网范文：“Indonesian Traditional Weaving Crafts” 这篇范文讨论了印尼传统工匠的编织设计，和工艺探究的方式,动力学模型的计算可能产生类似的模式。由编织过程的角度表明,后者将专注于宏观性质,即结构性的力量建筑在美学和设计模式。传统的织造实践和交付的计算模型，英语论文题目，计算机辅助设计在传统的艺术家和设计师。印尼民族巨大的文化元素，多样性出现在主题的体系结构。每一个独特的文化元素附加到各自的生活方式。
一个有趣的元素，在传统文化图案的编织工艺和产品。关于印尼传统生活，英语毕业论文，每天使用编织对象，是作为装饰或功能的国内设备。织物的编织产品的不同形式,，每个地方都有独特的饰品在编织艺术,工艺和产品。下面的范文进行详述。
Abstract
The s the possibility of Indonesian traditional artisans of weaving designs and crafts to explore the cellular automata, a dynamical model in computation that may yield similar patterns. The reviews of the cellular automata due to the perspective of weaving process reveals that the latter would focus on macro-properties, i.e.: the strength of structural construction beside the aesthetic patterns and designs. The meeting of traditional weaving practice and the computational model is delivered and open the door for interesting discourse of computer-aided designs for the traditional artists and designers to come.
Keywords: cellular automata, weaving designs, computer-aided designs, Indonesia, crafts.
Introduction
The vast diversity of Indonesian ethnic groups hold the vast cultural elements. The diversity has emerged in motifs [4, 7], folk songs [5], architectures [6], and more. Each unique cultural elements attach to the respective way of life, everyday routines and customs. One of interesting elements across the traditional cultures is the motifs in weaving crafts and products. Indonesian traditional life use woven objects everyday be it as decorative embellishment or functional domestic devices and tools. The weaving products vary from the form of fabric, dresses, to the kitchen tools, like containers of kitchen objects, mats, and more. Every places in Indonesia has unique ornaments within their weaving arts, crafts, and products. Nonetheless, the “drawings” ornaments within woven products has great similarities due to the cross-wiring elements of the matters.
The drawings are placed upon the lattices and grids thus, relative to the any traditional paintings, like batik for instance, the weaving products meet some particular similarities from one another. On the other hand, there have been many studies of possible patterns yielded computationally from mathematical models [1]. There have been also studies related to incorporating the traditional knowledge of weaving techniques for newly and modern designs of architecture [3]. Among all of the existing models, cellular automaton is an interesting rising computational model that could possibly give new insights for its patterns and emerged visual similarities. Knitting and crochet, embroidery, weaving, and fashion designs are all using 2- dimensional grids as media, and so the emerging patterns generated from the rules of cellular automata. Introducing cellular automata to the traditional artists and crafters in Indonesia thus become interesting. One of the famous center for weaving traditions and industries in Indonesia is in the Province of Central Kalimantan, Indonesia.
A three days’ workshop are delivered to introduce the basic concepts of cellular automata while observing how they actually produce the traditional art employing the weaving methods, i.e.: the rattan weaving, traditional fashion Sasirangan workers, and traditional knitting and embroidery. The discusses the equivalence between weaving techniques and the cellular automata pattern computational generations and how there seem to be interaction between both. Some interesting aspects of cellular automata is discussed and compared to the one incorporated in the traditional weaving process. As cellular automata is also an important computational model capturing many dynamical systems, the discussion employing the structure and beautiful patterns in traditional weaving methods may reveal some interesting aspects.
Weaving Automata
Indonesian traditional weaving ornaments are in the 2-dimensional discrete world of grids. Figures and visual aesthetics are there due to placements of states within the lattices and grids. The patterns may come from the macro to micro ornamentation, but it may also come from the micro-rules with the strength yielded by the cross-wiring elements. Resulting structural strength is one thing that is important in any woven patterns. Thus, a woven pattern is not only about information about aesthetics, but also about constructions. This is probably 3 in some places in Indonesia, the explorations of woven motifs are not so vast; even though the collections of all patterns from all over the place within the archipelago are definitely so vast to explore. The structural patterns of woven products used two cross-wiring elements, the “lusi” or “lungsi” the elements that is “warped”, and the “weft” called “pakan”.
The patterns are emerged from the numbers of warps cross-wired by the wefts. Innovations also may use different colors of weft in order to the accepted aesthetically by the designers and artists. Practically, the elements can be threads, sheets of rattan, or processed leaves of palms or any other thin yet strong enough plants. There are some differences while the weaving is practiced by using the different materials, but the principles are relatively similar. On the other hand, cellular automata represents a discrete world with parallel dynamics within the microstructures. The two-dimensional patterns are in the form of lattices of crossing vertical and horizontal grids. The emerging macro properties are the patterns yielded by the applied initial conditions and specified rules [12]. Updating rules act as function that evaluates one previous discrete iteration states of lattices surrounding the observed cell. A state of a cell depends upon the states of the neighboring cells. Interacting cells are the emerging the macro-patterns.
Weaving-experiments with Cellular Automata
A software introducing the adaptation of cellular automata into weaving designs is packed as a computer-aided design tool and tried by traditional artisans in Banjarbaru, South Kalimantan, Indonesia, for us to observe how their background aesthetics meet the exploration of motifs with the cellular automata. The result is interesting for many possible motifs using the simulated automata has never yet merged into their senses, yet they are possible to be implemented.
Concluding Remarks
The review of cellular automata in the perspective of Indonesian traditional weaving practice is demonstrated. This is delivered by observing the similar aspects of the simple elementary cellular automata and the hypothetical rule-making of traditional weaving design process. While cellular automata is observed mostly for its possible emerging macro-dynamics, the weaving processes put the structural construction into account while making the pattern designs. Explorations by using all possible rules with the packed computer-aided designs adapting the cellular automata has made the traditional artisans grasps new possible designs expected to enrich their future patterns designs. Further works will be more about the observations to the implementation of more explorations of various cellular automata in more traditional weave-able materials.
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