雷射染_碎形 絲、新氰版顯影 2019

雷射染計劃通過利用可編程的DIY雷射投影機和最古老的照相工藝「氰版顯影」，利用便宜 的接近紫外線的405nm雷射光源，使被塗佈氰版感光液的織品部份曝光，在天然纖維上形成 永久的、並可被數位編程的藍色圖像。由於省略了在原始顯影工藝步驟中使用負片作為成像 遮罩的步驟，和利用雷射投影的特性，使其可以在不平整的待印物上進行曝光顯影，或是在 脆弱且無法進行印刷的材質上如織品、刺繡、紙張、生物表面上製造具像且永久的藍色圖像。除了傳統的氰版顯影，這件作品亦使用了麥克威爾對舊氰版改良的新型氰版顯影(New Cyanotype)，藉以提升感光度、製造速度和色彩的層次性。也因為沒有負片步驟的關係，使成品面積不受負片面積限制，因此可以製作較大的成品。這項計畫的初始靈感是希望將和雷射同步的音像表演中的音頻視覺和譜視化，雷射的動作來自於振鏡的高頻率動作，透過將編程產生的類比信號傳送到振鏡上，就可以讓聽覺和雷射以幾乎沒有延遲的一起同步 運動。為了將這個表演的過程記錄下來，因而開始尋找透過感光方式來記錄雷射動作軌跡。 經過三年的研究後，演化成現在跨足服裝印花、傳統顯影工藝、科技藝術等領域的項目。

雷射染_服裝 棉、絲、新氰版顯影 2019

文:陳翊羽

從開始接觸天然染、手織到參與雷射染計畫，我對於設計的方法和想法也有很多改變。在接 觸和執行了染色及初始材質處理的過程中，因為這些手工過程相對於直接使用大􏰀生產的材 料有更多在技術未臻熟練前不可掌握的因子，剛開始的成品總是難以達到預 想中的效果或 難以預測每個階段的產出品質。對比於過去使用熟悉的材料(工業生產的布料)和傳統服裝 製作技術的設計過程，使用這些天然纖維、小􏰀手工染色，會迫使我採取較開放的設計流程 和對不可控成果的包容性。這當中包括從構想設計、打版和處理服裝縫製工序等等事前準 備:因為可預期在後期染色會有意料之外的結果，從一開始的設計階段就需要考􏰀到染色時

可能的情況，將款式設計成能夠平放的結構;或是在縫製時，需要因應接下來染色過程需求 而避免例如膠襯、牽條、􏰁疊過多布料等作法。也因此在服裝結構上受到限制，可能需要不 同於一般服裝縫製流程的處理方式。

對比於先預想了成品外觀再反推製作方式，而最終得出接近想像中成品的設計過程，需要處 理材料及染色的作品會因為製作方式 限制而影響最終設計，在製作過程中也會因為產生變 數而僅能作出「盡可能接近預期」的選擇。雖然過去的作品也有許多手工刺繡或細節縫製， 但在我的主觀感受裡，越是涉入更多材料開發，而增加流程上變數的同時，「從設計到產 出」，這個從思考到執行的結構，會解離成更片段卻相互緊密連結的經驗。同時身為設計者 和製作者的我雖然包辦整個過程，但在過去是從設計到打版、進而 車縫樣品、檢驗成果並 輸出成品:如同分離了我這個人的不同功能，在大量生產流水線的每個勞動工作職種上轉 換。然而當變數增加、每個階段都必須做出調整時，我在各個流程中都沒有完整的掌控性， 需要隨時和「發揮另外一個功能的我」進行協商。

在我過去的設計教育和產業知識裡，每個服裝製作過程都是切割開的，以方便不同功能的勞 動者間能有明確的職掌分􏰂和溝通流向，而這樣的角色分配也造就出了產業裡的階級結構如 設計師 / 工廠管理者普遍被認為比操作單純步驟的製造工人擁有更多 權力。之所以會有這 樣的結構模板，是因為現行的成衣工業利用世界上不同地區的勞動條件和人力成本，將服裝 製作的過程拆分為每個職位不同的職掌，以方便在生產過程中，以最低的成本生產出最大的成品。在掌握全球化大眾主流審美的文化輸出國進行設計、土地成本低的地區生產原料、 人力成本低的國家進行縫製，這樣的產業結構反映在提供勞動人才的設計教育單位中，就是 將整個設計製造流程所需的功能拆散在不同的課堂裡。像我這樣在學校裡認識並學習服裝的 人，也就不知不覺地將產業裡現有的生產結構帶入自己的思考方式裡了。確實以商業性考􏰀 來說，工作職掌的分割對於效率和人力資源的分配不可或缺，也是在考􏰀任何 成品商業化 的可能時必須面對的問題;但如果針對設計方法來探討的話，我覺得認知到自身的設計思考 被產業結構所制衡這點相當􏰁要。個人認為也是當代設計師在面對產業結構變化時能夠努力的方向和破口。

雷射染_服誌 棉、新氰版顯影 2019

「服誌」是電子織品藝術和台灣泰雅族文化合作的實驗計劃「部落對抗機器」中的一個實驗發想，意思是結合「服」的形式和「誌」的紀錄特質，想像並開啟一種結合穿戴媒體和文化典藏功能的討論，和如何利用數位通訊媒體「發生即典藏」的特性做為部落服飾數位化的發想起點。這件由四組長寬各 2.5 米印花構成的裝置，延續了「服誌」中以織物設計為典藏形態的概念，改由雷射染技術重新製作，將典藏內容為雷射染計劃曾經拜訪過的國際社群。這些取樣自雷射染計劃遊牧經驗的時頻譜（Spectrogram），象徵了受益於開源精神和國際社群的合作型計劃。

四組聲檔分別是：野桐工坊負責人尤瑪達陸在「部落對抗機器」電子織品工作坊中介紹自己在泰雅織品圖紋典藏領域中的工作經驗 、電子織品社群e-Textile Summer Camp創辦人里美.美嘉（Mika Satomi）年的活動開幕致詞、藝術家維多利亞.曼加尼亞（Victoria Manganiello）在紐約電子織品社群 e-Textile Spring Break 活動中介紹自己作品的片段，以及「部落對抗機器」在⻄藏青海的延伸計劃「溫室之心」中在玉樹縣上參與當地溫室建造的環境收音片段，此處展出的為四幅中的其中一幅。

Laser_Dye_Fractal silk, New Cyanotype 2019

Laser Dye Project employees a programmable DIY laser projector and the oldest image craft, the cyanotype. With a 405 nm laser source and the pre-coated cyanotype on textile, the Laser Dye Project aims to create everlasting, programmable blue images on natural fibre. Skipping the step of negatives as imaging masks in the traditional cyanotype process, the laser projector is able to create images on uneven receptive surfaces and fragile materials, such as textiles, embroidery, paper or organic substrate. The absent of negative mask provide the possibility to create larger size works. In addition to the traditional cyanotype, New Cyanotype, an improved formula developed by Mike Ware were employed in the Laser Dye Project, provides better photosensitivity, printing speed and the richness of color. In the initial concept of this project, Shih tried to visualize and spectralize his early audiovisual performances that are in synchronization with the laser projection. The movement of the laser are created by the Galvanometer inside the laser machine, by applying audio signals to those Galvanometers, the audiovisual work is made without latency. In order to record this sonification, Shih started research into alternative photography in order to document the traces of the laser audiovisual. After three years of research, the initial concept has evolved into a trans-disciplinary project across digital print, alternative photography and code art.


Laser_Dye_Garment cotton, silk, New Cyanotype 2019

Texts by Yiyu Chen 

Since the beginning of my exposure to natural dyeing and hand-knitting until my participation in the laser dyeing project, there has been great changes in my design methods and ideas. In the process of performing the dyeing and handling the initial material processing, due to the involvement of more unpredictable factors in these manual processes in comparison to the direct use of mass-produced materials, it is often more difficult to achieve the expected effect in the finished product from the beginning, or it may be difficult to predict the output quality from each stage.

Compared to past design process using familiar materials (industrially produced textiles) and traditional clothing manufacturing techniques, using these natural fibers and a small amount of hand dyeing forces me to adopt a more open design process and to be more tolerant for uncontrollable results. This includes preparations in concept design, pattern- making, and handling of sewing processes, among others. Because of the likelihood that the dyeing will have unexpected results in the later stage, it is necessary to consider the possible circumstances that will appear during dyeing since the beginning of the design stage, and design the style in a structure for it to be able to lay flat. Or when sewing, it is necessary to consider the requirements for the dyeing process in order to avoid practices such as rubber lining, strips stretching, and excessive fabric overlapping, etc. Therefore,

the structure of the garment becomes limited or it requires a different treatment method from the general garment sewing process.

In contrast to the design process that first anticipates the appearance of the finished product and then reverses the production method, and then finally comes close to the imagined finished product, the kind of work that needs its materials to be processed and dyed has its final design affected due to the limitation of the production method. During its production, I can only make choices that are "as close to expectations as possible" due to the variables during the production process. Although my past works also involved a good amount of hand embroidery or details to sew, in my subjective experience, the more involvement in the development of materials and the more variables in the process, 'from design to output', the structure from thinking to execution will dissociate into more fragmented but closely connected experiences.

Laser_Dye_Fu_Zhi cotton, New Cyanotype 2019

"Fu Zhi" is an experimental idea in the experimental project "Tribal Against Machine" of the collaboration between e-textile art and Taiwan Atayal culture. Discussion on the function of wearable media and cultural collection, and how to use the characteristics of digital communication media as "collection after generation" as the starting point for the digitization of tribal clothing. This installation, consisting of four sets of prints with a length and width of 2.5 meters, continues the concept of fabric design as a collection form in "Fu Zhi", and recreates it with laser dyeing technology. The content of the collection is that the laser dyeing project has visited international community. These Spectrograms, sampled from the nomadic experiences of the Laser Dyeing Project, represent a collaborative project that benefits from the spirit of open source and the international community.

The four sets of sound files are: Yuma Taru, the founder of Lihang Workshop, introduced her process in the field of Atayal weaving pattern preservation in the "Tribal Against Machine" event. Mika Satomi's opening speach in e-Textile Summer Camp 2015. Victoria Manganiello introducing her work at the e-Textile Spring Break event in New York. “The Mind of a Greenhouse”, another project inspired by Tribe Against Machine, which took place in Qinghai, Tibet. Here is the recording of the sound of the greenhouse construction.