// 指導老師：林欣怡
//〈雙城．聲繡工作坊〉參與者：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
// 2019.06.06—07.09〈新竹生博物館六燃文件展〉 展出
// 〈雙城．聲繡〉結合「107 跨域創作實踐課程」與ICT「 聲繡工作坊」 2019.4.19—26
//  相關連結：https://sensorylab.nctu.edu.tw/?p=5060

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「六燃一號廠房」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。聲繡以氰版攝影作為織物的基底影像，構造影像敘事圖層。圖樣內容為訪談對象的於媒體上被摘取出來的局部語句，在進行曬圖前先將文字拆解為「缺角補語」，曬圖完成後以紅線繡出「缺角補語」的再局部筆劃，使話語成為視覺上語意不清的「圖像」，觀者必須透過聲繡物件操作方能聽清受訪者的口述內容。〈補語〉指陳的不僅是以身體動作縫補佚失的事件片段與歷史場景、亦為一號廠房拆除事件回音的補述，而此回音因過多的現實角力被碎片化、雜訊化。

「聲繡」是包含了「聲音／具身／刺繡」（Sound, Embody, Embroidery）的身語，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。

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.