The book is based on the Soft Computing and Data Mining (SCDM-16) conference, which was held in Bandung, Indonesia on August 18th–20th 2016 to discuss the state of the art in soft computing techniques, and offer participants sufficient knowledge to tackle a wide range of complex systems. The scope of the conference is reflected in the book, which presents a balance of soft computing techniques and data mining approaches. The two constituents are introduced to the reader systematically and brought together using different combinations of applications and practices.

1. Asma Nadia Quotes

It offers engineers, data analysts, practitioners, scientists and managers the insights into the concepts, tools and techniques employed, and as such enables them to better understand the design choice and options of soft computing techniques and data mining approaches that are necessary to thrive in this data-driven ecosystem.

Drama Preh menonjolkan cerita tentang para perempuan Aceh beserta konflik yang berkaitan dengan relasi dan ideologi patriarki. Sisi menarik dari drama Preh ini adalah peran perempuan yang (lagi-lagi) dilindas oleh ideologi patriarki sehingga mereka tidak mampu untuk menyuarakan keinginan, harapan bahkan menentukan nasibnya di atas relasi kuasa laki-laki. Pembahasan tentang relasi patriarki akan selalu menarik untuk dikaji. Melalui drama ini, kita bisa melihat sebuah tradisi bisa menjadi kebiasaan yang secara turun-menurun dan berurat-akar diturunkan dan dilakukan dari generasi ke generasi berikutnya tanpa ada keinginan untuk melepaskan diri dari belenggu tradisi yang membudaya yang berlaku di masyarakat tersebut. The same with drama Kena Batunye that is also from the collection of drama Tiga Naskah Drama, Hasil Lokakarya Perempuan Penulis Naskah Drama, drama Preh also takes the women’s problem which is seen from the women perspective mixed with the beauty of local culture. If drama Kena Batunye reveals about Poligami that is much influenced by Betawi culture, moreover in drama Preh takes the Acehnesse problem when they have to be waiting their beloved men (can be their son or husband) after Tsunami happened.

Drama Preh written by Asma Nadia became one of the winners in Lokakarya Penulisan Drama held by Dewan Kesenian Jakarta at six areas around 2004/2005. Ratna Sarumpaet as the the script writer of drama and also as the Chairman of Dewan Kesenian Jakarta said that the position of women on the Indonesia Theatre Stage has experienced an empty period for a long time. She wants Indonesian women can become the pioneer in writing the script of drama not only as the facilitator and the assistant for the Indonesian man script writer. Becoming the central of substance which will be expressed on the stage, determined the color, form, spirit and soul on the stage in the future.

That is supposed to be the women’s role to contribute to the advance of Indonesia drama. This ideology really appears when Mak always be patient in waiting her son, Cutbang, even she has two daughters, Bibah and Limah. Bibah wants to let their village, Kajhu to get some better life. Moreover, Mak has known that probably Cutbang is died, but she still insists herself to stay in the kampong. This information is revealed by Cutbang’s friend, Zein. Zein has been looking for Cutbang starting from Takengon until Langsa (p.

In fact, there is not any information about Cutbang. The social construction that is full with patriarchy insists Mak not leaved Kajhu. For Mak, this kampong, hometown, mother village (feminist area) has given her a life, husband and son (masculine) also two daughters which she neglected. The two daughters were put in the lower position than men. As a result, when the masculinity symbolized through her husband and son leaved, Mak is alike lost her life, her soul. These sentences describe Mak’ suffer when she thinks that she has lost her main hope in her life.

Mak is described to keep staying in her kampong even she has persuaded to leave it by some refugee who passed her house. Furthermore, Mak still does not torment even she has to face the terrible death. Mak prefer waits her only son to save her life and her two daughters. The interesting part is Limah also agrees with that decision. The only person who resists with that decision is Bibah.

It is really a choice which is connected with phalusentris orientation. The man is described has over power through woman’s life. The saddest thing is when the man does not exist, the power still can push Mak and her two daughters to stay and wait without any certainty. Limah is the youngest daughter of Mak who has already 25 years old. Limah is described as a patient, fully attention and very close to her mother. Limah is presented as an ideal woman in man’s eye.

She is a beautiful, young and obedient woman. In her power relation with the man, Limah always place herself as a subordinate position. With her brother, Cutbang, she always put herself as the saving sister. Cutbang acts as her savior for her life, financial and physical (p. Meanwhile Zein, Limah always depend on Cutbang.

Actually, Limah can find her bother through her relations but she kept asking for help to Zein every day. Limah’s character is being trapped on dilemmatic situation on the liminality position, they are between the decision to go to chase her dreams or keep staying in her kampong waiting for her brothers.

Limah has a lot of confusing thoughts, if she will leave the kampong so she will let her mother stay alone but if she keep staying, she can not actualize herself. It is because she wants to teach at Meunasah (Moslem school in Aceh) in other area in Aceh. The previous meunasah in her kampong was destroyed by Tsunami. The relation of power between Cutbang and Limah through Mak has power to kill herself or even the actualization potential. The worst thing is can uproot her rights as a woman. This relation has impeded her to search the happiness to marry with Zein.

In fact, she knew that Zein has loved her silently through Zein’s attitude and Bibah’s satire. Limah is too busy to think about her brother and her mother’s happiness without thinking her happiness. Toward Limah’s attitude, we can see that Limah’s choice was oriented in phalusentris. The man who did not exsist had power to control women’s life. The greatest part is the man power has made Limah never stop to embody her dreams.

Bibah is the second daughter of Mak who is 28 years old. She has a tough, temperament, impulsive, indifferent and careless character. She is not like Limah who has an ideal type for a woman. Bibah is not as beautiful as Limah.

Bibah is quite brave in asking and fighting against through the discriminative threat given by Mak. If Limah insists to stay, it is not happened to Bibah.

Bibah changed her mind after going back to the refugee camp, she tried to search Cutbang. She did not want to only wait without knowing the certainty.

Asma Nadia Quotes

Seen Bibah effort to fight the resistence over the power relation by leaving her mother and sisters is not really pure a feminist realization. Bibah has ambivalent action when she takes to the decision. This action is not merely because she wants to show her resistance to her brother, Cutbang and her mother and sisters; but because she is afraid when Bang Nurdin will postpone in marrying her.

In her mind, Bang Nurdin will be fallen in love to other woman if she does not follow Bang Nurdin. This matter is also influenced by the culture values when woman must marry before 30s. And Bibah is almost thirty years old. For the villagers, those ages was not categorized as young ages anymore, it comes to the limitation for the girls to get marry, to release her status become a wife for a man. This matter is really fixed with the villagers thought whose still have those opinion tightly and made it become a strict rule for their daughters. No body tried to change the determined tradition; even some of them disagree with that tradition.

They have a tendency to be agreed. In other side, Bang Nurudin shows the different attitude. He does not want to join with Zein to see Bibah in Kajhu. He tends to go to Medan alone without asking permission to Bibah. This behavior is not proper when Bang Nurdin really love Bibah. Through Bang Nurdin behavior, we can see Bibah also participates to form unparallel relationship between man and woman.

Bibah also strength the patriarchy ideology because she thought that it is the woman job to keep a relationship not the man did. It is included when he leaved the family and searched for her couple, meanwhile the man does not have to do the same like the woman does. The role of Cut Intan in this drama seem not appear directly; but this character cannot be neglected. Cut Intan is a woman character described to strength Bibah desire to leave the kampong. Cut Intan goes farther than other girls, she decided to go to Jakarta.

Jakarta is famous with a big metropolitan city that offers hopes and dreams for the villagers. Jakarta is symbolized as the achievement for the villagers who can be the conqueror. Cut intan decision by leaving the kampong and find a new place shows an effort of a woman to struggle their choice. Through Cut Intan character, the script writers wants to reveal that the woman can do and chase their dreams, hopes and ambitions. They are deserved to have the same attitude like the man had. Among the four characters in this drama, the writer can summarize that there are three characters related with the men power relation. The first type is the fight of a woman who tried to run away from the bound of ideology patriarchy.

It is represented by Cut Intan and Bibah. Even Bibah also has an ambivalent character but she has tried to release from this matter. The second type is the typical of woman who made the ideology patriarchy kept continued over and over; they never tried to release from this boundary. This position is presented by Mak’s character.

And the last type is the kind of women who has in the intersection position, they place themselves between the invention and the rebellion toward patriarchy values and gave up over men’s power at the end. This character is represented by Limah.

One character who has in between situation; it can be expressed in this drama, Preh means Waiting. Through all the women characters revealed in this drama, we still can see the varieties of women character in the kampong with their own strict mind, being trapped by patriarchy ideology strictly and also there are others who want to release and find new way of thought and life.