 Anggota sejak Nov '06
Bahasa yang dikerjakan: Inggris ke Indonesia
Indonesia ke Inggris
Belanda ke Indonesia
Jerman ke Indonesia |
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Certified Translator for Legal Translations from English to Indonesian | Penerjemah freelance,  Anggota terverifikasi
Penerjemah ini sedang membantu melokalisasi ProZ.com ke dalam Indonesia | | Translation, Editing/proofreading | | Spesialisasi dalam: | | Bisnis/Niaga (umum) | Pemasaran / Riset Pemasaran | | Transpor / Transportasi / Perkapalan | Periklanan / Hubungan Masyarakat | | Hukum: Kontrak | Hukum (umum) | | Ilmu Sosial, Sosiologi, Etika, dll. | Umum / Konversasi / Sapaan / Surat | | Sertifikat, Diploma, Lisensi, Riwayat Hidup |
| Juga menerjemahkan dalam: | | Pemerintah / Politik | Internasional Organisasi/Pengembangan/Kerjasama | | Seni, Kesenian & Kerajinan Tangan, Lukisan | Puisi & Literatur |
More Less | | Pertanyaan dijawab: 294, Jumlah pertanyaan: 0 Easy / 28 PRO, poin tingkat-PRO: 396 | 0 proyek dimasukkan
| Terjemahan Contoh Disertakan: 2 | Inggris ke Indonesia: 5th ProZ.com Translation Contest - Entry #2683 |
In collaboration with Hikmat |
| Teks sumber - Inggris
All travel is now merely a means of moving a camera from place to place, all travellers are ruled by the all-powerful lens. Visitors old-fashioned enough to wish only to stand and look with their anachronistic eyes are shoved aside by the photographers, who take it for granted that while they do their ritual focusing, nothing else may move or cross their vision. Those peculiar souls without a camera must step aside for those more properly occupied, must wait while the rituals take place, and must bide their time while whole coaches stop and unleash upon the landscape the Instamatic God. And the populations of whole countries seeing themselves cannibalised, swallowed up, vacuumed into the black-ringed staring eye, wrench what they can from the cannibals. You want picture my house, my camel? You pay.
None of this would matter, perhaps, if anything worthwhile was being accomplished. If all the constant busyness and clicking produced, at its end, what had not existed before, images of beauty captured or truth told. But, sadly, this isn't so. The camera is simply graffiti made respectable.
The camera is the means by which we stamp ourselves on everything we see, under cover of recording the Wonders of the World already wonderfully
recorded by professionals and on sale at every corner bookshop and newsagent. But what use to show Aunt Maud, back home, postcards of the Tuscan landscape, since we are not in the picture to prove that we were there?
No stretch of rocks has verity unless I am within it. No monument exists
but for my wife, leaning against it. No temple is of interest without my face beside it, grinning. With my camera I appropriate everything beautiful, possess it, shrink it, domesticate it, and reproduce it on my blank sitting-room wall to prove to a selected audience of friends and family the one absolutely vital fact about these beauties: I saw them, I was there, I photographed them, and, ergo, they are.
from "Amateur Photography: the World as it isn't and our Fred" by Jill Tweedie in the Guardian | Penerjemahan - Indonesia
Dewasa ini wisata pelancongan tidaklah lebih dari sekedar cara memindahkan sebuah kamera dari satu tempat ke tempat lainnya, semua pelancong berada di bawah kendali lensa kamera yang benar-benar berkuasa. Pengunjung yang cukup ketinggalan jaman, yang hanya ingin berdiri dan memandang keindahan dengan mata kuno mereka didesak minggir oleh para fotografer, yang menganggap dengan sendirinya bahwa tidak boleh ada yang bergerak atau menghalangi pandangan mereka ketika mereka melakukan ritual mereka memfokuskan gambar. Manusia-manusia aneh tanpa kamera itu harus menyingkir kepada mereka yang lebih berbobot, harus menunggu ketika ritual ini berlangsung, dan harus menantikan giliran mereka ketika seluruh isi bis berhenti dan merelakan seluruh bentang alam kepada Sang Dewa Kodak Instamatic. Dan penduduk di seluruh penjuru dunia yang melihat diri mereka terkanibal, tertelan, tersedot oleh pesona lingkaran mata hitam kamera, kemudian memeras apapun yang dapat mereka peroleh dari para kanibal itu. Anda ingin foto rumahku, ontaku? Anda harus membayar.
Mungkin semua ini tidak ada artinya setelah semua kesibukan malar dan suara jepretan dapat menghasilkan sesuatu yang berharga, sesuatu yang belum pernah ada sebelumya yaitu terkamnya semua citra keindahan atau terungkapnya kebenaran. Namun sayangnya, bukan itu yang terjadi. Kamera hanyalah bagaikan coretan pada dinding yang diagung-agungkan.
Kamera adalah cara di mana kita menorehkan diri kita dalam semua hal yang kita lihat, dengan dalih untuk merekam Keajaiban Dunia yang sesungguhnya telah direkam dengan amat indahnya oleh para juru foto profesional dan dijual di toko-toko buku dan agen-agen koran di setiap pelosok. Namun apa gunanya memamerkan kepada Bibi Maud di rumah sana, sebuah kartu pos berisi foto bentang alam daerah Toskana kalau kita sendiri tidak ada dalam gambar itu sebagai bukti bahwa kita pernah ada di sana?
Tak ada kebenaran dalam rentang bebatuan kecuali aku ada di dalamnya. Tak ada monumen megah jika istriku tidak ada berdiri bersandar di sampingnya. Tak ada candi yang menarik perhatian jika wajahku yang menyeringai tidak ada di sisinya. Dengan kameraku, aku merampas semua yang indah, menguasainya, mengerdilkannya, menjinakkannya, dan membuat salinannya pada dinding ruang tamuku yang melompong untuk membuktikan kepada beberapa handai tolan dan keluarga yang menyaksikannya mengenai satu fakta mutlak yang amat penting mengenai keindahan ini: Adanya itu semua karena Aku melihatnya, Aku berada di sana, Aku mengambil gambarnya.
dari "Amateur Photography: the World as it isn't and our Fred" oleh Jill Tweedie dalam harian Guardian | | Indonesia ke Inggris: Jason Monet | Teks sumber - Indonesia
Jason Monet, Impresionisme,
Claude Monet
Oleh Agus Dermawan T.
Dengan kuas besar yang dilumuri cat ia menyapukan goresannya yang tegar. Warna-warna yang sudah dimatangkan di atas palet kembali diaduk di atas kanvasnya, hingga menjelma menjadi warna-warna baru. Dengan kuas besar, dengan warna-warna baru itu, dan dengan spontanitasnya yang menggebu, ia lantas mentransformasikan segala yang dilihatnya, mengilusikan volume yang dicermatinya, menarik perspektif yang dieja oleh pandangannya. Sehingga yang lahir ke hadapan kita kemudian adalah: lukisan-lukisan yang menyajikan impresi-impresi tentang segala benda yang seolah dibuat dengan tergesa-gesa. Sejumlah lukisan yang mengedepankan sapuan dan warna berwatak kasar dan penuh gelora. Atau seni lukis yang selalu mengedepankan dua komponen itu (bentuk serta sapuan dan warna) secara simultan, bersama-sama.
Itulah lukisan Jason Monet, pelukis kelahiran London, Inggris, 1938. namun di dalam karya-karyanya yang menyandang spirit vibrasi vitae (kekasaran dalam mengekspresikan segala sesuatu), ternyata Jason kelihatan selalu ingin menghadirkan tema-tema yang lembut. Pohon nyiur melambai dengan perdu yang menunggu di bawahnya, pemandangan persawahan dengan air kesuburan yang mengenang, sudut-sudut bangunan pura yang menunjukkan kehalusan ukiran, Atau gadis cantik duduk di serambi, perahu berlabuh di bawah pohon waru, serta refleksi cahaya matahari di kolam tenang yang memetikkan puisi.
Dengan mencermati kelembutan aspek tematik yang kemudian tertampil sebagai konten, dan membandingkan dengan cara ungkap visualnya yang menegaskan kegarangan, manifestasi Jason Monet segera menawarkan paradoks itulah yang sebenarnya yang menjadi kekuatannya. Kontrasitas kondisi itulah yang menghadirkan karya-karyanya memiliki gaya bicara yang khas. Lukisan-lukisannya bagai puisi cinta yang dibacakan dengan penuh seru, bagai diiringi gendang bertalu-talu.
Namun siapa pun mengerti, upaya penyatuan dua kondisi seni rupa semacam ini memerlukan kelengkapan perangkat mencipta yang penuh keahlian, dan perangkat itu meliputi ihwal penguasaan atas semua bentuk, pemahaman dan penghayatannya atas atmosfer yang akan diangkat sebagai denyut tema, serta sensibilitasnya dalam mengolah medium seperti kuas, cat, warna. Sisik melik “elementer” yang justru merupakan syarat mutlak, conditio sine qua non, bagi pelukis yang memilih jalur itu. Beratus karya cipta Jason Monet, lulusan perguruan seni rupa di London, semua perangkat itu tumbuh lewat apresiasi kita yang mendalam.
Sebagian besar dari ciptaan Jason Monet nampak berobyek lingkungan alam dan pemandangan, dengan tentu daerah Bali sebagai yang utama. Kesukaannya atas ini nampaknya diberangkatkan dari tradisi yang secara tidak sadar ia warisi.
Jason Monet adalah cicit dari Philippe Monet. Dan Philippe Monet, kata sejumlah media massa di Eropa, adalah paman dari Claude Monet (1840-1926), pelukis tokoh Impresionisme sangat ternama dari Prancis, Jason (ternyata) menolak data yang dianggap tafsiran ini. tapi bahwa impresionisme mempengaruhi getar seni lukisnya, adalah kenyataan yang tak bisa dipungkiri.
Impresionisme adalah sebuah aliran seni lukis yang memasalahkan cahaya sebagai bagian amat substansial dalam penciptaan seni rupa. Sementara cahaya yang absolute hanya bisa didapat serta difahami di alam terbuka. sehingga, dalam sebagian besar ciptaan kaum impresionis, alam terbuka (lingkungan dan panorama) merupakan obyek utama. Ingat karya Renoir, Sisley, Pisarro. Dan tentu adikarya Claude Monet yang menggambarkan bunga-bunga lotus di taman raya, yang kini merupakan penghuni paling prestisius Musee d’Orsay, Paris.
Meskipun Jason hanya mengambil spirit dari Impresionisme, dan menanggalkan rumus ilmiah keseniannya. Tetapi tradisi melukis alam terbuka atau pemandangan pada Jason Monet tak bisa dikaitkan dengan quasi mata rantai keturunan, yang menghasilkan “warisan kebanggaan”. Karena lebih jauh Jason juga diinspirasi kecenderungan melukis on the spot dari kelompok lain, seperti Barbizon yang bergerak di hutan Fontainebleau di Prancis Selatan tengah abad 19. Barbizon memang menganjurkan para pelukis untuk keluar dari studionya dan melukis di ruang bebas dengan keberanian menerima panas matahari dan dinginnya angin. Kelompok yang ditokohi J.F Millet dan T.Rousseau ini dipandang sebagai gerakan yang membebaskan pelukis dari kungkungan studio. Pada waktu itu, memang seniman umumnya takluk kepada cuaca, dan bersembunyi di dalam kamar kerja saja. Jason Monet yang sangat menyadari pentingnya kebebasan bergerak, mendukung prinsip-prinsip Barbizon.
Kecenderungan mengacu kepada alam ini menyentuh jagad penciptaan Jason Monet, ketika ia mengembarakan kanvas-kanvasnya di berbagai negara, bermacam kota dan desa, sampai akhirnya dirinya menemukan Bali. Berbagai sudut alam yang inspiratif dan berbagai daerah panoramic di Bali difahami sebagai wilayah yang menjadikan dirinya tenggelam dalam keterpesonaan. Untuk kemudian direngkuh sebagai subject-matter yang nyaris tak pernah ditinggalkan. Sisi-sisi pantai Sanur, pelabuhan Benoa, Pura Ulun Danu di danau Beratan kawasan Bedugul, kemegahan gunung Agung, Desa Sideman, bukit-bukit di Campuan, sawah terasiring Jatiluwih, Pacung, Ubud, atau sudut-sudut kampung di Padangbai. Daerah-daerah itu memikat mata dan hati Jason yang telah didasari tradisi melukis pemandangan.
| Penerjemahan - Inggris
Jason Monet, Impressionism,
Claude Monet
by Agus Dermawan T.
He applies firm strokes using a large paint covered brush. On the canvas he remixes the colors that he matured on his palette, to create new colors. With a large brush, using the new color, and with a raging spontaneity, he then transforms anything he sees, illustrating volumes that he observes, draws a perspective spelled out by his vision; so that the results we see are: paintings showing impressions about all kinds of objects as if they were made in a rush. Paintings that emphasize strokes and colors, forceful and full of passion. Or a form of painting that continually emphasizes those two components (one the form and two the stroke and color), simultaneously, in chorus.
Those are Jason Monet’s paintings, a painter born in London, England in 1938. Although his paintings incorporate a spirit of vibrasi vitae (roughness in expression), in fact Monet always appears to present tender themes. Waving palm trees with shrubs waiting underneath, landscapes of rice fields surrounded by fertile water, cornerstones of Balinese puras (Hindu temple structures) showing fine intricate carvings, or a pretty girl sitting on the terrace, a boat moored underneath a waru tree, a reflection of sunrays on the surface of a quiet pond reciting poetry.
While observing the tenderness of the thematic aspect that is later presented as the content, and comparing it with the visual articulation affirming his anger, Jason Monet’s manifestation immediately offers a paradox, which in fact became his greatest strength. It is this conditional contrast that gave birth to works of art spoken in a specific dialect. His paintings are like love poems recited passionately as if accompanied by an incessant beating of drums.
But everybody knows that an endeavor to unite the two conditions in fine art such as this, requires expertise of all the creational instruments, which include mastery of all forms, understanding and awareness of atmosphere to be elevated to become the thematic heartbeat, as well as a sensibility in using the media such as brush, paint, color. Mastery of the elementary skills is a conditio sine qua non for someone who chooses to be a painter. In hundreds of works by Jason Monet’s, who is a graduate from a London institute of higher learning, these instruments have grown through deep appreciation.
The objects in a majority of Monet’s works show the natural environment and landscapes, mainly of Bali. His love for this island appears to depart from the traditions which he has unconsciously inherited.
Jason Monet is the great-grandson of Philippe Monet, and according to a number of media, Philippe Monet was the uncle of Claude Monet (1840-1926), the renown French impressionist painter, which Jason Monet apparently rejects as he considers it merely as an interpretation rather then a fact. However, it can not be denied that impressionism has influenced the artistic vibrations inside of him.
Impressionism is a painting style that manipulates light as the most substantial part in the creation of art. Whereas absolute light can be obtained and understood only in open nature. Consequently, most of the impressionist works show open nature (environment and landscapes) as their main object. Remember the works by Renoir, Sisley, Pisarro, and of course a masterwork by Claude Monet depicting lotus flowers in a park, which has even become the most prestigious exhibit of the Musee d’Orsay, Paris.
Although Jason Monet only takes the essence of impressionism, thereby discarding any scientific art formulas, but the tradition of painting in open air or painting landscapes cannot be attributed to the quasi link to his heritage that resulted in a “proud heritage”. Because Jason Monet was also inspired by a trend of “on the spot” painting practiced by a another group of painters among whom was Barbizon working out of the forest of Fontainebleau, in southern France around the middle of the 19th century. Indeed Barbizon recommended painters to come out of their studios and start painting in the open air and have the courage to withstand the heat of the sun and the chill of the cold wind. This group that counted J.F. Millet and T. Rousseau as it pioneers, was considered a movement that freed the painters from the boundaries of their studios. In those days, painters tend to surrender themselves to the weather, and prefer hiding in their ateliers. Jason Monet, much aware of the importance of free movement, supported Barbizon’s principles.
This inclination toward nature has touched Jason Monet’s creative world in a period that he let his canvas wander to several countries, various cities and villages, until he finally found the island of Bali. Various inspiring corners in nature and panoramic sceneries on Bali caused him to drown into enchantment. These became a subject-matter from which he rarely departed. The shores of Sanur, the port of Benoa, the Hindu temple Pura Ulun Danu at Beratan Lake around Bedugul area, the magnificence of Agung Mountain, the Sideman village, the hills around Campuan, the terraced rice fields at Jatiluwuh, Pacung and Ubud, or the far corners of villages in Padangbai. For Jason Monet who has a tradition of painting landscapes, those regions appealed to his eyes and his heart.
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More Less | | Banking/Finance, Culinary, Dutch-Engl Oil, General, Idioms & Proverbs | | Dalam penerjemahan (tahun): 20. Terdaftar di ProZ.com: Nov 2005. Jadi anggota: Nov 2006. | | Inggris ke Indonesia (ICITAP/US DOJ Jakarta)
Indonesia ke Inggris (ICITAP/US DOJ Jakarta)
Inggris ke Indonesia (Indonesia: LBI-FIBUI, verified)
| | Association of Indonesian Translators (HPI) | | Indonesian Localization Team | | Adobe Photoshop, Microsoft Excel, Microsoft Word, MS Visio, Powerpoint | | Inggris (PDF) | 5th ProZ.com Translation Contest: Inggris to Indonesia  [download] | | Eddie R. Notowidigdo rekomendasi ProZ.com's Panduan Profesional. | | Perihal saya
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RESUME CAPSULE:
- Certified Translator for legal translations from English to Indonesian
- Native speaker of Indonesian working full-time as Freelance Translator
- Over twenty years of experience in translating and interpreting
- Twenty years working experience in Belgium, UK and USA, specialized in business, marketing, import/export (shipping), good working knowledge of Incoterms and Letters of Credit.
- Foreign language skills: English, Dutch, and German
Credentials
- Certificate for legal translations from English to Indonesian,
Awarded by Institute of International Languages, Faculty of Humanity Universitas Indonesia, Jakarta
(Lembaga Bahasa Internasional, Fakultas Ilmu Pengetahuan Budaya Universitas Indonesia – LBI-FIBUI)
Memberships
- Association of Indonesian Translators (HPI)
- ProZ.com (http://www.ProZ.com/profile/124234)
- TranslatorsCafe.com (http://edrahadi.TranslatorsCafe.com)
Services offered
- Translation / Editing / Proofreading
Language Pairs
- English – Indonesian
- Indonesian - English
- Dutch – Indonesian
- German – Indonesian
Specialization
- Business and Commerce (including correspondence)
- Business (Marketing/Marketing Research)
- Business Proposals
- Legal (Contracts)
- Art (Catalogues for Art Exhibitions)
- Education
- History
- Birth/Marriage Certificates
- Training Material (Manuals and PowerPoint presentations)
- General English / Dutch / German
Prior Experience as Interpreter (consecutive)
- Interpreter during Training courses, Seminars & Workshops, Business Meetings
Prior Experience as Translator
- English Business Correspondence for the Marketing Director of PT Timah, Jakarta
- Speech for the Indonesian Minister of Mines for presentation at the International Tin Council Meeting in London; (Ind>Eng)
- Speeches and PowerPoint presentations from Indonesian to English for presentation at international business forums;
- Business proposals, Survey Reports, Company Profiles, Corporate Code of Conduct
- Business Contracts/Agreements
- Business correspondence for Indonesian Companies, from Indonesian to English and Dutch and v.v.
- Press Releases from Indonesian to English for a reputable PR Company in Jakarta
- Legal: "Book of Evidence" of a court case in Europe (Eng>Ind)
- Translation of Indonesian Laws, Ministerial decrees, Government regulations etc. (Ind>Engl)
- Bid documents for International Tenders (Ind>Eng)
- Environment: REDD (Reducing Emissions from Deforestation and Forest Degradation); Land development in Kalimantan, Aceh) (Eng>Ind; Ind>Eng)
- Engine Manual (Ger>Eng)
- Patentschrift (Ger>Ind)
- Oil Company Drilling Report (Dut>Eng)
- Web contents of Colleges in the UK and New Zealand; (Eng>Ind)
- Web contents of an International Communication Company (Eng>Ind)
- Web contents of Agus Budiyanto, Aquarelle Painter; (Ind>Eng)
- Web contents of The Jakarta Conservatory of Music; (Ind>Eng)
- Catalogues for numerous aquarelle painting exhibitions by Agus Budiyanto from Indonesian to English (2002 to present) (Ind>Eng)
- Catalogues for numerous art exhibitions by various Indonesian Artists organized by Elcanna Gallery, Jakarta (2005 to present) (Ind>Eng)
- Catalogue of the API-2003 (Asosiasi Pematung Indonesia) art exhibition entitled “In Search of Peace: Indonesian Contemporary Sculptors” held at the WTC, Jakarta. (2003 - Ind>Eng)
- Article for Asikin Hasan, Curator of Galeri Utan Kayu, entitled “API Contemporary Sculpture Exhibition” (2004 – Ind>Eng)
- Catalogue for a painting exhibition by Jason Monet organized by Galeri Santi, Jakarta (2004 – Ind>Eng)
- Catalogue for a painting exhibition by Walter van Oel organized by Galeri Santi, Jakarta (2004 – Ind>Eng)
- Catalogue for a painting exhibition by Dwijo Sukatmo organized by Emmitan Fine Art Gallery, Surabaya (2005 – Ind>Eng);
- Miscellaneous Material (Ind>Dut & Dut>Ind)
Prior Experience as Contractor
Contracted as interpreter cum translator during an eight-week training program for the Indonesian National Police (POLRI) organized by US DOJ/ICITAP Jakarta (Aug. 2003)
Contracted as interpreter cum translator during a two week survey by a US Law Enforcement Advisor in West Kalimantan organized by US DOJ/ICITAP Jakarta (October 2003)
Contracted as interpreter cum translator by SAIC/MPRI from January 2004 to May 2008 assigned to the US Dept of Justice/ICITAP Jakarta providing training assistance to the Indonesian National Police.
Work performed:
- Translation of training manuals, correspondence, Indonesian laws and government regulations, etc.
- Interpreting (consecutive) during meetings and training courses.
Clients:
Local and international clients in the USA, Canada, Argentina, UK, Ireland, The Netherlands, Germany, Austria, Italy, Russia, Malaysia, Australia and New Zealand.
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