JUAL GENSET LOVOL MURAH DI JAKARTA

Jual Sparepart Genset Lovol 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 Sparepart Genset Lovol di Lampung Timur 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 Sparepart Genset Lovol di Lampung Timur

Jual Sparepart Genset Lovol di Lampung Timur

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sparepart genset lovol untuk semua kapasitas Murah di Dumai

sparepart genset lovol untuk semua kapasitas Murah di Dumai 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). sparepart genset lovol untuk semua kapasitas Murah di Dumai

saco-indonesia.com, Pertama kali muncul pada 2012 lalu, sudah banyak kejanggalan yang telah melingkupi kasus IM2. Sikap tegas da

saco-indonesia.com, Pertama kali muncul pada 2012 lalu, sudah banyak kejanggalan yang telah melingkupi kasus IM2. Sikap tegas dan konsisten Indosat yang telah menjalani proses hukum secara lurus dan sesuai dengan ketentuan yang ada malah mempersulit geraknya di pengadilan.

Kekurangtahuan jaksa pada proses teknis di industri telekomunikasi telah membuat kasus tersebut akan terasa makin sulit bagi Indosat dan makin jauh dari keadilan yang telah didambakan.

Suara dari dunia internasional yang relatif lebih tahu mengenai proses kerja sama di industri telekomunikasi pun juga hanya dianggap sebagai angin lalu bagi penegak hukum. Setelah disalahkan di tingkat Pengadilan Negeri Tipikor, mantan Dirut IM2 Indar Atmanto pun juga maju ke Pengadilan Tinggi DKI Jakarta dengan harapan proses hukumnya akan lebih adil dan fair.

Kenyataannya, Pengadilan Tinggi (PT) DKI Jakarta malah telah memperberat hukuman Indar Atmanto dari sebelumnya hanya 4 tahun menjadi 8 tahun. Selain telah memperberat hukuman, dalam putusan majelis hakim PT yang diketuai Syamsul Bachri Bapa Tua juga telah menetapkan denda Rp 200 juta subsider 3 bulan penjara bagi Indar. Denda itu sesuai vonis Pengadilan Tipikor. Pertimbangan penambahan hukuman, karena kerugian dalam kasus ini telah dianggap sangat signifikan karena nilainya di atas Rp 1 triliun.

Keputusan Pengadilan Tinggi itu tentunya akan menyakitkan komunitas telematika di Indonesia dan seluruh dunia karena keputusan tersebut sama saja membuat penyelenggara jasa internet lainnya illegal, sehingga sama saja akses internet juga ilegal.

Karena, tak ada penyelenggara jasa internet yang telah memiliki infrastruktur BTS sendiri dan mereka hanya telah memiliki server untuk basis data pelanggan. Model bisnis ISP adalah pelayanan bukan penyediaan infrastruktur. ISP juga merupakan reseller jaringan milik operator yang telah memberikan layanan kepada pengguna akhir dan warnet.

Izin ISP sendiri sangat berbeda dengan izin operator penyelenggara telekomunikasi, sehingga model bisnis ISP memang legal menurut UU Telekomunikasi No 36/1999.

Bila IM2 telah dinyatakan bersalah, maka ada lebih dari 200 penyedia jasa internet (Internet Service Provider/ISP) yang telah menerapkan model bisnis yang sama juga harus dinyatakan bersalah dan membayar bea hak penggunaan (BHP) frekuensi sejumlah yang telah dituduhkan kepada IM2 sebesar Rp 1,3 triliun.

Padahal, ratusan ISP telah beroperasi dengan skala usaha kecil dan menengah (UMKM), yang secara alami mustahil membayar Rp 1,3 triliun. Dampaknya, mereka akan bisa bangkrut dan tidak bisa menyediakan jasa internet, yang berdampak pada terhentinya layanan internet (Kiamat Internet). Sehingga akan dapat mengganggu ekonomi secara keseluruhan.

Selain itu, Indonesia juga bisa terisolasi dari dunia internasional, karena tanpa internet, maka Indonesia seperti katak dalam tempurung, yang rakyatnya tidak bisa berkembang. Pemerintah pun terkena imbasnya, karena tanpa internet, roda pemerintahan tak akan bisa berjalan sama sekali.


Editor : Dian Sukmawati

saco-indonesia.com, Petugas Buser Polsek Pasar Kemis, Kabupaten Tangerang telah menembak tersangka komplotan pencuri kabel PLN,

saco-indonesia.com, Petugas Buser Polsek Pasar Kemis, Kabupaten Tangerang telah menembak tersangka komplotan pencuri kabel PLN, karena telah melawan saat disergap, Minggu(9/2) kemarin .

Menurut Kapolsek Pasar Kemis Kompol Afroni Sugianto, tiga pelaku pencurian kabel listrik SN, 25, JM, 23,  dan HO,43. Ketiga tersangka telah diketahui warga mencuri kabel milik PLN di gardu listrik di Kuta Bumi dan mengangkutnya dengan mobil Toyota Avanza hitam

Warga yang telah melihat juga sempat mencatat nomer polisi mobil yang dinaiki tersangka dan telah dilaporkan ke polsek Pasar Kemis.

Atas laporan tersebut polisi kemudian telah melacak mobil tersangka. Tim buser dipimpin kanit reskrim Ipda Yan Hendra telah berhasil melacak tersangka di wilayah Sepatan kabupaten Tangerang.

“Saat kami sergap tersangka mendorong dan ingin melarikan diri sehingga kami berhasil melumpuhkan HR dengan timah panas,” tegas Yan Hendra

Petugas telah berhasil menyita barang bukti tas berisi 4 obeng, kunci segitiga, pisau curter, garpu, kunci leter T, gunting besi, 4 gulungan kabel listrik seberat 400 kg sepanjang 10 KM, baju seragam logo PLN dan mobil Avanza.

Menurut kapolsek, pelaku kalo beraksi memakai baju logo PLN dan sudah 18 kali beraksi. Dengan rincian di Pasar Kemis 5 kali, di Kalimalang 7 kali, 5 kali di Kalideres. “Kami juga masih melacak penadah kabel curian,”jelasnya.


Editor : Dian Sukmawati

Photo
 
United’s first-class and business fliers get Rhapsody, its high-minded in-flight magazine, seen here at its office in Brooklyn. Credit Sam Hodgson for The New York Times

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.

 

Photo
 
Sean Manning, executive editor of Rhapsody, which publishes works by the likes of Joyce Carol Oates, Amy Bloom and Anthony Doerr, who won a Pulitzer Prize. Credit Sam Hodgson for The New York Times

 

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.

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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.”

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.

Audio

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.

Audio

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.

“That was the Eureka moment,” Mr. Rolfs said.

In 1890, a girl in Edison’s laboratory had recited:

There was a little girl,

And she had a little curl

Audio

Right in the middle of her forehead.

When she was good,

She was very, very good.

But when she was bad, she was horrid.

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.

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