Deconstructing Javanese Batik Motif--论文代写范文精选

在我们的人类学视角方面，给我们提供了生成美学的蜡染的工具。讨论传统印尼蜡染文化，显示有趣的分形几何。虽然已经证明,这个属性可以扩大蜡染文化，作为模型来生成艺术遗产。下面的essay代写范文讲述了这一问题。

Abstract 
The paper discusses some aspects of Iterated Function System while referring to some interesting point of view into Indonesian traditional batik. The deconstruction is delivered in our recognition of the Collage Theorem to find the affine transform of the iterated function system that attracts the iteration of drawing the dots into the complex motif of – or at least, having high similarity to – batik patterns. We employ and revisit the well-known Chaos Game to reconstruct after having some basic motifs is deconstructed. The reconstruction of the complex pattern opens a quest of creativity broadening the computationally generated batik exploiting its self-similarity properties. A challenge to meet the modern computational generative art with the traditional batik designs is expected to yield synergistically interesting results aesthetically. The paper concludes with two arrows of our further endeavors in this field, be it enriching our understanding of how human cognition has created such beautiful patterns and designs traditionally since ancient civilizations in our anthropological perspective while in the other hand providing us tool to the empowerment of batik as generative aesthetics by employment of computation.
Keywords: batik, fractal, attractor, iterated function system, affine transformation, culture anthropology, generative ar

Introduction 
As it has already been discussed in [10], traditionally Indonesian Batik has shown interesting fractal geometry while it has also been demonstrated that this property could broaden the acquisition of batik as model to generative art rooted from the traditional heritage. While we have recognized the steps of making the batik crafts [3], the computations of the innovative landscape of batik designs are now providing borderless creations of design applicable to enrichment the available traditional motif1 . However, we can leave batik compositional design as an artificial generative art while we can delve deeper into the batik basic motif designs by deconstructing them. 

We use the term “deconstruction” here by borrowing it from the terminology often used in philosophical or (post)-modern literary texts, roughly meant as finding meanings that were not originally intended by an author, composer, or artist of a cultural object (cf. [6]). Thus, here we use the terminology of batik deconstruction to denote a process decomposing a traditional motif in a way possibly different from the one used in the making and fabrication of the batik in general. As the purpose of the “deconstruction” in literary and philosophical is (perhaps) to understand the intangible things in the production of cultural object; here we incorporate the iterated function system and some conceptual related to it to understand the interesting self-similarity in the microsense of batik designs: the basic motif – a feature that is possibly an indirect intention when it is designed at the first place. 

While there have been some efforts to “deconstruct” traditional designs mathematically in some other places of ancient civilizations around the globe, batik is still left untouched without deep realizations in its mathematical aspects. The batik process, represented by the word “mbatik” etymologically is realized most likely come from the Javanese phrase: “amba titik”, meaning “drawing little dots”. Here, the suffix “tik” could mean “little dot”, “drop”, or “point”, however, it can also denote a ticking or trapping sound. In relation of batik designs with its function as fashion ornamentation, the root meaning of the suffix might also be seen in Javanese words such as “tritik” (a resist process by which designs are reserved on textiles by sewing and gathering before the dyeing process), or “nitik” (a design of batik imitating the weaving patterns). In short, we can always refer that mbatik is a representation of the drawing, painting, or writing [4]. 

Any drawings however, although not necessarily, would always be able to be understood elementarily as dotting. This is directly related to our further discussions on the iterated function system in the rest of the paper. Iterative processes can be defined as repetitive steps that applied into the output of a system back as an initial state. Here, the output becomes the input and so on while the applied steps in the process do not have to same to all kinds of input but yet similar. The Iterated Function System regards the process with particular transformations that are applied repetitively with some geometric constraints yielding the self-similar patterns that we recognize as fractals. Thus, iterated function system is a way to have fractal geometry. The famous Multiple Reduction Copying Machine (MRCM) is an example to understand the iterated function system. MRCM regularly copies an image with some arrangements such that reducing the size of the origin while overlapping copies of the origin into the generated copy [8: 215-67].

The Iterated Function System is a system as a feedback loop in which the output of the previous copying process is used again as input of the next round of copying process. Interestingly, it does not matter with what picture or what points the input initially begin with, the resulting will eventually be “attracted” to certain fractal pattern. Thus, the problem of the deconstruction batik through the iterated function system is to reveal the attractors that made a fractal image as what it is. The paper discusses basic motif of batik designs as the iterative drawing of dots emerging the wellknown pattern as we perceive. 

Here we already have a first step in deconstructing batik designs. We begin with discussion on model we use to generate fractal images, the Iterated Function System, the Barnsley’s collage theorem [1], and some geometrical transformations incorporated composing fractal images. This is followed by the discussions on batik basic designs and the more likely affine transformation producing the designs. Eventually, we outline some conjectures and open problems to understand batik as a very interesting cognitive representation on aesthetics among Indonesian people, especially those with Javanese tradition. This however, broadens our endeavors to generally deconstructing batik.

There are hundreds batik designs with this sawat ornamentation, since it is a drawing of the birds wing. A batik patterns such as semen, gurdha, and a lot more employ this famous basic pattern. Thus, it is interesting to found the general aspects related to the affine transformations used to emerge it. The other example can be taken from the Batik from Cirebon, West Java – Indonesia. A very well known design has motif called “Mega Mendung” which frequently becomes the basic ornamentation while it is recognized as stylization of “clouds in the sky”. This is shown in figure 2. In one hand, this accentuates a thing or two that traditional batik designs have incorporating the iterative function system. Here, the designer (a person that is traditionally recognized to be the intellectuals) made a kind of “affine transformations” of which (and definitely!) not mathematically. Thus, in the other hand, this can brought us to a lot more discussions related to more anthropological quests on batik, for batik designs, somehow can not be separated with the way of life and social fundamentals, in which they were designed, crafted, and appreciated.

Regarding to the Collage Theorem (see eq. 14), the affine transformations,wi , map any spatial input into the big picture of the pattern. The transformations attract the making of the designs to such pattern the designer want it to be. Thus, in our example above, sawat and mega mendung, as well other pattern of batik designs that can be regarded to be produced in the fashion iterated function system, is the attractor (cognitively) when an traditional artists would like to represent the “wings” and the “clouds”. This could potentially enrich our understanding in cognitive anthropology while implemented into other collective and traditional aesthetics. For instance, as a Javanese traditional heritage, batik designs were actually cannot be separated with life in the king’s palace (keraton). （essay代写)

Nonetheless, in the ancient times, Javanese keraton had become the center of intellectuals as well as governance. The keraton’s influence on batik designs thus showed the milestones of ancient intellectuals. For example, when the people at Cirebon, West Java, recognize two keratons (for any political reasons) i.e.: kasepuhan and kanoman (the older and the younger one respectively), both have characterizations of batik designs. The “cognitive attractors” on drawing the kingdom chariots, Keraton Kasepuhan drew the singa barong models while the Keraton Kanoman the Peksi Naga Liman [12]. This were also happens in the characteristic to other keratons in Indonesia such as Yogyakarta and Surakarta. What we begin here deconstructing Indonesian Javanese Batik could bring other challenges in understanding a lot of ancient social living of which now we recognized has inherently fractal properties. In advance, some other interesting pattern that commonly found in Javanese traditional batik is elaborated in the next section in which we reverse the arrow of deconstructing by reconstructing batik basic designs. We do this by the acquisition of knowledge about the employment of some affine transformations to have the generated batik designs: a mode of computationally generative art.（essay代写)

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