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.