Focus Group Members:
Afroditi Psarra
Claire Williams
Aniela Hoitink
Luis Rodil-Fernandéz
Claire Wang
Ya-Ling Yang
Chou-Fen Li
Jonathan Reus
Concept
被泰雅族部落的美麗圖案，故事和歷史迷住了，Aniela Hoitink發展了泰雅族的眼睛。在泰雅族的眼中，她的目標是開發具有歷史意義的服裝的現代變化。在泰雅文化中，衣服的背面裝飾最多。已知一種特殊的模式是因為有很多眼睛。她被告知，這種具有許多眼睛形狀的織紋在背面，因為「在正面，他們有自己的眼睛，但在背面，他們看不到」。
這種模式還可以使他們與祖先交談。為了將其現代化，Aniela Hoitink使用電容感應在斗蓬上製作了一個簡易的距離探測裝置，使佩戴者能注意到有人位於其背後。斗篷將通過發出信號來提醒他/她。該信號由LuisRodil-Fernandéz根據泰雅眼紋的解碼模式產生。這種編碼是在LuisRodil-Fernandéz和Audrey Briot之間的討論中開發的，該討論涉及如何將這些複雜的模式轉換為易於織造的代碼。
這個斗篷的背面由生物塑料和有機原料麻製成。苧麻是非常有趣的材料。它生長迅速，一年至少可收穫四次。然而，要將該植物製成柔軟的纖維是一項艱鉅的任務，這使其成為昂貴的材料。為此，Aniela Hoitink一直在與苧麻原料合作，以尋找使用這種原料的新方法，而無需花費大量的勞動。生物塑料被用作纖維之間的粘合劑。並且利用生物塑料可塑型的特性，可以直接製成所需的斗篷形狀，在生產階段消除大量浪費。
背面的圖案基於兩隻眼睛和從泰雅圖案上取下的連接部分。眼睛是電容傳感器，並在圖案的連接部分連接到百合墊。前部由縫合在一起的原始苧麻製成。平整的正面和裝飾性的背面的組合與許多歷史悠久的服裝相同。
Fascinated by the beautiful patterns, stories and history of the Atayal tribe, Aniela developed Atayal eyes. With Atayal eyes her aim was to develop a modern variation of a historic garment. In Atayal culture, the back of garments have the most decorations. Particular one pattern is know for having many eyes incorporated. She was told that this pattern with the many eyes was at the back because “on the front they have their own eyes, but on the back they cannot see”.
This pattern would also allow them to talk with their ancestors. To translate this to modern times, Aniela used capacitive sensing to allow the wearer to notice when someone is behind them. The cape will then alert him/her by sending out a signal. This signal is developed by Luis Rodil-Fernandéz and based on the decoded pattern of an Atayal eye. This coding has been developed during discussions between Luis and Audrey Briot on how to translate these complicated patterns into an easier code for weaving.
The back of this cape is made of a combination of bio-plastic with organic raw ramie. The Lihang Workshop is growing ramie and we all were allowed to participate in the harvest. Ramie is a very interesting material. It grows fast and can be harvested at least four times a year. To make this plant into soft fibers is however quite a task, which makes it an expensive material. Aniela has therefor been working with the raw ramie in order to find new ways of using this material without having the expensive labour. For the cape bio-plastic has been used as a bonding agent between the fibers. And by directly making this into the desired shape of the cape, much waste is eliminated during the production phase.
The pattern on the back is based on two eyes and a connection part taken from the Atayal pattern. The eyes are the capacitive sensors and are connected to a lilypad at the connection part of the pattern. The front is made of stitched-together raw ramie. The combination of a plain front with a decorative back is the same that has been used in many of the historic garments.
另一件小組合力完成的作品是一個嵌入了由Leah Beuchley開發的經典控制器Lilypad的傳統泰雅新娘頭飾複製品。根據國際藝術家和工藝師的共同靈感「不可見的力量」，這個泰雅新娘頭飾的頂端被改造成一個由銅線圈構成的天線，Lilypad根據天線收集到的電磁波內容，再決定是否讓頭飾兩側的伺服馬達轉動，以帶動兩條由珍珠串成的鍊子，這個互動過程啟發並轉化於傳統服飾能感應惡靈並保護新娘的概念。這件由經典電子織品元件和經典傳統泰雅服飾合成的作品也象徵了兩個社群合作的美好象徵。
Another work done by the the group is a replicant of the traditional Atayal bride headdress embedded with the classic control board for wearable device, invented by Leah Buechley, the Lilypad. According to the “invisible power” of the common inspiration of international artists and Atayal artists, the top of this Atayal bride headpiece was transformed into an antenna made of copper coils. Lilypad then decides whether to let the two servo motors to activate or not according to the electromagnetic wave content collected by the antenna. The motor rotates two chains of pearls. This process was inspired from the concept that the traditional costume has the power to protect the wearers from the evil spirits. The headpiece combined with classic traditional Atayal costumes and classic e-textile tools, materials also symbolize a wonderful sign of cooperation between the two communities.
Johnathon Reus是一個聲音藝術家，他進行了一次有趣的探索，將泰雅族的宗教信仰與EVP（超自然電子語音現象）聯繫起來。 介由將一個Atayal頭帶改造成一個Raudive Diode，向泰雅社區介紹超自然電子語音的概念。如果你在網路上搜尋Raudive Diode你會發現很多版本，因為Raudive Diode不只是一個單一電路或設備，而是一個於1959-1963左右時，一連串促進「跨維度通信」的短暫試驗和錯誤意圖。
Johnathon Reus is a sound artist, he made an interesting exploring to connect Atayal spiritual religion and EVP (electronic voice phenomeno). He introduced the concept of EVP to the Atayal community by refurnishing an Atayal headband into an Raudive Diode, Raudive Diode is not a single circuit or device but rather, a short lived trial and error progression of designs intended to facilitate trans-dimensional communication since 1959 to 1963.
路易斯·羅迪爾·費爾南德斯（LuisRodil-Fernandéz）製作了一個簡單的可穿戴設備，以支持他的表演「象鼻大橋上的幽靈」。 該穿戴設備由連接到兩個木環的兩個長管織物製成。 他戴著這個裝置，騎著自行車穿過活動現場旁邊的象鼻大橋。 “我想表達另一種簡單的感受，我們如何經驗世界，風通過模擬傳感器作為振動直接傳達到身體，就像泰雅族人以精神方式感知世界一樣，文化是由我們對事物的看法的不同而被定義。
Luis Rodil-Fernandéz made a simple wearable device to support his performance “The Ghost Wanders At The Xiangbee Bridge”. The wearable device was made of two long tube textile attached to two wooden rings. He wear these two rings and bike through the xiangbee bridge next to the event site. “I wanna convey another simple interpretation how we experience the world, the vibration directly goes to your body by the analog sensor as an interface, as same as how the Atayal people sense the world in a spiritual way, the culture is defined by how we perceive things differently.
