Factory Building 1.A Place of Emptiness

━━━━━━━━━ 林欣怡

文化部文化資產局公告日本海軍第六燃料廠為台灣少數僅存軍事工業遺跡,除見證二戰,「屋中有屋」與空中閣樓亦為重要眷村建築特色。此場域為全台稀有,結合戰爭、科技與眷村文化之歷史遺產,而「一號廠房」在自拆者事件後,目前仍閒置在北赤土崎區,原住戶多已安置於他所,是一處空白之所。新竹市政府決議「一號廠房」採意象或局部保存方式處理,未納入歷史建築本體。歷史環境的保存與修復,除了重建、讓「文創」活化之外,我們還能夠進行怎樣的歷史事件閱讀?我們如何在「再現」的建築體中,理解曾經居留的生命痕跡?一個具有場所事件的「離散空間」,又如何能夠連結當代敘事、與文化記憶產生對話與想像?若僅僅是意象的再構,缺乏與空間場所具生產性的對話與實踐,那麼歷史空間將成為某種「物」,僅標誌著過往,而無法真正的活化為文化語言、文化事件、文化記憶。此空白之所,拋給我們的提問,不僅是離散空間上的政治思考,亦包括「歷史如何與現實對應?」的提問。省二代作家朱天心的〈古都〉,開創出「歷史地理化」的書寫路徑:「歷史成為一種地理,回憶正如考古。」(王德威,1997:9-32)這樣的書寫路徑,從自我記憶/歷史文獻/現實空間的相互參照中,召喚出關於歷史的種種本質性問題。朱天心透過日治時期的地圖、歷史記憶的行走,重疊已是「精神廢墟」的空間,亦是某種「歷史如何與現實對應」的文學行走。「一號廠房.空白之所」工作坊擷取了洛夫、駱以軍、朱天心、蘇偉貞、張大春、張啟疆等諸位省一、二代作家作品中關於國共內戰撤退的記憶書寫,這些書寫不僅折射了1949年後離散者的精神流亡,亦映射了關於現實空間中被建構而成的鄉城(中國)想像。這些話語散落在廢棄的一號廠房空白之地的斷壁殘垣中,透過擴增實境的視覺介面,邀請參與者進入、想像空間符號的擬像實踐。

 

[註] 王德威,〈序論:老靈魂前世今生──朱天心的小說〉,《古都》。台北:麥田,19979-32

 


 

工作坊日期:2019.3.8 上午10:30-12:00
地點:北赤土崎一號廠房
工作坊導覽指導:林欣怡
參與者:張莉崴、張懿、劉筱涵、巫佳璇、蕭意子、李岱霓、許宜蓁、吳致怡、柯祖皓、謝宛芸
※〈一號廠房.空白之所: AR 工作坊〉為日裔加拿大籍藝術家Tomoyo Ihaya所指導的〈創新混合媒材藝術工作坊〉之前導工作。
Philosophy behind the Transdisciplinary Creative Practice and Statement on the Workshop 

 


 

 


 

The Bureau of Cultural Heritage, Ministry of Culture announced that the Imperial Japanese Navy’s Sixth Fuel Factory is one of the few existing military industrial relics in Taiwan. It not only bore testimony to the Second World War, but also shared some architectural characteristics of a military dependents’ village such as “embedded apartment” and “roofless attic.” This rare historic site preserves the legacies of war, technology, and the culture of military dependents’ village. After the event of self-demolition in the Factory Building 1, this building is still disused in the area of Northern Sekidosaki. Since its former dwellers have been replaced in other places, it is now a place of emptiness. Rather than including the main part of this historic gem, the Hsinchu City Government decided to take care of this building in the way of imagery or partial preservation. With regard to the preservation and restoration of historic sites, what else can we do in terms of interpreting historical events apart from reconstructing and revitalizing the sites with cultural creative goods? How should we understand the traces left by its former dwellers in the “reconstructed” building? How can a diasporic space where specific events occurred connect contemporary narratives, and engage in dialogues with cultural memories, and evoke historical associations? A simple reconstruction of imagery without productive dialogues and interactions with that space will inevitably turn that historic space into an “object” which merely marks the past but fails to revive any cultural language, event, and memory. This place of emptiness bombards us with the questions about the political thinking of this diasporic space as well as the correspondence between history and reality. In her literary work The Old Capital, Chu Tien-Hsin, a writer of the second generation of Chinese from Mainland China, evolved a writing style known as the geography-based history: history becomes geography, and memories are tantamount to archeology. Such an approach raised many fundamental issues regarding history from the mutual reference among self-memory, historical literature, and physical space. Reliving historical memories according to the map drawn in the Japanese colonial period, Chu superimposed them on the space of “spiritual ruins,” which is also a certain literary walking on “the correspondence between history and reality.” The workshop excerpted some paragraphs about the memories of the Nationalist Government’s retreat to Taiwan during the Chinese Civil War from the works of writers who are the first or second generation of Chinese from Mainland China, including Luo Fu, Luo Yi-Jun, Chu Tien-Hsin, Su Wei-Cheng, Chang Ta-Chuen, and Chang Chi-Jiang. Their writings not only reflect the spiritual exile of the diasporans after 1949, but also map the imagination of their hometowns (in China). These quoted paragraphs are scatted in the ruins of the abandoned Factory Building 1. The visitors are welcomed to harness the AR visual interface to enter this space of simulacra where their imagination can be infinitely stretched.

 


 

林欣怡 國立交通大學應用藝術研究所副教授、ICCS 文化研究國際中心研究員
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