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"Biological Oxygen Demand (BOD) is generally used for determining water pollution levels in bodies of water. Estuary is a semi-enclosed body of water that can be polluted via land areas or rivers. This study was conducted to determine the spatial distribution of water pollution levels in the Suwung Estuary in Bali based on BOD5 analyses conducted in January and February 2016. Samples were taken in 20 points (19 points in the Suwung Estuary and 1 outside the Suwung Estuary as control). BOD5 samples were then analysed in the laboratory. Our BOD5 analyses used the amperometric method based on the National Field Manual for the Collection of Data Water-Quality, Chapter A7. BOD5 samples were taken at all tide cycles, during low to high tide and high to low tide. BOD5 values ranged from 0.84 mg/L–9.47 mg/L during lowto high tide and 0.96 mg/L–8.75 mg/L during high to low tide. Results of the BOD5 analyses showed slight contamination in the Suwung Estuary during both tidal conditions. The BOD5 values’ spatial distribution showed higher values around cage aquacultures, rivers, the Suwung Landfill, and around the Benoa Harbour."

"Ruang kosong bukanlah kehampaan yang tidak bernilai, melainkan wadah penuh potensi yang menunggu diaktifkan oleh pengalaman personal manusia yang beraktivitas di dalamnya. Pengalaman ruang ini terbentuk melalui interaksi inderawi, emosi, dan pikiran yang telah dibentuk oleh budaya. Dalam konteks budaya Jawa, kekosongan tersebut dimaknai sebagai suwung, yaitu keadaan hening dan kosong yang justru menjadi dasar hadirnya kesadaran spiritual. Salah satu wujud ruang kosong yang khas terdapat pada pendopo dalam arsitektur tradisional Jawa, yang berfungsi sebagai ruang sosial sekaligus medium ekspresi budaya. Pagelaran wayang kulit purwa, sebagai salah satu bentuk ekspresi tersebut, mengaktifkan kekosongan pendopo menjadi ruang pengalaman yang kompleks yang menggabungkan aspek fisik, simbolik, dan spiritual. Melalui struktur dan elemen pertunjukan, pagelaran wayang kulit purwa yang mengangkat lakon Perang Baratayudha menyampaikan proses penjelmaan dan pengaliran kembali dalam spiritualitas kejawen sebagaimana tertuang dalam Serat Dewaruci. Dengan demikian, pendopo sebagai ruang kosong bukanlah kehampaan semata ataupun sekadar wadah teknis pertunjukan, tetapi sebagai ruang batin yang merefleksikan perjalanan spiritual manusia dan bertindak sebagai cerminan kosmis.

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Void is not meaningless or without value, but rather a concept full of potential, awaiting activation through the personal experience of those who inhabit it. Spatial experience is shaped by sensory interactions, emotions, and thoughts that are formed by culture. In the context of Javanese culture, such emptiness is understood as suwung, a state of silence and stillness that forms the foundation for spiritual awareness. A distinctive form of this void can be found in the pendopo, a traditional Javanese architecture, which serves both as a social space and a medium for cultural expression. The performance of wayang kulit purwa, as one such expression, activates the emptiness of the pendopo into a complex experiential space that combines physical, symbolic, and spiritual dimensions. Through its structure and elements, the performance (particularly when presenting the Baratayudha narrative) conveys the processes of divine emanation and return, central to Javanese spirituality as described in the Serat Dewaruci. Thus, the pendopo as a void is neither meaningless nor simply a technical performance area, but a spiritual space that reflects the inner journey of the human soul and acts as a cosmic mirror."