在傳統的生產方式裡,工藝保存了人類和自然相處的較和諧的方式,資本卻將我們自自然中分離出來,當代工藝應該被是人類探鎖回歸至和諧自然中的策劃和行動,要做到這一點的其中一個方法就是去重新審視我們的生產系統。
駭客破解 (hacking) 指對舊系統進行非法(電腦軟體或硬體上的)改造,原始意義是指用一種聰明的方式進入某種受管制的系統並進行特定程度的改造,且不造成巨大的傷害。從這裡用Hacking引伸一種人性和科技之間的價值抗衡過渡時期,抗衡一直持續到社會中科技的使用方法被決定,隨後才是世界觀的建立。此展覽企圖將破解系統的精神類比到社群發展,為傳統染色工藝社群開創造一種以破解重組為精神的積極催化以及新世界的建立。以「雷射染」計劃為載體,引導觀眾進入由科學公民、開源等概念精神組合而成的跨學科工藝計劃,並創立如材料科學、電子工程、攝影、生物藝術、時尚、國際義工等領域之間的公約點,因此成為一種有益駭入(benificial hacking)和介面改造。

生產系統可以被看做一種時間感的度量方式:由於生產方式的速率不同,產生了一種社會性速差,這種速差使我們彼此被孤立在不同的社會精神狀態中。生產系統決定了社會中的物質價值,決定了現實的樣貌。可是這種現實是虛幻的,一旦了解時間是相對的,我們的現實也可隨之被調整。當兩種使用不同速度的巨集相遇造成時間秩序的混亂,產生無法測量的價值,使我們得以暫時的從可被測量的現實中解放出來。不斷的製造這種社會速差是重要的,時間機器還只是一種夢,雖然我們從未真正的自現實中解放,但是我們可以運用無窮的好奇心,不斷的透過移動和混合社群來得到暫時的無限可能性,以得到暫時的動力並創造新的生命。

在展覽中試圖透過雷射染計劃的開發足跡,以及其與天然纖維社群、國際社群的合作,向觀眾介紹一種全球化網絡。當網路世代趨進飽和,地理性距離和溝通成本的降低,以及國際工作坊、國際藝術交流的普遍化,造成了更多的非資本目的性的個體移動,這些個體的移動意外的造成了知識的流動、社群的合作以及新的生產系統的摧生。個體的旅行經驗和國際社群連結開始為創意計劃提供更多輸入資源。相對的,從輸出面來看,這種遷徙也為當代藝術工作者和跨學科工作者提供了更多的社會位置,將藝術家自藝廊和藝術產業中解放出來。

以奈米的尺度進入到雷射氰版顯影的化學過程裡,我們看到從草酸鐵銨和鐵氰化鉀結合後而分離出的草酸鐵鉀結晶。光子在二極體腔體內的鏡子間經過無限反射而激發,並經由意識的指揮降落在預塗佈了感光藥劑的纖維上,產生出這些藍色分子,這個過程有一半是人造的,一半是隨機的,我們只能控制我們參與的部分。我們發明了攝影技術然後透過回憶來操作第四維,如同我們的影子降落在別人的回憶裡,光線是我們賴以感知三維空間的媒介,而時間是第四維的,回憶是人類中心的。氰版(cyanotype)的發明者約翰赫歇爾發現氰版的原因並不是為了找尋更好的印刷術,而是為了驗證自己的另一項研究中而得到的意外,他的好奇心和宇宙一樣同調和諧,而不是為了回應人類中心的生產系統,他召喚這些感光技術的意識和碎形自我相似性是一樣的,一半是隨機一半是人的主觀意識。現在我們把雷射、顯影工藝、天然植物染色看似隨機的放在一起,就像在投映出去在其他時空裡的影子,不能控制的隨機性讓好奇心永遠存活著。在這裏,我們將印製我們的視野。

In the traditional mode of production, craftsmanship preserves the more harmonious ways humans relate to nature, while capital keep us separate from nature. Contemporary craft should involve a plan of action that leads human exploration back to the harmonious relationship with nature, and one way to do this is to re-examine our production system.

The hacking culture began in the 1960s and refers to the illegal (computer software or hardware) alteration of old systems. The original meaning was to enter a regulated system in a clever way and perform a certain degree of alteration to it without causing great damage. From here, Hacking is used to extend a transition period between the value of human nature and technology, which continues until the use of technology in society is decided, and then the worldview is established. This exhibition attempts to compare the spiritual analogy of the hacking system to the development of the community, and to create a positive catalyst for the traditional dyeing craft community with hacking and reorganization as the spirit and the establishment of a new world. Using the "Laser Dyeing" program as a carrier to guide the audience into an interdisciplinary process plan composed of the concepts of scientific community and open source, and create conventions in areas such as materials science, electronic engineering, photography, and biological arts, thus becoming a beneficial hacking and interface modification.

Production systems can be seen as a measure of the sense of time: due to the different speeds of production methods, a social speed difference is generated, which separates us from each other in different social mental states. The production system determines the material value in society and determines the actual appearance. But this reality is illusory. Once we understand that time is relative, our reality can be adjusted accordingly. When two macros using different speeds meet to cause chaos in time order, it produces unmeasured value, which allows us to temporarily liberate from measurable reality. It is important to continuously create this kind of social speed difference. The time machine is just a dream. Although we have never really been liberated from reality, we can use infinite curiosity to continuously obtain temporary results through mobile and mixed communities. Unlimited possibilities to get temporary momentum and create new life.

The exhibition aims to introduce a global network to the audience through the development footprint of the laser dye project and its collaboration with the natural fiber community and international communities. As the internet becomes saturated, geographic distance and communication costs decrease, and international workshops and art exchanges become increasingly common, resulting in more individual movements with non-profit purposes. The movement of these individuals caused an unexpected flow of knowledge, community collaborations and the birth of a new production system. Individual travel experiences and international community connections began to provide more input resources for creative programs. In contrast, from the output point of view, this migration also provides a social position for contemporary artists and interdisciplinary workers, liberating the artist from the gallery and the art industry.

Entering the chemical process of laser cyanide plate development at the nanometer scale, we see the crystals of potassium ferric oxalate separated from the combination of ferric ammonium oxalate and potassium ferricyanide. The photons are excited by infinite reflection between the mirrors in the diode cavity, and land on the fiber pre-coated with the photosensitive agent through the command of consciousness to produce these blue molecules. This process is half artificial and half random. Yes, we can only control the part we participate in. We invented photographic technology and then manipulated the fourth dimension through memories. Just as our shadow landed in the memories of others, light is the medium on which we perceive three-dimensional space, while time is in the fourth dimension, and memories are human-centered. John Herschel, the inventor of the cyanotype, discovered that the reason for the cyanotype was not to find better typography, but to verify the accident in another study. His curiosity was the same as that of the universe. Coherence and harmony, instead of responding to the human-centered production system, he summoned the consciousness of these photosensitive technologies and the fragmentary self-similarity, half random and half subjective. Now we put the laser, the development process, and the natural plant dyeing together seemingly randomly, just like the shadows projected in other time and space. The uncontrollable randomness allows curiosity to live forever. Here we will have our vision printed.