Fractal generating model are just merely pattern of discrete poi nts drawn on screen pixels. The
human ca pa bilities to infer and detect the edge of from va ri ety of object (Yuille, et al, 2004) still hold
an important role to perceive the shape from these generative patterns. However, the limitations
that come from the batik drawing tools, i.e. pencil and “canthing" make the hand-made motifs is less
detail relative to the printed ones. The pattern and characteristic of each human-made batik design
(see appendix) that try to mimicking the computational fractal pattern could be infl uent by several
factors, such as: (1). the individually inference proce ss of motif pattern by batik designer, which
could be depend on the cognitive factor, his experience, and cultural background. (2). the creativity
of each batik designer to decide the usage of the generative motifs, be it as kowongan, isen-isen, or
harmonization ornamentation, in his batik design (cf. Situngkir, 2008). The latter is highly related to
the classifications and standard batik be it the mbatik conventions in keraton or the highly external
influence of coastal cities (Sondari & Yusmawati, 2000). Frequently, as we can see in the appendix,
these factors have emerged a unique and fascinating bati k design.
3. Concl uding remarks
The computer technique to support the innovation of tra ditional batik is considered as a new field,
and it becomes possible when we use computer as generator motifs which constructed by using
certain fractal ge ne rati ng algorithms. The interaction between generation process of motif using
computer and the traditional technique of batik has been emerging many kind of innovative and
unique batik design. Certa inly, computer techniques have opened ma ny possibilities to support the
innovation of the traditional heritage, such as Indonesia n batik, while still holds the unique
cha racteristics and feature of batik itself.
Generative motifs that generated by generating fractal algorithms need certain selection mecha nism
to determine whether the motifs is classified as an appropriate batik motifs or not. In our workshop,
the participant could be easily interpreted most of generative motif as an appropriate batik motifs
and then paint it using batik techniques. Human cognitive process and the cultural background of
participant are considered have been playing an important role to influence such selection.
However, it need a further analysis to answer such question ,i.e. about the mechanism in the human
cognitive level as well as its cultural and anthropological aspects of participants to determine how
certain motifs is perceived as “a bea utiful" motifs.
The interpretation and implementations of generative motif to batik medium by artisan have
emerging a lot of innovative batik design of traditional batik. The heterogeneity of human factors,
that is its cognitive and her cultural process, plays an important role to emerging the innovative
batik design. However, it remains need further analysis from many disciplines to obtain an
understanding about the key process be it on individual level or social aspect rel ated to creativity on
cultural heritage artifact, such as batik.
Acknowledgement
We thank students of SMKN 14 Bandung involved in the workshop (names mentioned in the
appendix) and their teachers Rini Amba rwati and Agus Edi Gunadi, Museum Ba rli for hosting the
workshop. We also thank to our colleagues in Bandung Fe Institute, Indonesian Archipelago Cultures
Initiative (IACI), and Bambang Subarnas for discussions. Finally, we realize that this research will
never been conducted without financial support from Surya Resea rch International. Faults remain on
the authors.