Dia-City.Sound Embroideries

 

林欣怡,一號廠房.聲繡 #01,氰版攝影、紗布、刺繡、導電線材、電路板、放大器、磁鐵,2019 ©
林欣怡,一號廠房.聲繡 #01,氰版攝影、紗布、刺繡、導電線材、電路板、放大器、磁鐵,2019 ©

 

「一號廠房計畫」以「雙城」作為實踐的方法,兩座城市、兩個年代,因為同樣的歷史事件(1949),將離散各地的我們因歷史事件而連結、織紋成交錯著異語言、異文化、異感知的關係網絡。「雙城」思考「來處—根」與「所在—路徑」的雙重歸屬,進一步將「六燃」這個場所擴延成為溢出建築的關係連結。在方法上,「聲繡」作為構造空間場所的敘事旁白,透過聲音、話語以及身體對空間的感知,構成觸覺文本。「聲繡」是包含了「聲音/具身/刺繡」(Sound, Embody, Embroidery)的「第三種聲音」。它並不以單一、線性的敘事角度進入場所描述,而是混融諸種不同的訪者、特定場點的歷史記憶和物件描述,作為嵌入式的敘事存檔系統,它將包括訪談時的傾聽、地方聲響的採集和擴延場所的交互詮釋。刺繡、織物不僅作為一種文化物質性的表徵,「縫補」的身體動作亦是一種多主體的交互理解與身體共感的過程,就物質性而言,也反應了家庭衣物織品破碎歷史的微型敘事。手工縫製讓每一個織物的局部細節,皆嵌入身體勞動的細密痕跡。更精確地說,是對時間、空間觸覺記憶檔案的再編碼、再生成。聲繡物件亦結合氰版攝影,成為織物的基底影像,構造影像敘事圖層。計畫參與者將以自身脈絡為基礎、自選地方作為實踐基地,組裝地方事件,並開展相關的場所聲響,共同考掘地方空間書寫與聲景創作。

 

 

As a space used to contain and juxtapose heterogeneous, connected structures, the Factory Building 1 in the area of Northern Chi Tu Qi created a social context of diasporic and unsettled dwellers for the Imperial Japanese Navy’s Sixth Fuel Factory, Hsinchu Branch. The embedded apartments as dwellings, on the one hand, conveyed the individuals’ identities, labor, and differences, and on the other hand served as a mapping of the demarcation, expansion, exchange, and reconfiguration of the dwellers’ bio-politics in this space. Based on this understanding and treating “Dia-City” as its practical method, the Factory Building 1 Project is intended to cogitate on the dual belongings of “origin—root” and “site—path.” In terms of methodology, the workshop of Sound Embroideries produces a haptic text with the narrative voice-over in this space, namely voice, speech, and physical sense of space. The “third voice” does not so much describe this space from a single, linear perspective as blends different interviewees as well as their memories of specific historical sites and depictions of objects into an embedded storage system of narratives, which includes the listening to the interviewees, the collection of local sounds, and the mutual interpretation of expanded places.

Textile embroidery is emblematic of cultural materiality, and the actions of sewing and mending imply a process of mutual understanding and synesthesia among multiple subjects. They also mirror the micro-narratives of the dwellers’ family history in their materiality. The approach of hand-making embeds partial details of each textile in the subtle traces of physical labor. On a more specific basis, it is nothing short of the recording and regeneration of the files of haptic memories of specific time and space. Based on their respective background contexts, the project participants will choose their preferred places for practice and recount the events unfolded therein. They will also discover related local sounds, thereby collectively excavating the writing of these spaces and creating corresponding soundscapes.

 

林欣怡,一號廠房.聲繡 #01,氰版攝影、紗布、刺繡、導電線材、電路板、放大器、磁鐵,2019 ©
林欣怡,一號廠房.聲繡 #01,氰版攝影、紗布、刺繡、導電線材、電路板、放大器、磁鐵,2019 ©

 


 

雙城.聲繡,2019,展出場景,新竹交大藝文中心

 

創作指導:林欣怡
共同參與:黃郁晴、侯祥鈺、陳玟瑄、張懿、謝賢德、劉科邦、陳曉涵、黃荷晴、呂紹文、尤柏勛、蔡欣岺
感謝:江秋梅、蕭言軒、陳靜如、許宜蓁、劉筱涵、吳致怡

媒材:氰版攝影、刺繡、導電線材、織物、mp3電路板、放大器、木框、錄像
此計畫結合「107 跨域創作實踐課程」與ICT「 聲鏽工作坊」共同完成展出
日期:2019.2.18-6.6 |工作坊:2019.4.19-26 |展出:〈新竹生博物館六燃文件展〉2019.06.06-07.09
單位:交大ICT創創工坊、應用藝術研究所、交大藝文中心

This collaborative project was completed and exhibited by the Transdisciplinary Creative Practice and the Sound Embroideries Workshop.

 

閱讀|雙城.聲繡 參與者敘事|

 

 


Embroidered Fabric Speaker

「聲鏽」為 High-Low Tech Group :: MIT Media Lab 電子織物(e-textile)的應用創作。參與者將收集與場所有關的日常聲響,收於小型聲音播放模組電路板中,連結放大器,以導電線材織繡放音器圖樣於布料上,完成軟式、自控式的放音器。

These fabric speakers are made by running 5-9V amplified sound signal through a very conductive coil in close proximity to a magnet. Unlike most speakers that have the wire coil wrapped cylindrically and placed around the magnet, here the coil is in the plane and directly adhered to the membrane that moves the air creating sound. ( High-Low Tech Group :: MIT Media Lab )

Inspired by Marcelo Coehlo’s paper speaker and Vincent Leclerc’s Accouphene textile speaker. Also see: etched fabric speaker, carved and engraved wood speakers, plated seashell speakers

 


107跨域創作實踐課程

—— 北赤土崎作為方法:「聲語」場所的形成,寄生建築、空白之地
文本:Michel Foucault,(1967) Of Other Spaces: Utopias and Heterotopias.、阿甘本《例外狀態》、范銘如《空間、文本、政治》、賴伯威《寄生之廟》

—— 省外族群書寫與空間化呈示:多重意義的精神流亡
文本:陳國偉《想像台灣-當代小說中的族群書寫》、洛夫《漂木:向廢墟致敬》

—— 以新竹為基地,選擇一異質/寄生空間進行觀察、拍攝紀錄空間影像與地圖繪製,並於課堂中報告分享。

—— 場所話語考掘:第三種聲音
文本:Jay Ruby ( 1977 ). Third Voice Film.

—— 以自選的場所為基地,選擇三種相異人稱的地方居民,採集地方口述。

—— 以「第三種聲音」為方法,構造空間場所的敘事旁白。透過諸種不同的訪者、特定場點的歷史記憶和物件描述,作為嵌入式的敘事存檔系統,它將包括訪談時的傾聽、地方聲響的採集和擴延場所的交互詮釋。

—— 聲語物件與場景構成:攝影機與異步性
文本:.Jean Rouch (1974). The Camera and Man.
           .Jennifer L. Heuson, Kevin T. Allen(2014)Asynchronicity:Rethinking the Relation Between Ear and Eye In Ethnographic Practice

—— 以自選的空間書寫與地方口述採集,拍攝、製作聲語場景。
—— 作品檔案整理、聲繡製作
—— 文件展作品展呈、展覽講座參與
—— 作品檔案出版製作

 


 

.Michel Foucault, Of Other Spaces: Utopias and Heterotopias, 1967
.Giorgio Agamben, State of Exception, University of Chicago Press; 1 edition (July 18, 2008)
.范銘如,《空間、文本、政治》,聯經:2015
.陳國偉,《想像台灣-當代小說中的族群書寫》五南圖書:2007
.洛夫,《漂木》,聯合文學:2001
.賴伯威,《寄生之廟》,野人:2017
.Jay Ruby ( 1977 ). Third Voice Film. 1977
.Jean Rouch (1974).The Camera and Man.
.Jennifer L. Heuson, Kevin T. Allen(2014)Asynchronicity:Rethinking the Relation Between Ear and Eye In Ethnographic Practice

 


 

 

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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