Jual Genset Doosan Murah di Tasikmalaya Hubungi : 0821 - 1310 - 3112/(021) 9224 - 2423 PT. Tribuana Diesel Adalah penjualan Generating-Set (genset) berkualitas import (builtup) bagi anda yang membutuhkan product berkualitas serta pengadaan yang cepat urgent tanpa berbelit-belit, Genset kami di lengkapi dengan dokumen Certificate Of Original , Manual book engine dan manual book generator, Kami sediakan Genset kapasitas 10 Kva - 650Kva (ANDA PESAN KAMI ANTAR).
Jual Genset Doosan Murah di Tasikmalaya Kami juga menerima pembuatan box silent dan perakitan diesel generator set. Produk kami meliputi berbagai diesel generator set model open, silent lokal yang ukuranya menyesuaikan lokasi pondasi genset, mobile/ trailer . Sebagian besar mesin kami menggunakan Merk : Perkins, Cummins, Deutz, Lovol, Isuzu Foton dengan generator Leroy Somer, Stamford, kualitas terbaik brushless alternator. Jual Genset Doosan Murah di Tasikmalaya
Jual genset cummins kapasitas 10 kva - 650kva Murah di Lampung Timur Hubungi : 0821 - 1310 - 3112/(021) 9224 - 2423 PT. Tribuana Diesel Adalah penjualan Generating-Set (genset) berkualitas import (builtup) bagi anda yang membutuhkan product berkualitas serta pengadaan yang cepat urgent tanpa berbelit-belit, Genset kami di lengkapi dengan dokumen Certificate Of Original , Manual book engine dan manual book generator, Kami sediakan Genset kapasitas 10 Kva - 650Kva (ANDA PESAN KAMI ANTAR). Jual genset cummins kapasitas 10 kva - 650kva Murah di Lampung Timur
INDUSTRI SEWA MOBIL MELAJU CEPAT, UNTUNG PUN DIRAIH
Ceruk peluang bisnis bagi industri sewa mobil melaju pesat seiring dengan pertumbuhan ekonomi yang semakin meningkat di Indonesi
Ceruk peluang bisnis bagi industri sewa mobil melaju pesat seiring dengan pertumbuhan ekonomi yang semakin meningkat di Indonesia dan telah membuat banyak perusahaan bertumbuh besar. Alat transportasi pun juga semakin dibutuhkan untuk dapat memudahkan mobilisasi demi kepentingan bisnis. "Sekarang memang banyak jasa sewa mobil yang berdiri atau tumbuh karena kebutuhan perusahaan semakin banyak. Baik itu transportasi karyawan hingga transportasi untuk mengangkut hasil tambang," Prodjo Sunarjanto, Presiden Direktur PT Adi Sarana Armada (ASSA), salah satu perusahaan sewa mobil perusahaan terbesar di Indonesia.
Dia juga mengakui sebelum ini industri sewa mobil untuk perusahaan memang sudah banyak pemainnya, tetapi dengan pertumbuhan ekonomi seperti ini telah membuat bisnis semakin menggiurkan. Oleh karena itu dia berharap ekonomi Indonesia bisa terus meningkat atau setidaknya terjaga agar ritme industri sewa mobil bisa terus bertahan. "Kalau pertumbuhan ekonomi jelek atau anjlok kayak waktu tahun 1998, ya kacau. Perusahaan pada bangkrut, tingkat sewa juga menurun drastis," ungkapnya.
Pendorong lainnya adalah persentase Return on Equity (ROE) atau rasio tingkat pengembalian atas modal yang tinggi yang mengindikasikan apakah perusahaan dikelola dengan baik dan efisien. Semakin tinggi persentase artinya semakin efisien sebuah perusahaan dikelola. "Perusahaan kami tahun ini akan menargetkan ROE mencapai 18%," harapnya. Dia juga menambahkan, model bisnis sewa mobil memang padat modal sehingga modal yang dibutuhkan tinggi.
Industri Sewa Mobil Didukung Perbankan
Cara manajemen dan skema keuangan pun telah menjadi penting untuk dapat menghasilkan keuntungan. "Banyak perusahaan yang salah menerapkan hal ini karena tidak menyadari industri ini telah memiliki skema yang berbeda, jadi banyak perusahaan yang tidak berkembang atau malah bisa tutup. Salah satu skema yang biasa terjadi adalah kompetisi dengan harga murah, tidak memperhitungkan banyak hal hingga akhirnya kekurangan dana untuk berkembang," tambahnya. Oleh karena itu, ASSA memutuskan tidak akan main banting-bantingan harga.
Risiko yang tersebar juga menjadi andalan industri rental mobil untuk terus melaju pertumbuhannya. Prodjo juga menjelaskan, banyak bank yang berminat untuk memberikan pinjaman karena kemungkinan gagal bayar sangat kecil. Alasannya, industri rental mobil merupakan bisnis padat modal berupa mobil atau kendaraan lainnya. Modal ini pun bisa dicairkan dengan cara menjual sesuai dengan kebutuhan yang diperlukan.
"Kita kan bisnis padat modal, banyak mobil yang kita miliki yang harganya minimal Rp 150 juta. Kalau ada utang atau apa-apa yang butuh uang kita tinggal jual. Apalagi kalau ekonomi sedang anjlok berarti harga mobil dan kurs dolar meningkat, artinya harga jual mobil bekas juga meningkat. Pengalaman saya waktu tahun 1998, harga mobil Rp 30 juta bisa dijual Rp 100 juta," jelasnya. Hal ini membuat risiko perusahaan tersebar sehingga cenderung lebih aman. "Oleh karena itu, bank juga selalu siap meminjamkan uangnya karena senang dengan bisnis model industri rental mobil," tegasnya.
RENCANA KEJAGUNG UNTUK JEMPUT PAKSA MANTAN DIRUT PT TELKOM
saco-indonesia.com, Pengusutan dalam kasus dugaan korupsi proyek pengadaan Mobil Pusat Layanan Internet Kecamatan (MPLIK) masih
saco-indonesia.com, Pengusutan dalam kasus dugaan korupsi proyek pengadaan Mobil Pusat Layanan Internet Kecamatan (MPLIK) masih akan terus ditelusuri oleh Kejaksaan Agung (Kejagung).
Namun, hingga kini mantan Direktur Enterprise PT Telkom Indonesia Tbk, Arief Yahya selaku perusahaan BUMN, pemenang tender tak kunjung memenuhi pemeriksaaan Kejagung.
Padahal, ia diduga telah mengetahui mengenai dugaan korupsi dalam proyek senilai Rp1,4 triliun di Kementerian Komunikasi dan Informatika (Kemenkominfo) tahun 2010-2012 itu.
Atas hal itu, Jaksa Agung Basrief Arief telah menegaskan, kalau pihaknya akan menjemput paksa bila yang bersangkutan kembali mangkir dari pemanggilan yang telah dilakukan.
"Pemanggilan dilakukanlah secara formal. Kita panggil 1, 2 kali tidak hadir, kita panggil lagi tetap tidak hadir kita lakukan penjemputan paksa. Kan ada aturan itu kenapa tidak," katanya usai memaparkan hasil kinerja akhir tahun Kejagung di Gedung Kejagung, Jakarta Selatan.
Sejauh ini, sambung Basrief, jajarannya masih akan terus melakukan pengembangan atas kasus tersebut dan akan dituntaskan.
Basrief juga menambahkan, bukan hanya Arief Yahya yang saja akan diperiksa, siapapun yang diduga terlibat atau mengetahui kasus ini juga akan diperiksa tak terkecuali Menteri Kominfo, Tifatul Sembiring.
"Siapapun nanti kalau bagian dari itu akan dimintai keterangan, dari pemeriksaan sampai saat ini belum sampai ke sana (Tifatul), tidak ada hambatan apapun, kita belum ada laporan," pungkasnya.
Editor : Dian Sukmawati
Ghostly Voices From Thomas Edisonís Dolls Can Now Be Heard
Though Robin and Joan Rolfs owned two rare talking dolls manufactured by Thomas Edison’s phonograph company in 1890, they did not dare play the wax cylinder records tucked inside each one.
The Rolfses, longtime collectors of Edison phonographs, knew that if they turned the cranks on the dolls’ backs, the steel phonograph needle might damage or destroy the grooves of the hollow, ring-shaped cylinder. And so for years, the dolls sat side by side inside a display cabinet, bearers of a message from the dawn of sound recording that nobody could hear.
In 1890, Edison’s dolls were a flop; production lasted only six weeks. Children found them difficult to operate and more scary than cuddly. The recordings inside, which featured snippets of nursery rhymes, wore out quickly.
Yet sound historians say the cylinders were the first entertainment records ever made, and the young girls hired to recite the rhymes were the world’s first recording artists.
Year after year, the Rolfses asked experts if there might be a safe way to play the recordings. Then a government laboratory developed a method to play fragile records without touching them.
The technique relies on a microscope to create images of the grooves in exquisite detail. A computer approximates — with great accuracy — the sounds that would have been created by a needle moving through those grooves.
In 2014, the technology was made available for the first time outside the laboratory.
“The fear all along is that we don’t want to damage these records. We don’t want to put a stylus on them,” said Jerry Fabris, the curator of the Thomas Edison Historical Park in West Orange, N.J. “Now we have the technology to play them safely.”
Last month, the Historical Park posted online three never-before-heard Edison doll recordings, including the two from the Rolfses’ collection. “There are probably more out there, and we’re hoping people will now get them digitized,” Mr. Fabris said.
The technology, which is known as Irene (Image, Reconstruct, Erase Noise, Etc.), was developed by the particle physicist Carl Haber and the engineer Earl Cornell at Lawrence Berkeley. Irene extracts sound from cylinder and disk records. It can also reconstruct audio from recordings so badly damaged they were deemed unplayable.
“We are now hearing sounds from history that I did not expect to hear in my lifetime,” Mr. Fabris said.
The Rolfses said they were not sure what to expect in August when they carefully packed their two Edison doll cylinders, still attached to their motors, and drove from their home in Hortonville, Wis., to the National Document Conservation Center in Andover, Mass. The center had recently acquired Irene technology.
Cylinders carry sound in a spiral groove cut by a phonograph recording needle that vibrates up and down, creating a surface made of tiny hills and valleys. In the Irene set-up, a microscope perched above the shaft takes thousands of high-resolution images of small sections of the grooves.
Stitched together, the images provide a topographic map of the cylinder’s surface, charting changes in depth as small as one five-hundredth the thickness of a human hair. Pitch, volume and timbre are all encoded in the hills and valleys and the speed at which the record is played.
At the conservation center, the preservation specialist Mason Vander Lugt attached one of the cylinders to the end of a rotating shaft. Huddled around a computer screen, the Rolfses first saw the wiggly waveform generated by Irene. Then came the digital audio. The words were at first indistinct, but as Mr. Lugt filtered out more of the noise, the rhyme became clearer.
Recently, the conservation center turned up another surprise.
In 2010, the Woody Guthrie Foundation received 18 oversize phonograph disks from an anonymous donor. No one knew if any of the dirt-stained recordings featured Guthrie, but Tiffany Colannino, then the foundation’s archivist, had stored them unplayed until she heard about Irene.
Last fall, the center extracted audio from one of the records, labeled “Jam Session 9” and emailed the digital file to Ms. Colannino.
“I was just sitting in my dining room, and the next thing I know, I’m hearing Woody,” she said. In between solo performances of “Ladies Auxiliary,” “Jesus Christ,” and “Dead or Alive,” Guthrie tells jokes, offers some back story, and makes the audience laugh. “It is quintessential Guthrie,” Ms. Colannino said.
The Rolfses’ dolls are back in the display cabinet in Wisconsin. But with audio stored on several computers, they now have a permanent voice.
Rhapsody, a Lofty Literary Journal, Perused at 39,000 Feet
Last summer at a writers’ workshop in Oregon, the novelists Anthony Doerr, Karen Russell and Elissa Schappell were chatting over cocktails when they realized they had all published work in the same magazine. It wasn’t one of the usual literary outlets, like Tin House, The Paris Review or The New Yorker. It was Rhapsody, an in-flight magazine for United Airlines.
It seemed like a weird coincidence. Then again, considering Rhapsody’s growing roster of A-list fiction writers, maybe not. Since its first issue hit plane cabins a year and a half ago, Rhapsody has published original works by literary stars like Joyce Carol Oates, Rick Moody, Amy Bloom, Emma Straub and Mr. Doerr, who won the Pulitzer Prize for fiction two weeks ago.
As airlines try to distinguish their high-end service with luxuries like private sleeping chambers, showers, butler service and meals from five-star chefs, United Airlines is offering a loftier, more cerebral amenity to its first-class and business-class passengers: elegant prose by prominent novelists. There are no airport maps or disheartening lists of in-flight meal and entertainment options in Rhapsody. Instead, the magazine has published ruminative first-person travel accounts, cultural dispatches and probing essays about flight by more than 30 literary fiction writers.
An airline might seem like an odd literary patron. But as publishers and writers look for new ways to reach readers in a shaky retail climate, many have formed corporate alliances with transit companies, including American Airlines, JetBlue and Amtrak, that provide a captive audience.
Mark Krolick, United Airlines’ managing director of marketing and product development, said the quality of the writing in Rhapsody brings a patina of sophistication to its first-class service, along with other opulent touches like mood lighting, soft music and a branded scent.
“The high-end leisure or business-class traveler has higher expectations, even in the entertainment we provide,” he said.
Some of Rhapsody’s contributing writers say they were lured by the promise of free airfare and luxury accommodations provided by United, as well as exposure to an elite audience of some two million first-class and business-class travelers.
“It’s not your normal Park Slope Community Bookstore types who read Rhapsody,” Mr. Moody, author of the 1994 novel “The Ice Storm,” who wrote an introspective, philosophical piece about traveling to the Aran Islands of Ireland for Rhapsody, said in an email. “I’m not sure I myself am in that Rhapsody demographic, but I would like them to buy my books one day.”
In addition to offering travel perks, the magazine pays well and gives writers freedom, within reason, to choose their subject matter and write with style. Certain genres of flight stories are off limits, naturally: no plane crashes or woeful tales of lost luggage or rude flight attendants, and nothing too risqué.
“We’re not going to have someone write about joining the mile-high club,” said Jordan Heller, the editor in chief of Rhapsody. “Despite those restrictions, we’ve managed to come up with a lot of high-minded literary content.”
Guiding writers toward the right idea occasionally requires some gentle prodding. When Rhapsody’s executive editor asked Ms. Russell to contribute an essay about a memorable flight experience, she first pitched a story about the time she was chaperoning a group of teenagers on a trip to Europe, and their delayed plane sat at the airport in New York for several hours while other passengers got progressively drunker.
“He pointed out that disaster flights are not what people want to read about when they’re in transit, and very diplomatically suggested that maybe people want to read something that casts air travel in a more positive light,” said Ms. Russell, whose novel “Swamplandia!” was a finalist for the 2012 Pulitzer Prize.
She turned in a nostalgia-tinged essay about her first flight on a trip to Disney World when she was 6. “The Magic Kingdom was an anticlimax,” she wrote. “What ride could compare to that first flight?”
Ms. Oates also wrote about her first flight, in a tiny yellow propeller plane piloted by her father. The novelist Joyce Maynard told of the constant disappointment of never seeing her books in airport bookstores and the thrill of finally spotting a fellow plane passenger reading her novel “Labor Day.” Emily St. John Mandel, who was a finalist for the National Book Award in fiction last year, wrote about agonizing over which books to bring on a long flight.
“There’s nobody that’s looked down their noses at us as an in-flight magazine,” said Sean Manning, the magazine’s executive editor. “As big as these people are in the literary world, there’s still this untapped audience for them of luxury travelers.”
United is one of a handful of companies showcasing work by literary writers as a way to elevate their brands and engage customers. Chipotle has printed original work from writers like Toni Morrison, Jeffrey Eugenides and Barbara Kingsolver on its disposable cups and paper bags. The eyeglass company Warby Parker hosts parties for authors and sells books from 14 independent publishers in its stores.
JetBlue offers around 40 e-books from HarperCollins and Penguin Random House on its free wireless network, allowing passengers to read free samples and buy and download books. JetBlue will start offering 11 digital titles from Simon & Schuster soon. Amtrak recently forged an alliance with Penguin Random House to provide free digital samples from 28 popular titles, which passengers can buy and download over Amtrak’s admittedly spotty wireless service.
Amtrak is becoming an incubator for literary talent in its own right. Last year, it started a residency program, offering writers a free long-distance train trip and complimentary food. More than 16,000 writers applied and 24 made the cut.
Like Amtrak, Rhapsody has found that writers are eager to get onboard. On a rainy spring afternoon, Rhapsody’s editorial staff sat around a conference table discussing the June issue, which will feature an essay by the novelist Hannah Pittard and an unpublished short story by the late Elmore Leonard.
“Do you have that photo of Elmore Leonard? Can I see it?” Mr. Heller, the editor in chief, asked Rhapsody’s design director, Christos Hannides. Mr. Hannides slid it across the table and noted that they also had a photograph of cowboy spurs. “It’s very simple; it won’t take away from the literature,” he said.
Rhapsody’s office, an open space with exposed pipes and a vaulted brick ceiling, sits in Dumbo at the epicenter of literary Brooklyn, in the same converted tea warehouse as the literary journal N+1 and the digital publisher Atavist. Two of the magazine’s seven staff members hold graduate degrees in creative writing. Mr. Manning, the executive editor, has published a memoir and edited five literary anthologies.
Mr. Manning said Rhapsody was conceived from the start as a place for literary novelists to write with voice and style, and nobody had been put off that their work would live in plane cabins and airport lounges.
Still, some contributors say they wish the magazine were more widely circulated.
“I would love it if I could read it,” said Ms. Schappell, a Brooklyn-based novelist who wrote a feature story for Rhapsody’s inaugural issue. “But I never fly first class.”