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This article discusses the heritage of Banyumas culture conserved by the inhabitants. Banyumas is famous not only for its tourist destination but also for its art performances such as begalan, lengger, calung,kentongan, and ebeg. One of the famous tourist destinations in Banyumas is a mosque called Masjid Saka Tunggal Baitussalam (MSTB). This research emphasizes on the description of MSTB as the heritage of Banyumas culture as well as explains the meanings and messages reflected in the symbols found in MSTB. This mosque was buit in 1288 and is the oldest mosque in Indonesia. The symbols were analyzed with semiotic theory using qualitative descriptive analysis. The data were gained through observation, documentation, and interviews. This research found that there were 13 symbols found in MSTB representing Islamic and Javanese philosophy, especially in spiritual activities. MSTB is a promising tourism site of Banyumas to be be developed as cultural heritage. Artikel ini membahas warisan budaya Banyumas yang masih sangat dipertahankan oleh penduduk setempat. Banyumas tidak hanya terkenal dengan destinasi wisatanya, tetapi juga pertunjukan seni, seperti Begalan, Lengger, Calung, Kentongan, dan Ebeg. Salah satu tujuan wisata yang terkenal di Banyumas ialah Masjid Saka Tunggal Baitussalam (MSTB). Penelitian ini menekankan pada deskripsi Masjid Saka Tunggal Baitussalam sebagai salah satu warisan budaya Banyumas sekaligus menjelaskan makna dan pesan yang tercermin pada simbol-simbol yang ditemukan di MSTB. Masjid ini didirikan pada tahun 1288 dan merupakan masjid tertua di Indonesia. Simbol-simbol yang ditemukan dianalisis berdasarkan teori semiotik dengan menggunakan metode deskriptif kualitatif. Data dihimpun melalui observasi, dokumentasi, dan wawancara dengan informan. Hasil penelitian mengungkapkan 13 simbol yang ditemukan di MSTB yang merepresentasikan filsafat Islam dan Jawa, khususnya dalam aktivitas spiritual. MSTB merupakan situs wisata Banyumas yang menjanjikan untuk terus dikembangkan sebagai warisan budaya.

With the rise of Tang dynasty (618–907), Ningbo was an important commercial city on the Chinese eastern coast. Arab merchants had an important role in trade relations between China and the West. Ningbo mosque was initially built in 1003 during Northern Song period by Muslims traders who had migrated from Arab lands to settle in China. Through ongoing research of representative Muslim architecture, such as Chinese Mosques, this paper seeks to shed light on the artistic features of this mosque. Many of the key characteristics of this distinctive ethnic heritage are based on commonly held religious beliefs and on the relationship between culture and religion. This paper aims to study the characteristics of Chinese mosques architecture, through studying one of the most important planning patterns of the traditional courtyards plan Known as Siheyuan, and it will also make a practical study on Ningbo Yuehu Mosque. The result of this study shows that the Ningbo Yuehu mosque is like Chinese mosques which follows essentially the norms of Chinese planning, layout design, and wooden structures.

Walisongo is the most important stake in the history of Islamic deployment in Nusantara. Facts of the history show that after the propagation run by Walisongo, Islam grew rapidly and inspired the development of Islam Nusantara. The idea of Islam Nusantara came from the spirit of Walisongo's Islam that later on continued by the scholars of Ahlussunnah wal Jama'ah with the mission of tolerant, peacefulness, open-minded, and accommodating with Nusantara culture. Understanding the formula of Islam Nusantara is very important to analyse the identity of Islam in Indonesia, using the process of selection, acculturation, and accommodation. The diverse of Islam Nusantara with the combination of three items (theology, fiqih, and tasawuf), have created diverse tradition which are consolidated, established and dominant since the age of Bintoro Demak Sultanate up to now.

An art has something to do with form and content (shape and the meaning attached to it). When an artist intends to add philosophical value to his creation, he enters two aesthetic exploration spaces; they are the aesthetic concept and the artistic exploration. “The structure of the form shows “the face” of an art work which cannot be separated from how material should be processed, and the “aesthetic structure” treats every “aesthetic thing” as an entity which is caught as a combination of the quality of perception and the common sense processing which are drawn into the metaphysical, ethic, axiological, and epistemological (philosophical) dimensions. Similarly, the ideas which are related to the fine arts of which the subject matter is the overexploitation of the sand mining should be processed in the phases of concepts with aesthetic dimension before they are retransformed in the visual stage; therefore, the creative process and the idioms chosen become highly subjective. It is easy to explain every phase in the creation process, and the visual idioms chosen can be generalized, clarified, verified, and concluded in the level of objectivity. The theoretical conception of the visual value becomes multi interpretations and rich in meaning (positive), as the value of its articulation contains symbols and metaphors.Seni adalah bentuk dan isi (wujud dan makna yang melekat). Ketika pengkarya ingin memberikan bobot filsafati pada karyanya, maka pengkarya memasuki dua ruang penjelajahan estetika, yaitu konsep estetik dan eksplorasi artistik. ”Struktur bentuk” menunjukkan ”wajah” suatu karya seni dengan pengolahan material, sedangkan ”struktur estetik” meletakkan segala hal yang ”estetik” sebagai suatu entitas yang ditangkap dalam keterpaduan antara kwalitas persepsi dengan pengolahan akal budi yang ditarik kedalam dimensi-dimensi metafisik, etik, aksiologik, dan epistemologik (filsafati). Seperti ide-ide dalam seni rupa yang yang bertitik tolak (subject matter) overeksploitasi penambangan pasir, harus diolah dalam tataran konsep-konsep yang berdimensi estetik, kemudian ditransformasikan lagi dalam tataran visual, maka proses kreatif dan pilihan-pilihan idiom-idiom visualnya menjadi sangat subjektif. Tidaklah mudah dijelaskan setiap tahapan dalam proses kreasi dan pilihan idiom-idiom visual tersebut dapat digeneralisir, diklasifikasi, diverifikasi, dan disimpulkan dalam tataran obyektivitas. Pemahaman teoritik kegambaran visikal (nilai visual) menjadi multi interpretasi dan kaya makna (positif), karena nilai kebentukkannya mengandung simbol-simbol dan metafora-metafora.

Canonical form is a notion stating that related idea should have the same meaning representation. It is a notion that greatly simplifies task by dealing with a single meaning representation for a wide range of expression. The issue in text representation is to generate a formal approach of capturing meaning or semantics in sentences. These issues include heterogeneity and inconsistency in text. Polysemous, synonymous, morphemes and homonymous word poses serious drawbacks when trying to capture senses in sentences. This calls for a need to capture and represent senses in order to resolve vagueness and improve understanding of senses in documents for knowledge creation purposes. We introduce a simple and straightforward method to capture canonical form of sentences. The proposed method first identifies the canonical forms using the Word Sense Disambiguation (WSD) technique and later applies the First Order Predicate Logic (FOPL) scheme to represent the identified canonical forms. We adopted two algorithms in WSD, which are Lesk and Selectional Preference Restriction. These algorithms concentrate mainly on disambiguating senses in words, phrases and sentences. Also we adopted the First order Predicate Logic scheme to analyse argument predicate in sentences, employing the consequence logic theorem to test for satisfiability, validity and completeness of information in sentences.

Indonesia has many traditional or vernacular buildings that still exist right now. Those buildings have already functioned partly as tourism asset in their areas, but so many vernacular buildings remain untouchable. Whereas, in the context of tourism, there is cultural heritage which consists of three main components: (1) monuments, (2) architecture or buildings, (3) sites. When we look at vernacular buildings in Eastern Indonesia, the possibilities those buildings to be tourism asset are high. The question should be explored is: what kind of potencies that can be explored, and in turn can be “sold” as tourism asset for vernacular buildings in the villages in Eastern Indonesia? The objective of this paper is to investigate the potencies of cultural heritage from which have possibilities to be tourism asset in several vernacular spots in Eastern Indonesia: Bayan Village (Lombok), Nua One small village in Woloara Village, Sikka and Mbengu Villages (Flores), Boti and Maslete Villages (Timor). Methods to collect data by surveying on the spot to vernacular buildings in the above locations, also surveying related and competent persons. Method to analyse the data by examining the data with tourism theories. The finding is, the potencies of vernacular buildings that can be categorized as the asset of tourism in the above villages are so many, which are architectural styles and cultural festivals in the villages, and also include the approach such as rehabilitation, renovation, restoration, and conservation.

The emerging concern on intangible heritage in the International arena reflects the fear of cultural homogeneity, diminishing cultural diversity and human creativity. Cultural heritage is a symbol spiritual and intellectual wealth of a civilization, while intangible cultural heritage is associated to tradition and living expressions. There is a need to preserve these fragile assets so they would someday be oblivious in the modern world. Ironically, the potential strategy in preserving the intangible cultural heritage lies in the current advanced digital technology. This paper highlights major issues and challenges in the intangible cultural heritage preservation through technology, with regards to the content and the purpose associated to it.

This paper describes the history and development of tafsir in Southeast Asia, namely Indonesia, Malaysia, Brunei Darusalam, Singapore and Thailand, aimed at providing a new discourse to the academic world, that Islam has another treasure in Far Asia, which is known as a pluralistic country because Islam entered in those countries without any wars. And to provide information related the books, author influence, and method of their tafsir in general.

Indonesia, even though state gives a concession on moderate on religious matter, the phenomena shows that the radical Islamic group tries to intervene religious matter in Indonesia. Thus it might dangerous to manage the diversity that becomes national emblem. In this paper, I argue that democratic society should regulate and control religious activity. I have two reasons about it. My reasons are based on Indonesian experiences. First, the democratic society prevents activities of a majority religion that contain radical political activities and tried to force their values to other citizens.. The Second is the democratic society has a strong idea to protect minority and their religions.

Generally studies on pribumi and Chinese relationship in Indonesia are dominated with conflict perspectives. In fact, in practice, the relationship between the two groups can be very dynamic. Amongst social tension arose between them, there are often stories about social harmony, social engagement and social cohesion. This is also what we found in the Minang-Chinese relationship in Padang, West Sumatra. The Minang-Chinese relationship in Padang, West Sumatra, in current period has been not only about social tension. In spite of the strong tension arose due to differences in ethnicity and religious belief, they are strongly tied in running local trading, political party, and other areas of public policy making. Competition in economy often stands together with cooperation. This similarly works in local politics, and, recently, community recovery post 2009-earthquake. Such dynamic relationships is inseparable from ethnic politics constructed throughout Padang history in the past. This paper sees that the relationships of Minang and Chinese are inseparable from the ethnic politics constructed throughout Padang history. This paper tries to portray briefly the journey of Minang and Chinese relationship in Padang and the politics that contextualizes the making of that relationship based on literature research and in-depth interviews. Despite its shortness, this paper is supposed to provide background information for those interested in discussing the issue of ethnicity in Padang and West Sumatra.