The technique of batik draws the picture and ornamentation by using the resist media (mostly particular types of wax, however some other batik crafters use clay, thread stitching, etc.) to keep it free from coloring matter during the dyeing process. Thus, the ornamentation of batik when the crafters drawing dot and lines in the fabric can be seen as making the “negative” of the drawings. The batik designers must have comprehensive knowledge and realization on reversing the things that she wanted to be emanated from the drawings through colors and patterns with the making of the dots and lines eventually covered by the resist media. We can imagine the complexity of the designs as drawn by the batik maestros, since most traditional batik clothes use more than two or three colors. Most designs of traditional and classical batik cannot be enjoyed before the coloring process. The patterns in its waxed form are just the inverse, things to be kept free after the dyeing process. This is shown in figure 1, the “journey” of the cloth from the wax drawing to the finishing after the dyeing.
This is why most traditional batik crafters and artists reject the reductionist point of view, simplifying batik or “mbatik” (the whole process of the making) merely justa sort of motif. In advance, the traditional technology used in batik crafting has been widely exploited by the people living in Indonesian archipelago from generations to generations.The sociology of batik has been laid upon two disseminated dimensions: the geography (spatial) and the time (temporal) of which emerged from the diverse
collectivity of cognitive process from diverse ethnic groups in Indonesia (cf. , ).
This is what the paper wants to present all about. Acquisitions of phylomemetic to visualize and observe the diversity of cultural drawings in the way of painting by using batik technique in its broadest understanding: The traditional fabrics incorporating the media resist dyeing technique.
We have collected data from the open library of Indonesian digital cultural heritage library1 and choose ones can be categorized as batik. Our motivation is to reveal the memetic proximity among the artifacts that are emerged from the cognitive process of which good fitness (high acceptance and appreciation) respect to particular ethnic groups. Interestingly, surfing through the data of Indonesian batik (in stead of just the ones from Java) would bring amazement for the high diversity among the artifacts. An illustration is shown in figure 2.
The Phylomemetic Tree of Indonesian Batik Motif
As in genetics, the phylomemetic tree (in genetics: phylogenetic) is constructed by having the sequence of memes (in genetics: gene) representing the traits emerging the motif as we see. The sequences, we call it memeplexes, are thus aligned and we can calculate the homology between a motif to another statistically. The detailed statistical methodology for searching the memes in the alignments is explained in  covering the fractal  dimensions (as the geometric properties of the ornamentation and decoration incorporated) and the distribution of primary colors used in producing the craft. From the variables obtained in the two computational observations and calculations we can fill the memeplexes emanating from each artifact. The method of the phylomemetic tree construction is based upon the correlations transformed into distances in ultrametric spaces among memeplexes as it has been discussed in  and .
From almost 500 batik motifs from all over the Indonesian archipelago, we obtain the phylomemetic tree as shown in figure 3. The figure depicting the “cognitive kinship” of the ethnic groups in the archipelago of Indonesia while all of them incorporating the same method of crafting: media‐resist dyeing. When different exclusive social systems recognize the same methodology on reflecting what in their minds respect to visual aesthetics, spirituality and transcendent views on social norms, social hierarchy, symbols and arts, social representation. In the next section we will discuss how and what we can learn about Indonesian batik from the phylomemetic tree.