the existing material including time compaction, reducing motion repetition, working on gendhing, variation of floor pattern, eliminating the property and also changing the taste caused by Srimpi Sangupati Dance . The impact of that change makes Srimpi Sangupati become more familiar with the wider community both from within the palace and outside the palace. Srimpi Sangupati Dance becomes more interesting, not monotonous, and in demand.Keyword: Srimpi Sangupati, Keraton Kasunanan Surakarta, compression, Agus Tasman.

In a light-speed economy of communication, the only thing that moves faster than information is imagination. And in a time when, more than ever before, information is the currency of global politics, economics, conflict, and conquest what better way to critique and crinkle the global-social than to combine the two - information and imagination - into an hilarious mockery of, and a brief incursion into the vistas of the globalitarian order. This is precisely the reflexive and rhetorical pot-pourri that the group 'the Yes Men' (www.theyesmen.org) have formed. Beginning in 2000, the Yes Men describe themselves as a "network of impostors". Basically, the Yes Men (no they're not all men) fool organisations into believing they are representatives of the WTO (World Trade Organisation) and in-turn receive, and accept, invitations to speak (as WTO representatives) at conferences, meetings, seminars, and all manner and locale of corporate pow-wows. At these meetings, the Yes Men deliver their own very special brand of WTO public address. Let's walk through a hypothetical situation. Ashley is organising a conference for a multinational adult entertainment company, at which the management might discuss ways in which it could cut costs from its dildo manufacturing sector by moving production to Indonesia where labour is cheap and tax non-existent (for some), rubber is in abundance, and where the workers hands are slender enough so as to make even the "slimline-tickler" range appear gushingly large in annual report photographs. Ashley decides that a presentation from Supachai Panitchpakdi - head of the WTO body - on the virtues of unrestrained capitalism would be a great way to start the conference, and to build esprit de corps among participants - to summon some good vibrations, if you will. So Ashley jumps on the net. After the obligatory four hours of trying to close the myriad porn site pop-ups that plague internet users of the adult entertainment industry, Ashley comes across the WTO site - or at least what looks like the WTO site - and, via the email link, goes about inviting Supachai Panitchpakdi to speak at the conference. What Ashley doesn't realise is that the site is a mirror site of the actual WTO site. This is not, however, grounds for Ashley's termination because it is only after careful and timely scrutiny that you can tell the difference - and in a hypercapitalist economy who has got time to carefully scrutinize? You see, the Yes Men own the domain name www.gatt.org (GATT [General Agreement on Tariffs and Trade]being the former, not so formalised and globally sanctioned incarnation of the WTO), so in the higgledy-piggeldy cross-referencing infosphere of the internet, and its economy of keywords, unsuspecting WTO fans often find themselves perusing the Yes Men site. The Yes Men are sirens in both senses of the word. They raise alarm to rampant corporatism; and they sing the tunes of corporatism to lure their victims – they signal and seduce. The Yes Men are pull marketers, as opposed to the push tactics of logo based activism, and this is what takes them beyond logoism and its focus on the brand bullies. During the few years the Yes Men have been operating their ingenious rhetorical realignment of the WTO, they have pulled off some of the most golden moments in tactical media’s short history. In May 2002, after accepting an email invitation from conference organisers, the Yes Men hit an accountancy conference in Sydney. In his keynote speech, yes man Andy Bichlbaum announced that as of that day the WTO had decided to "effect a cessation of all operations, to be accomplished over a period of four months, culminating in September". He announced that "the WTO will reintegrate as a new trade body whose charter will be to ensure that trade benefits the poor" (ref). The shocking news hit a surprisingly receptive audience and even sparked debate in the floor of the Canadian Parliament where questions were asked by MP John Duncan about "what impact this will have on our appeals on lumber, agriculture, and other ongoing trade disputes". The Certified Practicing Accountants (CPA) Australia reported that [t]he changes come in response to recent studies which indicate strongly that the current free trade rules and policies have increased poverty, pollution, and inequality, and have eroded democratic principles, with a disproportionatly large negative effect on the poorest countries (CPA: 2002) In another Yes Men assault, this time at a Finnish textiles conference, yes man Hank Hardy Unruh gave a speech (in stead of the then WTO head Mike Moore) arguing that the U.S. civil war (in which slavery became illegal) was a useless waste of time because the system of imported labour (slavery) has been supplanted now by a system of remote labour (sweatshops)- instead of bringing the "labour" to the dildos via ships from Africa, now we can take the dildos to the "labour", or more precisely, the idea of a dildo - or in biblical terms - take the mount'em to Mohammed, Mhemmet, or Ming. Unruh meandered through his speech to the usual complicit audience, happy to accept his bold assertions in the coma-like stride of a conference delegate, that is, until he ripped off his business suit (with help from an accomplice) to reveal a full-body golden leotard replete with a giant golden phallus which he proceeded to inflate with the aid of a small gas canister. He went on to describe to the audience that the suit, dubbed "the management leisure suit", was a new innovation in the remote labour control field. He informed the textiles delegates that located in the end of the phallus was a small video interface through which one could view workers in the Third World and administer, by remote control, electric shocks to those employees not working hard enough. Apparently after the speech only one objection was forwarded and that was from a woman who complained that the phallus device was not appropriate because not only men can oppress workers in the third world. It is from the complicity of their audiences that the Yes Men derive their most virulent critique. They point out that the "aim is to get people to think more seriously about the sort of bullshit they are prepared to swallow, if and when the information comes from a suitably respected authority. By appearing, for example, in the name of the WTO, one could even make out a case for justifying homicide, irrespective of the target audience's training and intellect" (Yes men) Unruh says. And this is the real statement that the Yes Men make, their real-life, real-time theatre hollows-out the signifer of the WTO and injects its own signified to highlight the predominant role of language - rhetoric - in the globalising of the ideas of neo-liberalism. In speaking shit and having people, nay, experts, swallow it comfortably, the Yes Men punctuate that globalisation is as much a movement of ideas across societies as it is a movement of things through societies. It is a movement of ideals - a movement of meanings. Organisations like the WTO propagate these meanings, and propagandise a situation where there is no alternative to initiatives like free trade and the top-down, repressive regime espoused buy neoliberal triumphalists. The Yes Men highlight that the seemingly immutable and inevitable charge of neoliberalism, is in fact simply the dominance of a single way of structuring social life - one dictated by the market. Through their unique brand of semiotic puppetry, the Yes Men show that the project of unelected treaty organisations like the WTO and their push toward the globalisation of neoliberalism is not inevitable, it is not a fait accompli, but rather, that their claims of an inexorable movement toward a neo-liberal capitalism are simply more rhetorical than real. By using the spin and speak of the WTO to suggest ideas like forcing the world's poor to recycle hamburgers to cure world hunger, the Yes Men demonstrate that the power of the WTO lies on the tip of their tongue, and their ability to convince people the world over of the unquestionable legitimacy of that tongue-tip teetering power. But it is that same power that has threatened the future of the Yes Men. In November 2001, the owners of the gatt.org website received a call from the host of its webpage, Verio. The WTO had contacted Verio and asked them to shut down the gatt.org site for copyright violations. But the Yes Men came up with their own response - they developed software that is freely available and which allows the user to mirror any site on the internet easily. Called "Reamweaver", the software allows the user to instantly "funhouse-mirror" anyone's website, copying the real-time "look and feel" but letting the user change any words, images, etc. that they choose. The thought of anyone being able to mimic any site on the internet is perhaps a little scary - especially in terms of e-commerce - imagine that "lizard-tongue belly button tickler" never arriving! Or thinking you had invited a bunch of swingers over to your house via a swingers website, only to find that you'd been duped by a rogue gang of fifteen tax accountants who had come to your house to give you a lecture on the issues associated with the inclusion of pro-forma information in preliminary announcements in East Europe 1955-1958. But seriously, I'm yet to critique the work of the Yes Men. Their brand of protest has come under fire most predictably from the WTO, and least surprisingly from their duped victims. But, really, in an era where the neo-liberal conservative right dominate the high-end operations of sociality, I am reticent to say a bad word about the Yes Men's light, creative, and refreshing style of dissent. I can hear the "free speech" cry coming from those who'd charge the Yes Men with denying their victims the right to freely express their ideas - and I suppose they are correct. But can supra-national institutions like the WTO and their ilk really complain about the Yes Men’s infringement on their rights to a fair communicative playing field when daily they ride rough-shod over the rights of people and the people-defined "rights" of all else with which we share this planet? This is a hazardous junction for the dissent of the Yes Men because it is a point at which personal actions collide head-on with social ethics. The Yes Men’s brand of dissent is a form of direct action, and like direct action, the emphasis is on putting physical bodies between the oppressor and the oppressed – in this case between the subaltern and the supra-national. The Yes Men put their bodies between and within bodies – they penetrate the veneer of the brand to crawl around inside and mess with the mind of the host company body. Messing with anybody’s body is going to be bothersome. But while corporations enjoy the “rights” of embodied citizens, they are spared from the consequences citizens must endure. Take Worldcom’s fraudulent accounting (the biggest in US history) for instance, surely such a monumental deception necessitates more than a USD500 million fine. When will “capital punishment” be introduced to apply to corporations? As in “killing off” the corporation and all its articles of association? Such inconsistencies in the citizenry praxis of corporations paint a pedestrian crossing at the junction where “body” activism meets the ethic (right?) of unequivocal free-speech for all – and when we factor-in crippling policies like structural adjustment, the ethically hazardous junction becomes shadowed by a glorious pedestrian overpass! Where logocentric activism literally concentrates on the apparel – the branded surface - the focus of groups like the Yes Men is on the body beneath – both corporate and corporeal. But are the tactics of the Yes Men enough? Does this step beyond logocentric focused activism wade into the territory of substantive change? Of course the answer is a resounding no. The Yes Men are culture jammers - and culture jamming exists in the realm of ephemera. It asks a question, for a fleeting moment in the grand scheme of struggle, and then fades away. Fetishising the tactics of the Yes Men risks steering dissent into a form of entertainment - much like the entertainmentised politics it opposes. What the Yes Men do is creative and skilful, but it does not express the depth of commitment displayed by those activists working tirelessly on myriad - less-glamorous - campaigns such as the free West Papua movement, and other broader issues of social activism like indigenous rights. If politics is entertainment, then the politics of the Yes Men celebrates the actor while ignoring the hard work of the production team. But having said that, I believe the Yes Men serve an important function in the complex mechanics of dissent. They are but one tactic - they cannot be expected to work with history, they exist in the moment, a transitory trance of reason. And provided the Yes Men continue to use their staged opportunities as platforms to suggest BETTER IDEAS, while also acknowledging the depth and complexity of the subject matter with which they deal, then their brand of protest is valid and effective. The Yes Men ride the cusp of a new style of contemporary social protest, and the more people who likewise use imagination to counter the globalitarian regime and its commodity logic, the better. Through intelligent satire and deft use of communication technologies, the Yes Men lay bare the internal illogic (in terms of human and ecological wellbeing) of the fetishistic charge to cut costs at all costs. Thank-Gatt for the Yes Men, the chastisers of the global eco-social pimps. Works Cited CPA. (2002). World Trade Organisation to Redefine Charter. http://theyesmen.org/tro/cpa.html Yes Men: http://theyesmen.org/ * And thanks to Phil Graham for the “capital punishment” idea. Links http://theyesmen.org/ http://theyesmen.org/tro/cpa.html http://www.gatt.org http://www.theyesmen.org/ Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Pace, John. "The Yes Men" M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0306/05-yesmen.php>. APA Style Pace, J. (2003, Jun 19). The Yes Men. M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0306/05-yesmen.php>