Minggu, 16 Juni 2013

Manfaat Vitamin A



                 Vitamin A memiliki banyak manfaat bagi tubuh kita. Salah satu bagian tubuh kita yang erat kaitannya dengan vitamin A adalah mata. Manfaat vitaim A bagi mata adalah untuk mencegah terjadinya miopia atau yang sering dikenal sebagai rabun jauh. Namun vitamin A ternyata memiliki banyak manfaat selain untuk mata. Menurut beberapa penelitian, vitamin A dapat membuat mata dapat melihat lebih jelas pada malam hari, merangsang pertumbuhan sel darah putih, mencegah asma dan kanker paru-paru.
            Selain manfaatnya yang melimpah, vitamin A juga sangat mudah kita jumpai pada makan sehari-hari. Berbagai macam sereal, jus atau produk olahan lainnya saat ini sudah mengandung vitamin a. Kita juga bisa menjumpai vitamin a pada sayuran wortel, bayam, kubis, lobak, tomat dan brokoli. Vitamin A juga terdapat pada buah apel, pisang, anggur, kiwi, dan lemon. Selain sayuran dan buah, vitamin a juga bisa kita temukan pada susu sapi, susu kambing, udang, telur ayam dan ikan salmon.
            Hanya saja vitamin a memiliki efek samping apa bila dikonsumsi melebihi dosis yang dibutuhkan oleh tubuh. Efek samping yang bisa saja muncul apabila mengkonsumsi vitamin a secara berlebih adalah osteoporosis dan patahnya tulang pinggul pada manula. Efek samping yang bisa terjadi saat usia muda adalah merasa lelah, mual, sakit perut dan mengeluarkan keringat dalam jumlah yang banyak.
            Dosis yang disarankan untuk dikonsumsi agar efek samping dari vitamin a tidak terjadi adalah tidak lebih dari 2000 unit perhari pada anak-anak diatas 3 tahun, tidak lebih dari 3000 unit perhari pada anak-anak usia antara 4-8 tahun, tidak lebih dari 5700 unit perhari untuk usia 9-13 tahun, tidak lebih dari 9300 unit perhari untuk usia 14-18 tahun (100 mcg sebanding dengan ±320 unit).

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Selasa, 11 Juni 2013

Kendaraan Mewah EleMMent PALAZZO




               Ditengah krisis yg melanda beberapa negara maju di Eropa, sebuah terobosan dilakukan oleh pabrikan Austria dengan meluncurkan produk barunya yaitu eleMMent PALAZZO. eleMMent Palazzo yang diproduksi oleh Marchi Mobile ini merupakan sebuah kendaraan mewah yang menyerupai rumah bernuansakan hotel bintang lima. Kendaraan yang menyerupai bus ini ditujukan bagi para miliarder yang menginginkan kemewahan dimanapun dia berada. Dengan diciptakannya eleMMent PALAZZO, pemiliknya bisa bepergian dengan nyaman dan seakan-akan masih berada di dalam sebuah kamar hotel bintang lima. 
Kendaraan ini dibanderol dengan harga yang cukup fantastis yaitu USD 3 juta atau setara dengan RP 29,4 miliar. Harga yang sama untuk mendapatkan 2 Ferrari Enzo ditambah dengan 2 buah Toyota Alphard. Harga tersebut dirasa sebanding dengan kemegahan kendaraan ini yang dibeberapa bagian diberi lapisan emas dan material pilihan. Berikut penampakan eleMMent PALAZZO:

 


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Kamis, 01 Maret 2012

Wisata Banjarmasin


Perjalanan kali ini sangat tidak terencana. Itu lah kalimat yang ada dalam otak saya saat akan berangkat menuju Banjarmasin. Sebuah kota di kalimantan selatan yang saya benar-benar tidak tahu tempat wisata disana dan belum pernah juga terpikirkan untuk berlibur kesana. Sebuah alasan yang membuat saya bisa ke Banjarmasin adalah karena kekasih hati saya ada di sana hehehe.
            Setibanya di Banjarmasin, saya disambut bandara Syamsuddin Noor yang hanya memiliki satu runway dan jauh dari perkiraan saya hehehe. Maklum saja, saya mengira bahwa Banjarmasin adalah sebuah kota yang cukup besar karena kalimantan selatan memiliki kekayaan alam yang cukup melimpah. Terdapat banyak perusahaan cukup besar di kalimantan selatan yang pastinya membuat lalu lintas penerbangan cukup padat apalagi saat akhir pekan. Selain itu tempat parkir mobil juga tidak terlalu besar alias tidak sebanding dengan jumlah mobil yang datang dan itu juga cukup menyulitkan dalam mencari tempat parkir. Semoga pihak yang berwenang segera mengembangkan kapasitas dan layanan bandar udara Syamsuddin Noor.
            Keluar bandara saya langsung menuju hotel. Selama perjalanan dari bandara menuju hotel, saya mengamati daerah-daerah yang saya lewati. Sepanjang jalan yang saya lewati, rumah di banjarmasin rata-rata merupakan rumah gadang yang di kiri kanannya terdapat rawa atau tanah gambut bahkan banyak sekali rumah yg 80% luas rumahnya berada di atas air (sungai) dan hanya 20% yang berada di daratan. Rumah biasa yang nempel dengan tanah jarang ditemui karena memang sebagian besar wilayah di Banjarmasin merupakan rawa-rawa atau sungai. Bahkan banjarmasin mendapat julukan kota sejuta sungai dan saya setuju dengan julukan ini.
Selama diperjalanan menuju hotel saya belum bisa menentukan tujuan saya besok akan kemana dan pacar saya pun juga tampak kebingungan karena dia bukan orang asli banjarmasin hehehe. Setelah tiba di hotel barulah saya browsing di internet tentang wisata banjarmasin dan menemukan beberapa tujuan wisata yang cukup menarik. Beberapa diantaranya adalah Jembatan Barito, pasar terapung dan Duta Mall (satu-satunya mall di Kalsel :p).
             Dengan tempat wisata yang minim, banjarmasin menawarkan pilihan wisata lain yaitu wisata kuliner. Terdapat banyak masakan khas banjarmasin. Beberapa diantaranya yang sudah saya cicipi adalah itik alabio, ikan haruan, nasi kuning dan soto banjar dan menurut saya rasa semua makanan yg saya cicipi dapat acungan jempol hehehe. Nasi kuning di banjar di banjar ini berbeda dengan nasi kuning pada umumnya karena di atasnya di beri bumbu habang, bumbu yang rata-rata terdapat pada setiap masakan di banjar seperti itik alabio dan ikan haruan.

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Jumat, 30 Desember 2011

Social control of media


Relations between media and society usually have both a political dimension and a normative or social-culture aspect. Central to the political dimension is the question of freedom and control. As noted above, near-total freedom was claimed and eventually gained for the book, for a mixture of reasons, in which requirements of politics, religion, science and art all played some part. This situation remains unchallenged in free societies, although the book has lost some of its once subversive potential as a result of its relative marginalization. The influence of books has to a large extent to ba mediated through other more popular media or other institutions (education, politics, etc.).
            The newspaper press bases its historical claim to freedom of operation much more directly on its politicalfunctions of expressing opinion and circulating political and economic information. But the newspaper is also a significant business enterprise for which freedom to produce and supply its primary product (information) is a necessary condition of successful operation. The rather limited political freedom enjoyed by broadcast television and radio derives from a claim to perform same of the same functions as the newspaper press and to serves a genereal ‘public interest’. Formal political control has tended to diminish, as the television industry expands and becomes more like a normal business, in which market disciplines replace open political control. This does not yet seem to have led to any greater politicization of the medium.
            The variety of new means of distribution, some using cable or telecommunications networks, still await clear definitions of their appropriate degree of political freedom. Freedom from control may be claimed on the grouds of privacy or the fact that these are not media of indiscriminate mass distribution but directed to specific users. They are so-called ‘common-carriers’ which generally lack control over their content. They also increasingly share the same communicative tasks as media with established editorial autonomy. The question remains in dispute for a number of reasons, among them the need for regulation for techincal reasons or to prevent abuse of monopoly power. The question of political freedom does not generally arise in the case of media channels which primarily carry fiction, entertainment or music, despite the political potential of all three. In free societies these media are left largely to the free market, while in totalitarian societies their political potential is usually hamessed to official aims.
            These differences of perception and institutional definition relating to political control (where there is freedom, there are few regulations and little supervisory apparatus) follow a general pattern. First, where the communication function involved closely affects the exercise of power in society (as with newspaper and television informational services), there is a stronger motive for scrutiny if not direct control (political control can be exercised by ownership). In general, activities in the sphere of fiction, fantasy or entertainment are more likely to escape attention than are activities which touch directly on social reality.
            Virtually all media of public communication have a radical potential, in the sense of being potentially subversive of reigning systems of social control, they can provide access for new voices and perspectives on the existing order; new forms of organization and protest made available for the subordinate or disenchanted. Even so, the institutional development of successful media has usually resulted in the elimination of the early radical potential, partly as a side-effect or commercialization, partly because authorities fear disturbance of society (Winston, 1986). According to one theory of media development, the driving logic of communication has been towards more effective social management and control, rather than towards change and emancipation (Beniger, 1986).
            The normative dimension of control operates according to the same general principles, although sometimes with different consequences for particular media. For instance, film, which escapes direct political control because it has not usually been seen as politically relevant, has often been subject to control of its content, on grounds of its potential moral impact on the young and impressionable (especially in matters of violence, crime or sex). The widespread restrictions applied to television in matters of culture and morals stem from the same (generally unstated) assumptions. These are that media which are very popular and have a potentially strong emotional impact on many people need to be supervised in ‘the public interest’.
            Supervision often includes positive support for ‘desirable’ cultural communication objectives as well as for restrictions on the undesirable. The more communication activities can be defined as either educational or ‘serious’ in purposes – or, alternatively, as artistic and creative – the more freedom from normative restrictions can usually be claimed. There are complex reasons for this, but it is also a fact that ‘an’ and content of higher moral seriousness does not usually reach large numbers and are seen as marginal to power relations.
            The degree of control of media by state or society may depend on the feasibility of applying it. The most regulated media have typically been those whose the distribution is most easily supervised, such as centralized national radio or television broadcasting or local cinema distribution. In the last resort, book and print media generally are much less easy to monitor or to suppress. The same applies to local radio, while new possibilities for desktop publishing and photocopying and all manner of ways of reproducing sound and images have made direct censorship a very blunt and ineffective instrument. The impossibility of policing national frontiers to keep out unwanted foreign communication is another consequence of new technology which promotes more freedom. While technology in general seems to increase the promise of freedom of communication, the continued strength of institutional controls, including those of the market, over actual flow and reception should not be underestimated.

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Rabu, 28 Desember 2011

New Electronic Media - Telematic Media


The so-called telematic media (‘telematic’ because they combine telecommunications and informatics) have been heralded as the key component in the latest communication revolution which wilol replace broadcast television as we know it. The term covers a set of developments at the sore of which is a visual display unit (television screen) linked to a computer network. What are sometimes referred to as the ‘new media’, which have pit in an appearance since the 1970s, are in fact a set of different electronic technologies with varied applications which have yet to be widely taken up as mass media  or to acquire a clear definition of their function.
            Several kind of technology are involved, of transmission (by cable or satelite), or miniaturization, of storage and retrieval, of display (using flexible combinations of text and graphics), and of control (by computer). The main features, by contrast with the ‘old media’ as described, are: decentralization – supply and choice are no longer predominantly in the bands of the supplier of communication; high capacity – cable or satelite delivery overcomes the former restrictions of cost, distance and capacity; interactivity – the reciever can select, answer back, exchange and be linked to other receivers directly; and flexibility of form, context and use.
            Aside from facilitating the distribution of existing radio and television, new telematic media have been offered to the general public in two main forms, one known as teletext, the other as videotex. The former makes available much additional textual information by way of over-air broadcasting to supplement normal television programming on addapted recievers, and it can be called up at the viewer’s initiative. The second provides, usually via the telephone network, a much larger and more varied supply of computer-stored information which can be consulted  and/or interrogated by users equipped with a terminal and television screen. It also offers a wide range of interactive services, including a form of visual communication between centres and peripherals and in principle between all those connected on the same network. Videotex can also be used to supply printed material.
            The new media also include computer video games, virtual reality and video recordings of all kinds. Home video may be considered as an extension of television and cinema, with graetly increased flexibility in use. It is thus a hybrid medium (like television itself), borrowing essential features from film and television for content and forms and from the book and music industries for means of distribution (separate items of content rented or sold). Yet another innovation, CD-ROM (atanding for compact disc, read only memory), provides flexible and easy access to very large stores of information, by way of computer-readable discs. In general, the new media have bridged differences both between media (convergence of technology), na d also between public and private definitions of communication activities. The same medium can now be used interchangeably for public and private purposes and both for receiving and self-production (for example, the video ‘camcorder’). In the long run this has implications not only for definitions of separate media but also for the boundaries of the media institutions.
            Although the ‘new media’ were, in their initial stages, taken up mainly as extensions of existing audiovisual media, they represent a challenge to the production, distribution and basic forms of the latter. Production, for example, need no longer be concentrated in large centrally located organizations (typical of film and television), nor linked integrally with distribution (as with most television and radio), nor so centrally controlled. Nor are print media immune to fundamental change, as a direct electronic delivery of print to households becemes reality, and as the organization of production and the work of journalist and authors become increasingly computerized.

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Selasa, 27 Desember 2011

Definition of Recorded Music


Relatively little attention has been given to music as a mass medium in theory and research, perhaps because the implications for society have never been clear, nor have there been sharp discontinuities in the possibilities offered by successive technologies of recording and reproduction/transmission. Recorded and replayed music has not even enjoyed a convenient label to describe its numerous media manifestations, although the generic term ‘phonogram’ has been suggested (Burnett, 1990) to cover music accessed via record players, tape players, compact disc players, VCRs (video cassette recorder), broadcasting and cable, etc.

            The recording and replaying of music began around 1880 and were quite rapidly diffused, on the basis of the wide appeal of popular songs and melodies. Their popularity and diffusion were closely related to the already established place of the piano (and other instruments) in the home. Much radio content since the early days has consisted of music, even more so sine the rise of television. While there may have been a gradual tendency for the ‘phonogram’ to replace private music-making, there has never been a large gab between mass mediated music and personal and direct audience enjoyment of musical performance (concerts, choirs, bands, dances, etc.). The phonogram makes music of all kinds more accessible at all times in more places to more people, but it is hard to discern a fundamental discontinuity in the general character of popular musical experience, despite changes of genre and fashion.

            Even so, there have been big changes in the broad character of the phonogram, since its beginnings. The first change was the addition of radio broadcast music to phonogram records, which greatly increased the range and amount of music available and extended it to many more people than had access to gramophones. The transition of radio from a family to an individual medium in the post-war ‘transistor’ revolution was a second major change, which opened up a relatively new market of young people for what became a burgeoning record industry. Each development since then – portable tape players, The Sony Walkman, the compact disc and music video – has given the spiral another twist, still based on a predominantly young audience. The result has been a mass media industry which is very interrelated, concentrated in ownership and internationalized (Negus, 1993). Despite this, music media have significant radical and creative strands which have developed despite increased commercialization (Firth, 1981).

            While the social significant of music has received only sporadic attention, its relationship to social events has always been recognized and occasionally celebrated or feared. Since the rise of the youth-based industry in the 1960s, mass-mediated popular music has been linked to youthful idealism and political concern, to supposed degeneration and hedonism, to drug-taking, violence and antisocial attitudes. Music has also played a part in various nationalist independence movements (e.g. Ireland or Estonia). While the content of music has never been easy to regulate, its distribution has predominantly been in the hands of established institutions, and its percieved deviant tendencies subject to some sanctions. Aside from this,  most popular music has continued to express and respond to rather enduring and conventional values and personal needs.

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Lirik Lagu Dewa – Kangen (Ku Akan Datang)


Ku terima suratmu telah kubaca dan aku mengerti
Betapa merindunya dirimu akan hadirnya diriku
Di dalam hari-harimu bersama lagi

Kau tanyakan padaku kapan aku akan kembali lagi
Katamu kau tak kuasa melawan gejolak di dalam dada
Yang membara menahan rasa pertemuan kita nanti
Saat bersama dirimu

*reff
Semua kata rindumu semakin membuatku tak berdaya
Menahan rasa ingin jumpa
Percayalah padaku aku pun rindu kamu
Ku akan pulang melepas semua kerinduan yang terpendam

Kautuliskan padaku kata cinta yang manis dalam suratmu
Kaukatakan padaku saat ini ku ingin hangat pelukmu
Dan belai lembut kasihmu
tak kan kulupa selamanya
Saat bersama dirimu

*reff
Semua kata rindumu semakin membuatku tak berdaya
Menahan rasa ingin jumpa
Percayalah padaku aku pun rindu kamu
Ku akan pulang melepas semua kerinduan yang terpendam

Jangan katakan cinta
Menambah beban rasa
Sudah simpan saja sedihmu itu
Ku akan datang

*reff 2x
Semua kata rindumu semakin membuatku tak berdaya
Menahan rasa ingin jumpa
Percayalah padaku aku pun rindu kamu
Ku akan pulang melepas semua kerinduan yang terpendam

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