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"The life of the Indonesian community that was plural and heterogeneous could cause and have an impact the view emergence that was positive or the negative towards that. The plurality and heterogeneity preferably should be not seen as two different poles but preferably that was responded to with the wise attitude. The phenomenon of Indonesia culture that was bipolar could be responded to with the human attitude through the studying process in understanding multiculturalism and education for the younger generation. Through multiculturalism and ethics consciousness, the person could learn to minimise the conflict that happened in Indonesia."

"The life of the Indonesian community that was plural and heterogeneous could cause and have an impact the view emergence that was positive or the negative towards that. The plurality and heterogeneity preferably should be not seen as two different poles but preferably that was responded to with the wise attitude. The phenomenon of Indonesia culture that was bipolar could be responded to with the human attitude through the studying process in understanding multiculturalism and education for the younger generation. Through multiculturalism and ethics consciousness, the person could learn to minimise the conflict that happened in Indonesia."

"Indonesia memiliki kekayaan warisan budaya benda dan tak benda melimpah yang berasal dari 1.340 suku bangsa dari 300 kelompok etnis, tersebar dari Sabang hingga Merauke. Menjaga kelestarian warisan budaya menjadi tantangan karena fakta bahwa beberapa kepunahan sudah dan terus terjadi. Diantara akar permasalahannya adalah karena belum ada data keseluruhan warisan budaya Indonesia yang terintegrasi sehingga dapat diketahui jumlah, deskripsi, dan status kelangkaannya. Di lain pihak, Kemendikbud mencatat ada tidak kurang dari 4.000 institusi dan komunitas kebudayaan yang memiliki data warisan budaya namun dalam berbagai bentuk. Bentuk warisan budaya yang disimpan dapat berupa fisik maupun dijital. Bentuk dijital juga terdiri dari data terstruktur maupun tak terstruktur. Data terstruktur yang dimiliki institusi dan komunitas ini juga memiliki format beragam. Format yang beragam menyebabkan sulitnya data diintegrasikan sehingga sosialisasi data warisan budaya Indonesia terbatas dan tidak dapat diketahui informasinya secara keseluruhan. Selain dari sisi sintaks (format) yang beragam, sisi semantik data warisan budaya juga kaya dalam artian bahwa setiap jenis memiliki atribut spesifik yang berbeda. Warisan budaya juga memiliki kaitan erat antara satu jenis dengan jenis lainnya.Ontologi adalah sebuah model konseptual yang dapat menggambarkan konsep dan relasi antar konsep secara formal. Beberapa peneliti terdahulu telah membuat ontologi untuk satu jenis warisan budaya spesifik seperti benda arkeologi dan tari. Penelitian ini mengajukan sebuah ontologi IndoCH yang dapat digunakan untuk merepresentasikan obyek-obyek warisan budaya Indonesia untuk jenis benda dan tak benda sesuai taksonomi UNESCO. Dasar skema yang dipakai adalah CIDOC CRM (Centre for Intercultural Documentation – Conceptual Reference Model), standar ISO untuk pencatatan data warisan budaya. Dengan ontologi ini, taksonomi UNESCO yang bersifat hirarkis diperkaya dengan informasi relasi antar jenis warisan budaya. Ontologi IndoCH memiliki arsitektur berlapis dan modular (layered and modularized) yang mendukung ontologi kolaboratif, yaitu ontologi yang dipakai dan dikembangkan bersama. Hal ini penting karena ontologi ini nantinya akan dipakai oleh banyak ahli dalam domain warisan budaya yang luas. Ontologi IndoCH dibangun menggunakan metodologi LMODIOO (Layered And Modularized Ontologi Development Integrated with Other Ontologi) yang merupakan gabungan framework dan metodologi pembangunan ontologi.Warisan budaya tidak hanya sisi konten yang perlu disimpan namun juga data yang bersifat pengelolaan koleksi. Institusi GLAM (Galleries, Libraries, Archives, Museums) mengelola koleksi dengan cara membangun katalog yang merupakan kumpulan metadata setiap koleksi. Satu set metadata MetaIndoCH telah dibangun pada penelitian ini yang dapat digunakan untuk mengelola data koleksi warisan budaya Indonesia. Pembangunan metadata ini dimulai dari desain model konseptual metadata yang membagi obyek warisan budaya menjadi obyek abstrak dan nyata, adopsi dari model konseptual grup satu FRBR (Functional Requirements for Bibliographic Records). Skema metadata MetaIndoCH kemudian dibangun dan terdiri atas tiga bagian: Metadata untuk Warisan Budaya Indonesia (konten, abstrak), Metadata untuk Manifestasi Warisan Budaya, dan Metadata untuk Penampil Warisan Budaya.Secara keseluruhan, penelitian ini menghasilkan tiga luaran, yaitu: (1) Daftar definisi dan deskripsi 40 jenis warisan budaya Indonesia; (2) IndoCH, yaitu ontologi warisan budaya Indonesia; dan (3) MetaIndoCH, yaitu metadata warisan budaya Indonesia. Ketiga luaran diharapkan menjadi sumbangsih penelitian ini pada kegiatan pengumpulan, penyimpanan, dan integrasi data untuk pemanfaatan warisan budaya Indonesia lebih luas.

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Indonesia has a wealth of cultural heritage, both tangible and intangible, originating from 1,340 ethnicity of 300 ethnic groups, spread from Sabang to Merauke. Preserving cultural heritage is a challenge due to the fact that some extinction has already occurred and is continuing to occur. Among the root of problems is because there is no comprehensive integrated data on Indonesian cultural heritage that can be used to determine the number, description, and rarity status. On the other hand, the Ministry of Education and Culture notes that there are no less than 4,000 institutions and cultural communities that have cultural heritage data, but in various forms. The forms of cultural heritage stored can be physical or digital. Digital forms also consist of structured and unstructured data. The structured data owned by these institutions and communities also have various formats. The various formats make it difficult to integrate data, so the socialization of Indonesian cultural heritage data is limited and the information cannot be known as a whole. In addition to the various syntax (format) sides, the semantik side of cultural heritage data is also rich in the sense that each type has specific attributes that are different. Cultural heritage also has a close relationship between one type and another.

Ontologi is a conceptual model that can describe concepts and relationships between concepts formally. Some previous researchers have created ontologies for specific types of cultural heritage, such as archaeological objects and dance. This research proposes an ontologi called IndoCH that can be used to represent Indonesian cultural heritage objects for both tangible and intangible objects, according to UNESCO's taxonomy. The schema used is CIDOC CRM (Centre for Intercultural Documentation – Conceptual Reference Model), an ISO standard for cultural heritage data recording. With this ontologi, UNESCO's hierarchical taxonomy is enriched with information on the relationships between types of cultural heritage. IndoCH ontologi has a layered and modular architecture that supports collaborative ontologi, which is an ontologi that is used and developed together. This is important because this ontologi will be used by many experts in the wide domain of cultural heritage. IndoCH ontologi was built using the LMODIOO (Layered And Modularized Ontologi Development Integrated with Other Ontologi) methodology, which is a combination of framework and ontologi development methodologies. Cultural heritage not only needs to save content but also data that is collection management. GLAM (Galleries, Libraries, Archives, Museums) institutions manage collections by building catalogs that are collections of metadata for each collection. A set of metadata called MetaIndoCH has been built in this research that can be used to manage data on Indonesian cultural heritage collections. The development of this metadata starts from the design of a conceptual metadata model that divides cultural heritage objects into abstract and real objects, an adoption from the FRBR (Functional Requirements for Bibliographic Records) group one conceptual model. The MetaIndoCH metadata schema is then built and consists of three parts: Metadata for Indonesian Cultural Heritage (content, abstract), Metadata for Cultural Heritage Manifestations, and Metadata for Cultural Heritage Items.

Overall, this research produced three outputs: (1) a list of definitions and descriptions of 40 types of Indonesian cultural heritage; (2) IndoCH, an ontologi of Indonesian cultural heritage; and (3) MetaIndoCH, metadata of Indonesian cultural heritage. These three outputs are expected to contribute to this research in data collection, data storage, and data dissemination activities related to Indonesian cultural heritage."

"Merek mewah memiliki cara memasarkan produk mereka yang berbeda dibandingkan komoditas biasa, karena mereka harus memberi kesan eksklusif, prestise, dan status melalui produk yang mereka jual. Dengan melakukan studi kuantitatif untuk membandingkan aktivitas pemasaran merek mewah mdash;spesifiknya, dalam studi ini; pemasaran langsung, pemasaran eksperiensial, dan pemasaran media social mdash;penulis bertujuan untuk dapat melihat dampaknya terhadap ekuitas pelanggan dalam hal nilai, merek, dan ekuitas hubungan. Karena ada perbedaan dalam kebiasaan pembelian orang-orang di Indonesia dan Belanda, kami selanjutnya berhipotesis bahwa ada juga perbedaan dalam sikap dan preferensi peserta dari setiap kebangsaan terhadap ekuitas pelanggan. Uji ANOVA satu arah dan Analisis Regresi dilakukan untuk menguji hipotesis dari sampel sebanyak 135 peserta. Ditemukan bahwa hanya 3 dari 10 hipotesis yang didukung ndash;bahwa pengalaman pemasaran berdampak pada ekuitas merek, pemasaran media sosial berdampak pada hubungan ekuitas, dan hasil penemuan berbeda antara peserta Indonesia dan Belanda.

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Luxury brands have different ways to market their products compared to commodity ones, since they have to signal exclusivity, prestige, and status through the products they sell. By conducting a quantitative study to compare luxury brands rsquo marketing activities mdash in this study rsquo s case direct marketing, experiential marketing, and social media marketing mdash the author aims to see how they impact customer equity in terms of value, brand, and relationship equity. Since there is a difference in purchasing habits of people in Indonesia and The Netherlands, we further hypothesize that there will also be a difference in how participants of each nationalities rsquo attitude towards customer equity. A one way ANOVA test and a Regression Analysis were conducted to test the hypotheses from a sample of 135 participants. Only 3 out of 10 hypotheses were supported mdash that experiential marketing has an impact on brand equity, social media marketing has an impact on relationship equity, and that the results does differ between Indonesian and Dutch participants."