織碼如詩 Interweaving Poetic Code by mill6chat

Interweaving Poetic Code

織碼如詩

Content

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Interweaving Poetic Code

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崔泰潤歡迎辭 Taeyoon Choi Greeting

「織碼如詩」的一匹布 The Fabric of Interweaving Poetic Code

展覽紀錄片及展場圖片 Exhibition Documentary Video & Installation View

CHAT 六廠平面圖 CHAT Floorplan

迴廊 Arcade

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織碼如詩

展廳 Gall

| Interweaving Poetic Code

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季度項目 Seasonal Programmes

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紗廠紡 The Hall

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展廳二：「反學習」空間 Gallery 2: Unlearning Space

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廳一 lery 1

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織碼如詩

鳴謝 Acknowledgement

騷動大愛：織夢如詩派對 Access Breach: Radical Visibility

4 「

Interweaving Poetic Code

「

織碼如詩

藝術總監

崔泰潤

歡迎辭

展覽「織碼如詩」探討紡織、詩和運算學代碼之

「提花織機在 19 世紀初問世時，是以打孔

間的關係。經紗與緯紗、高針與低針、零與一；

卡程式操作，它將紡織和電腦運算的歷史

紡織和代碼的歷史緊扣在一起。

編織起來。把這兩類歷史纏繞一起的，是許多共同的關注點，包括工藝與自動化、

編碼是一種建構世界和探索可能性的有意識練

公式與實驗、技術與表達之間的張力；新

習。它描述了自然和社會的邏輯。這是一組秘

工具和行業需求的影響；以及體力和智力

密語言，讓我們對話、聆聽、愛護和理解他人。

勞動之間的繩結。」（ Shannon Mattern，《編

早期的電腦編碼是為軍事和科學研究而開發，

織電路：崔泰潤的專訪（ Woven Circuits: An

也會被用作成壓制和監視的工具。今天，代碼

Interview with Taeyoon Choi）》）

已成為所有電腦軟件和硬件技術中的基礎，並被用作自動化的工業工具。當代碼在世界各地交織起來時，便成為了互聯網。

編碼與紡織有著怎樣的詩般關係？英文「text」（文本）和「texture」（質料）有著相同的字源，源於

Taeyoon Choi's Artistic Director, Interweaving Poetic Code

Interweaving Poetic Code explores textile, poetry and

When interwoven across the world, it becomes the

computer code. Warp and weft, knit and purl, Zero and

Internet.

One; the history of textile and code are closely related.

‘The Jacquard loom, programmable by punched cards when it appeared in the early 19th century,

Coding is an intentional practice of building worlds

weaves together the histories of textiles and

and exploring possibilities. It describes the logic of

computation. Entangled in those two histories

nature and our societies. It is a secret language we use

are a number of shared concerns, including the

to communicate with, listen to, love and understand

tension between craft and automation, formula

others. Computer code was initially developed for

and experimentation, technique and expression;

military and scientific research, and is sometimes used

the influence of new tools and industry

as a tool of oppression and surveillance. Today, code

demands; and the knotting together of manual

is underneath all technology, in software and hardware,

and intellectual labour.’ (Shannon Mattern,

used as an industrial tool for automation.

Woven Circuits: An Interview with Taeyoon Choi)

Interweaving Poetic Code

Greeting

織碼如詩

拉丁語「texere」，意為編織。創作織物、寫詩

阿卡裴迪）、模擬（安德列斯安格利達克斯）、

和編碼是以抽象和重複的概念為基礎，並具有

電路改裝、縫紉和針織（小場工匠）及裁縫（再生

轉化的力量──把資訊轉化為實物、體驗或互

服裝），來探索文本、質料、公共和環境之間的

動。在紡織、詩和代碼中，各個獨立不變的單位

縫痕關係，以連結 CHAT 六廠社群與全球藝術

被組合成不同形態、規律，形成「應變結構」的

家為焦點。

Interweaving Poetic Code

織碼如詩

圖案 ── 來自 adrienne maree brown 著作《應變策略（Emergent Strategies）》的用語。這可變

展覽「織碼如詩」是一個織網，交織著藝術和

的特質提醒我們能夠塑造改變和關懷。今天你

技術性探索、自發研究和社會參與實踐的文獻

想以怎樣的方式來塑造改變？

記錄，並邀請參觀者體驗編碼和紡織的詩意。展覽和項目自 2018 年秋天，由我和其創作友好

在寫作和閱讀詩歌的過程中，我們會感到愉悅。「Poetry」（詩）一詞來自希臘文「poiesis」，意思

在兩年間構成，其中聚焦於藝術家的原創作品、社區主導項目以及 CHAT 六廠的場域特定委約

是創造。「Sym-poiesis」（共生系統）一詞受唐娜．

新作。香港公眾參與了此項目的設計和生產過

哈洛威的著作《與憂患並存：在克蘇魯紀製造親

程，我們與殘疾社群包括香港心光盲人院暨學

緣》啟發，旨在通過共生、相互依存的方式提供

校的學生以關懷共同合作。

共創體驗。在是次展覽中，我們與創作友好和

社區共構我們的語言。「織碼如詩」展覽和項目

相對「控制」或「治療」（以醫療工業綜合體為

透過梭織（羅拉戴文多夫和阿莫爾．穆洛茲）、

模型），「關懷」是一個支援性的生態系統，由

繪畫（克莉絲汀孫金）、人工智能（阿拉提

溝通、沉思、理解、參與、行動和責任來創造。

The words ‘text’ and ‘texture’ share a common

give the experience of co-creating in symbiotic,

lineage, stemming from the Latin texere, meaning

interdependent ways. In this exhibition, we co-create

to weave. The creation of textile, poetry and code

our language with collaborators and community.

are based on instruction, abstraction and repetition.

Interweaving Poetic Code exhibition and programmes

They share a powerful transformative quality:

explore the seamful connections between the textual,

turning information into an object, experience or

textural, communal, environmental and celestial,

interaction. In textiles, poetry and code, individual

through weaving (Laura Devendorf and Amor Munoz),

and static elements are configured into patterns

drawing (Christine Sun Kim), Artificial Intelligence

for ‘emergent’ structures, a term inspired by

(Aarati Akkapeddi), simulation (Andreas Angelidakis),

adrienne maree brown’s Emergent Strategies. Their

circuit-bending, stitching and knitting (KOBAKANT)

transformative quality reminds us that we are able

and tailoring (Rebirth Garments), focusing on

to shape change and care. What are the ways you

connecting the CHAT community with a global

would like to shape change today?

network of artists.

There’s a pleasure that is felt through the process

Interweaving Poetic Code is a woven net of artistic

of writing and reading poetry. The word poetry

and technological exploration, self-initiated research,

comes from the Greek word poiesis, which

documentation of socially engaged practices and

means to create or give form. Sym-poiesis,

an invitation for visitors to experience the poetry

a term inspired by Donna Haraway’s Staying with

of code and textile. Conceived in the fall of 2018,

織碼如詩 |

the Trouble: Making Kin in the Chthulucene, is to

Interweaving Poetic Code

What is poetry’s relationship with code and textile?

「關懷」是在擴大人們的意識，同時尊重生物或

Interweaving Poetic Code

織碼如詩

非生物的內在力量和決心。關懷所蘊涵的面向，

類歷史來構想更公平未來這概念，我們可以「批

有賴盲人、殘疾人士、酷兒、跨性別人士、女性

判地製造」不基於剝削的科技，並且為子孫後

化者、BIPOC（黑人、原住民、有色人種）、低

代提供關懷和保護地球。

收入人士、無證件人士、不能依靠國家支援的跨代社群，以及得不到適量關懷的人組成。這

展覽和項目提出以下問題：我們如何塑造正面

面向是由殘疾正義的社會運動者提倡，他們辨

的改變？我們如何在情感、身體的引導下，與

識到殘疾、種族、性傾向、階級、性別、年齡

社區、地球、宇宙保持一致，來保護我們的世界，

和其他身份標記的交集。米婭

以應對突發狀況？考慮到由社會轉變和流行病

明格斯在著作

《改變框架：殘疾正義（Changing the Framework:

帶來的世界劇變，以及代碼在世界的重要角色，

Disability Justice ）》中寫道：「殘疾是我們所有

展覽「織碼如詩」邀請香港觀眾和全球參與者交

人都有可能經歷的人類處境」。受革命性團體

織他們的過去、現在與未來。

Radical Love Consciousness 啟發——愛如科技：

一種有目的性，以解難為導向的關懷，我們視關懷為科技。我們欣賞他們的不屈不撓和創造力，教會我們都能「關懷」彼此。我們可從編織者的耐性中學習，現在是過去的不斷延續。我們可向說書人學習，過去可被重設

來改變現在。借用賽迪亞．哈特曼有關講述另

two-year period by me and my collaborators featuring

who cannot rely on the state for support, and who

artists’ original artworks, community-driven projects

experience a disproportionate amount of demand for

and new site-specific commissions by CHAT. The

the labour of care. This is modelled by Disability Justice

project involves Hong Kong community members in

activists, who recognise the intersections of disability,

its design and production process. We collaborated

race, sexuality, class, gender, age and other identity

with disabled communities, including the students

markers. Disability is the most human condition that we

of the Ebenezer School and Home for the Visually

all may experience, as Mia Mingus wrote in Changing

Impaired in Hong Kong, with care.

the Framework: Disability Justice. Inspired by Radical Love Consciousness, a revolutionary collective that

Care, in contrast to Control or Cure (which is modelled

believes in ‘love as technology – a purposeful, solution-

by the medical industrial complex), is an ecosystem

oriented application of care’, we recognise ‘care

of support created through communication,

as technology’. Their tenacity and creativity inspire

contemplation, understanding, engagement,

everyone to learn to ‘care for’ one another.

織碼如詩 |

undocumented and intergenerational communities

Interweaving Poetic Code

the exhibition and programmes were developed over a

action and accountability. Care is extending one’s mindfulness while respecting the inherent power

We can learn from the patience of weavers – the present

and determination of a living or non-living being.

is an ever-expansive continuation of the past. We can

This aspect of care has been primarily shaped

learn from storytellers – the past can be re-configured

by Deaf, disabled, queer, trans, femme, BIPOC

to change the present. To borrow Saidiya Hartman’s

(Black, Indigenous, People of Colour), low-income,

concept of telling alternate histories to imagine more

徵引文獻織碼如詩

adrienne maree brown，《Emergent Strategies》， Akpress 網頁，2017 年 3 月 21 日， https://www.akpress.org/emergentstrategy.html

2021 年 3 月 29 日讀取。 Donna Haraway，《Staying with the Trouble: Making Kin in the Chthulucene》，

Interweaving Poetic Code

Dukeupress 網頁，2016 年 9 月， https://www.dukeupress.edu/staying-with-the-trouble 2021 年 3 月 29 日讀取。 Saidiya Hartman，《Venus in Two Acts》，Muse.jhu 網頁， 2008 年 6 月， https://muse.jhu.edu/article/241115 2021 年 3 月 29 日讀取。 Shannon Mattern，《Woven Circuits: An Interview with Taeyoon Choi》，Wordsinspace 網頁， 2019 年 4 月 16 日， https://wordsinspace.net/15735-2/ 2021 年 3 月 29 日讀取。 Mia Mingus，《Changing the Framework: Disability Justice》，Leavingevidence 網頁， 2011 年 2 月 12 日， https://leavingevidence.wordpress.com/2011/02/12/changing-the-framework-disability-justice/ 2021 年 3 月 29 日讀取。

《Radical Love Consciousness Mission Statement》，Patreon 網頁， https://www.patreon.com/radicallove 2021 年 3 月 29 日讀取。

equitable futures, we can ‘critically fabulate’

Citation

technology that is not based on exploitation, but

brown, adrienne maree, 2017, Emergent Strategies, Akpress, < https://www.akpress.org/emergentstrategy.html >. Haraway, Donna, 2016, Staying with the Trouble: Making Kin in the Chthulucene, Dukeupress, viewed 29 March 2021,

The exhibition and programmes ask the following questions: How do we shape positive change? How

< https://www.dukeupress.edu/staying-with-the-trouble >. Hartman, Saidiya, 2008, Venus in Two Acts, Muse, viewed 29 March 2021, < https://muse.jhu.edu/article/241115 >.

do we care for our worlds, guided by our affects, our

Mattern, Shannon, 2019, Woven Circuits: An Interview with

bodies, in alignment with our community, the earth,

Taeyoon Choi, Wordsinspace, viewed 29 March 2021,

the universe, for emergent processes? Considering

< https://wordsinspace.net/15735-2/ >.

the rapid changes in our worlds due to social

Mingus, Mia, 2011, Changing the Framework: Disability Justice, Leavingevidence, viewed 29 March 2021,

transformation and the pandemic, and the essential

< https://leavingevidence.wordpress.com/2011/02/12/changing-the-

role of code in our worlds, Interweaving Poetic Code

framework-disability-justice/ >.

invites the Hong Kong audience and international

Radical Love Consciousness Mission Statement, Patreon,

participants to interweave their past, present

earth for future generations.

織碼如詩

Interweaving Poetic Code

instead towards care and the preservation of the

viewed 29 March 2021,

viewed 29 March 2021, < https://www.patreon.com/radicallove >.

and future.

Interweaving Poetic Code

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展覽紀錄片及展場圖片

Exhibition Documentary Video & Installation View

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的一織匹碼布如詩

「

| Interweaving Poetic Code

高橋瑞木

「

CHAT

織碼如詩

六廠紡織文化藝術館

執行董事及首席策展人

是從何時開始，我們低估了樂觀的力量？日

我初遇崔泰潤是 2018 年的時候，當時他是「M+

復日，我們被排山倒海的負面新聞淹沒，消

思考：數碼領域裡的藝術與設計」研討會中的

息越發沉重，不斷把我們推向臨界點。氣候

其中一個講者。作為詩意編程學院的其中一個

變化、貧富懸殊、環境污染、種族主義、性

創辦人，加上數碼科技藝術家的身份，他分享

別歧視、陰謀論、戰爭的威脅……無休無止。

了他的擔憂：數碼科技會否被中央集權到軍事

「編碼如詩」的藝術總監崔泰潤卻一直意識到

和大資本家的手上？在他 20 分鐘的分享期間，

這些議題逼在眉睫，致力提高我們對這些議題

他邀請所有現場觀眾來到台上，然後他把一卷

的關注，並提醒我們能夠做的還有很多。他的

象徵著連結的線軸給了其中一位觀眾，要他

創作面貌非常多樣，包括教育、戲劇、工作坊、

把它以三個階段——中心化、去中心化及分散

繪圖、繪畫、倡議。在我看來，他首先是個人，

式——轉交給旁人。沒多久，隨著那卷閃亮的

然後才是個藝術家——為了調和他的烏托邦願

粉紅色線軸被展開，觀眾名副其實地被它「連

景和現世之間的矛盾，他面對不少困頓，而

結」起來了，形成了一個相互交織的網絡。在

這些個人掙扎，他都開心見誠地與大家分享。

這個網絡中，觀眾們面向彼此微笑，非常誠摯用心地把線軸交托給另一人。這是崔泰潤的

Takahashi Mizuki Executive Director and Chief Curator,

織碼如詩 |

The Fabric of Interweaving Poetic Code

Since when did we start to underestimate the power

includes teaching, staging performances, facilitating

of optimism? Every day, depressing news piles on top

workshops, drawing, painting and advocacy. In my

of us, each weighing on our minds more heavily than

opinion, he is a human first, an artist second – but one

the previous one, pushing us closer to the breaking

who honestly and openly shares his personal struggle

point. Climate change, the apparent economic gap,

in reconciliating his utopian vision of the world with the

environmental pollution, racism, gender discrimination,

reality of today’s society.

Interweaving Poetic Code

CHAT (Centre for Heritage, Arts and Textile)

conspiracy theories, the threat of war – the list goes on. Taeyoon Choi, the Artistic Director of Interweaving

I met Choi for the first time in 2018 when he was invited

Poetic Code, is one of those people who has always

as a speaker for the symposium on Art and Design

been aware of our urgencies and strived to change

in the Digital Realm in Hong Kong. As a co-founder

our consciousness on these matters, reminding

of School for Poetic Computation as well as an artist

us there are still many things we can do to make a

of digital technology, he shared his concerns about

change for the better. His output is multifaceted and

centralised digital technology being utilised by military

參與式演出《分散式關懷網絡》的簡短版，而這個

決定參與 CHAT 六廠的藝術家駐場計劃，在香

具想像性的、包容性的關懷網絡是由大家共同創

港逗留最多三個月，期間為他的作品做資料搜

造的。當我參與其中時，我不禁讚嘆崔泰潤如何

集並發展作品。2019 年 10 月，他提議在駐場期

使用紗線把人與人之間的連結和網絡擴展具象

間為盲及視障學生進行一個有關網絡的工作坊。

化，同時也藉此指出了紡織這個媒介與電腦的關

對崔泰潤來說，為不同的社群提供平等的教育

Interweaving Poetic Code

係。眾所周知，以二進制編碼系統運作的提花織

機會，這種包容性是他作品的核心。《接觸互聯

布機是今天電腦的原型，紡織術語如線、網、網

網》是一個旨在教育人們網絡生態系統的工作

絡亦被直接應用到網絡科技中。紡織明明是最古

坊。他提供一個機會讓參加者去想像一個他們

老的科技，但卻與當下最先進的科技共用相同的

渴望的網絡未來。網絡是世界的窗口，一道讓

詞彙，真是耐人尋味。另一方面，許多人都會將

人們彼此連結的通道。要在當代世界存活，網

織物與關懷、給予和接受照顧等概念連上關係。

絡科技已是不可或缺的了，但大多數使用者卻

例如當有傷患出現，我們會用繃帶保護創口 ; 當

對網絡連結的生成和運作全不知情。崔泰潤與

你感到冷，你會用毛氈和圍巾保暖。崔泰潤那次

CHAT 六廠的紡織團隊合作，創作了三件不同

的講座和參與式演出使我難以忘懷，他是如此有

顏色的罩衣，上面縫有立體裝飾，代表著三種

創意地以紡織展現關懷，更巧妙地對我們每天身

網絡系統：中心化、去中心化及分散。透過觸

處其中的複雜電子世界作出反思。

摸這些圖表，你可以認識到這三種系統，工作

織碼如詩

坊也鼓勵學生分享他們日常如何使用網絡溝通，

在他造訪 CHAT 六廠之後，當時他對這個展覽

藉此對今日的社會有更深的認識。本來我們打

還未有完全的計劃，他就先接受了我們的邀請，

算把駐場計劃分為兩個部份，讓崔泰潤先在

talk, he invited everyone to come up on to the stage

for today’s computer, functioning with a binary coding

and gave an audience member a bobbin of thread. He

system. Textile terms such as thread, net and web

then asked the audience to pass it around to everyone

have also all been applied to Internet technology. It is

in three stages, namely, centralised, decentralised

interesting that textiles, one of the oldest technologies,

and distributed phase. The audience soon became

share the same vocabulary with the most advanced

physically connected by the flashy pink thread

contemporary technology. On top of that, most people

unspooling from the bobbin, creating an intertwining

associate textiles with the idea of care – whether it

network. As the web was formed, the audience were all

is giving or receiving care. When an injury occurs, a

facing each other, smiling at one another, and passed

bandage is used to protect the wound; when you feel

the bobbin on to the next person with great care. That

cold, a blanket or scarf will help keep your body warm.

was a short version of Choi’s participatory performance

Choi’s talk and his performance with the audience left

called Distributed Web of Care, an imaginary inclusive

an impression on me, and I could not stop thinking

web of care that people could create together.

how he could explore this connection and invent

織碼如詩 |

quoted, the Jacquard weaving loom is the archetype

Interweaving Poetic Code

and big capitalist power structures. 20 minutes into his

creative ways of using textile to demonstrate his idea Participating in the performance on stage, I was

of care.

fascinated by Choi’s use of thread to visualise how we connect to each other and expand our network,

After his visit to CHAT, and before the plan for this

and how he use textile itself to highlight the similarities

exhibition was fully formed, he accepted our invitation

between this medium and computation. As often

to join CHAT’s three-month residency programme,

合作，3 ）受邀藝術家有關紡織與編碼的創作，

續。但是因為新冠疫情這個不速之客，由 2020

及 4 ）反學習空間。CHAT 六廠其中的一個展廳成

年 1 月至今影響尚未見終結，所以我們不得不改

了可以讓觀眾身體力行去參與的工作坊，讓來

變原定的計劃，擱置他來港的行程。當不同的城

訪的觀眾認識編程是如何被應用到紡織之中。

2019 年在香港駐留一個月，然後在 2020 年再

市都在經歷不同程度的封鎖時，當時身處紐約

Interweaving Poetic Code

織碼如詩

的崔泰潤經歷了全球疫症的冒起，種族主義的情

第一部份的展覽由手織旗幟開始。在粉紅色

緒非常高漲，尤其是針對亞洲人的暴力襲擊時而

和藍色的手織旗幟上，是崔泰潤的標誌符號

發生。最後因為種種原因，他不得不先回到南韓。

「行走的椅子」，是他的第一件紡織作品。即使紡織和電腦程式同樣使用「編碼」來生產

在他回到南韓之後，為了籌備展覽「織碼如詩」

圖案，但人手編織可以讓他充分體會到由原

香港與首爾之間交換了無數的電郵和訊息。展

材料到紡織物中間所耗的時間和耐心，我感

覽也包含了許多不同形式的創作，與崔泰潤光

激他試用織布機全人手編織他的作品。跟隨

譜甚闊的創作呼應，其中有論壇、工作坊及表演。

旗幟所引導，觀眾會看見一整道關於「C P U

他也邀請了其他以編碼和電腦關注關懷、反學

餃子工作坊」的壁畫和錄像。崔泰潤由 2 0 1 4

習、後殖民身份、民主、權力分佈等議題的藝

年開始進行這個工作坊，表面上它是一個簡

術家一起合作。

單的餃子烹飪課程，但實際上，它在煮食過程中展示了電腦中央處理器是如何運作的。

展覽「織碼如詩」大致分為 4 個部份：1）

雖然我們每個人都會使用電腦，但因為電腦

崔泰潤的個人創作導覽，2 ）與不同能力的人

涉及太多嚇人的專門術語，讓我們心理上

artwork. In October 2019, Choi’s residency began

learn about each system by touching the diagrams

with his proposal to conduct a workshop about the

on the smocks, and the students were prompted to

Internet for blind and visually impaired students.

talk about how they used Internet in their daily lives

For Choi, inclusivity and offering equal opportunity

for communication, for learning and for gaining a

education to diverse communities is at the core of

better understanding of society today. In our original

all his work. Touching the Internet was a workshop

plan, Choi was expected to spent one month in Hong

designed to educate people about the ecosystem of

Kong in 2019, then to return again in 2020 to continue

the Internet. It was also created to give participants

the development of his exhibition idea. However,

a chance to imagine an Internet that they would like

due to the COVID-19 pandemic, which happened

to have in the future. The Internet is the window to

unexpectedly in January 2020 and continues to affect

the world and a gateway to connect with people

the world, Choi’s trip back to Hong Kong had to be

around the world. It is also an essential technology

suspended and we had to alter the original plan.

that we need to survive contemporary life, yet most

The world’s cities started to enter various stages of

users are not familiar with how the Internet actually

lockdown, and in New York where Choi was based at

creates these connections, or how the web is spun,

that time, he experienced the rapid epidemic rise of

so to speak. Choi created three different-coloured

COVID-19 cases and along with that, racist attacks

smocks in collaboration with CHAT’s sewing team,

against Asian people such as himself. Eventually, Choi

each of which has a three-dimensional tactile

decided to return to South Korea for various reasons.

織碼如詩 |

centralised, decentralised and distributed. You could

Interweaving Poetic Code

where artists could research and develop their

ornament to represent the three systems of Internet:

產生距離，對這日常用品的實際原理感到異常

崔泰潤的作品經常將虛擬世界和現實世界揉合。

陌生。「CPU 餃子工作坊」展現了崔泰潤對現代

他的三張小型繪畫《哎呀》、《未能運算》和《分

電腦科技被神秘化的關注。他希望以此工作坊

散式關懷網絡》成一個裝置，用本地網絡與三個

為電腦概念袪魅，如果我們不好好理解互聯網

虛擬公園連接起來。這些公園都是以香港真實

的意義、功能和結構，那我們便會一直淪為被

的公園命名的，分別是九龍公園、維多利亞公園、

Interweaving Poetic Code

動的使用者，無法奪回我們使用電腦的自主權，

荃灣公園。當訪客用他們的電子裝置與這些公

更難言要用它去豐富我們的生活了。這個工作

園連接起來，他們便可以與其中的虛擬生物遊

坊也兌現了他對平等學習機會的理念，除去電

樂、栽種及澆灌植物。

織碼如詩

腦科學的神秘感，大大降低了知識的門檻。第二個部份凸顯崔泰潤作為合作單位的角色。在展廳一中，崔泰潤的《手製電腦》與一部有

崔泰慣很重視合作，他與其他藝術家、學生、

關他創作的紀錄片一同展出，還有一系列繪

工作坊參與者和觀眾一起創造了一個平台，共

圖、繪畫。他的手製電腦僅用簡約的必備零件

同展望一個更美好的未來。以他的《分散式關

併湊而成，從中我們看到手作物品特有的脆弱

懷網絡》為例，它就消融了台上表演者和與會者

和溫度，使人緬懷那些電腦發展史中的傳奇故

之間的邊界，歡迎所有具有不同程度障礙和困

事——那些電腦創造者也是如此在自己家中車

難的人士參與，切切批判了網絡的過度中心化。

庫一手一腳造出一部電腦來，那些電腦只有最基本的功能，更突顯了當中所需的勞動，亦保留了那份脆弱及溫度，與今天去人性化的量產

電腦截然不同。

崔泰潤藉這個展演提出警示，網絡工業的覇權只會與日俱增，我們更要主動向身邊的人釋出關懷、建立我們的關係網，那才可以避免讓編

number of emails and text messages were exchanged

flags. These pink and blue flags with Choi’s hallmark

between Seoul and Hong Kong in order to shape

icon of ‘walking chair’ were his first weaving pieces. I

Interweaving Poetic Code. Echoing Choi’s multi-

appreciate how Choi decided to try to weave his work

spectrum practices, the exhibition comprised of many

manually with a loom, and I believe that the experience

forms. It included a discussion forum, workshops and

of manual weaving enlightened him on how much

performances. He also invited and collaborated with

time, patience and understanding of the raw material

artists who critically applied code and computation

was required in weaving when compared to computer

to ideas about care, unlearning, inclusiveness, post-

programming, even though both weaving and computer

colonial identity, democracy and distribution of power.

programming use code to produce a pattern. Directed by the flags, visitors will encounter the mural and video

The exhibition Interweaving Poetic Code is roughly

about the CPU Dumplings Workshop. Choi has been

divided into four parts: 1) Introduction of Choi’s solo

presenting this workshop since 2014. On the surface,

practices, 2) Collaboration with people with different

the workshop is a simple dumpling cooking class, but it

abilities, 3) Critical works of computation and textiles

demonstrates, in fact, the operation of the CPU (Central

by Choi’s fellow artists, and 4) Unlearning space. One

Processing Unit) of a computer through the cooking

of the gallery spaces in CHAT was transformed into

process. The overflowing abundance of technical

the open workshop called Unlearning Space, where

terms you encounter while learning the computer can

visitors can learn how code is used in textile-making

often be intimidating and can create a psychological

through hands-on participation.

distance between our understanding of this technology

織碼如詩 |

The first part of the exhibition starts with handwoven

Interweaving Poetic Code

After settling down in South Korea, a countless

Interweaving Poetic Code

織碼如詩

碼過度掌控我們的生活。這個錄像記錄與會者

崔泰潤的另一件紡織作品《從編碼到針織》則是

如何透過傳遞線軸，身體力行地散佈網絡，把

由電腦與紡織兩種技術結合而成的編碼，從一個

網上的連結具象化，而且以可觸的媒介讓它延

為香港視障學生而設的工作坊獲得經驗而來。雖

續下去。最後，與會者都成了這個系統的一部

然不能夠說這個作品是那個工作坊的直接結果，

份，有份參與形塑和分佈這個關懷網絡。

但此經驗卻是不可或缺的。這 8 個紡織作品由 JavaScript 編碼構成，每一組編碼都被翻譯成紡

《預防未來》呈現了崔泰潤與其他藝術家的另一

織編碼和圖案，然後被織成布。JavaScript 把輸

種合作模式。這個講課式展演本來是在 2016

入的程式文字變成圖像，而紡織編碼則把原材料

年是與天生耳聾的聲音藝術家克莉絲汀．孫．

轉變成製成品。利用紡織品充滿質感的美麗，這

金的合作。他們向觀眾提出幾個問題：我們如

個作品讓參觀者可以和編碼有個更實體的接觸，

何以尊重不同族群例如聾啞和殘障人士的方式

使它像日常物品一樣可觸可感。

去使用科技？我們要如何翻譯那些非技術性的人類語言，例如手語？為了回答這些問題，錄像

展覽的第三個部份展出了崔泰潤藝術家友好的作

中見到一些白色布帶橫跨空間展開，接摸布帶

品，他們全部都詩意地運用電腦、編碼，以紡織

去弄響裝置在場內的風鈴。崔泰潤把那個表演

呈現關懷。現在的電腦科技經常被應用到穿戴裝

轉換成展示形式，在 CHAT 六廠的展覽中讓參

置上，用以收集個人資料如健康狀況、日常規律

觀者與之互動，人們可以觸摸布製面板，以啟

和行為模式。這無邊的資料庫正逐漸累積，等待

動懸掛在天花板的風鈴。

被抽絲剝繭，然後被應用到市場和商品研發之上。通常這些系統性資料搜集是不可見和全自動的，

represents Choi’s significant concern about

functions highlights the level of manual labour

the demystification of modern computation

required in order to retain the state of vulnerability

technology. It was his way of demystifying the

and warmth that is unique to handmade items.

concepts relating to computer, such as the

This creates a poignant contrast to the de-

meanings, functions and structures about the

humanised mass-produced computers that most

Internet. Without proper knowledge of it, we

people use today.

would remain passive users and have little control over how we use it in our daily lives. The CPU

Choi’s works often incorporates the virtual world

Dumplings Workshop is also supported by Choi’s

into the real world. His three small paintings; Jeez,

idea of offering an opportunity for learning to

Uncomputable and Distributed Web of Care form a

everyone, to lower the barrier to knowledge and to

set of installations connected to three virtual parks

demystify the core component of computer science.

and gardens through the local Wi-Fi network. These

織碼如詩 |

Handmade Computer with minimum essential

Interweaving Poetic Code

process. The CPU Dumplings Workshop

parks and gardens are named after Kowloon Park, Inside the main gallery, Choi’s Handmade Computer

Victoria Park and Tsuen Wan Park through local

is displayed along a documentary video about

Wi-Fi networks. When visitors connect their mobile

Choi’s artworks, a series of drawings and a set of

devices with the virtual parks and gardens, they

paintings. Reminiscent of the legendary tales of

can play with virtual creatures and grow plants by

computer history giants who invented computers

watering them on their devices.

in their home garage with their own hands, Choi’s

Interweaving Poetic Code

織碼如詩

而參展藝術家阿拉提．阿卡裴迪、安德列斯．

阿莫爾．穆洛茲帶有玩味性質的紡織作品由二

安格利達克斯、羅拉．戴文多夫、阿莫爾．穆

元碼和摩斯密碼兩種編碼揉合而成。在她的作

洛茲、小場工匠的作品則背道而馳，提醒我們

品中，紡織反客為主，成為編碼的基礎，而我們

在這些科技背後總有明確的個體，把人的臨

向來都認為編碼主宰了紡織品的結果。一組兩

在重新帶回作品之中。

件被掛起的作品《編碼織物（物質與記憶）I 及 II》中，短詩被織進布匹裡，觀眾可以就那些幾何

阿拉提．阿卡裴迪的《記憶與圖案：印度織品

圖案進行解碼以閱讀詩句。在《摩斯密碼桌上遊

的生成研究》是一組 6 件黑白的紡織品，由實

戲（物質與記憶）》中，參觀者則受邀以一些羊毛

驗性的機器學習過程生成。作為一個印度裔美

氈小棋子創作秘密詞語。所有展品都由一個墨

國藝術家，阿卡裴迪訓練一個生成對抗網絡學

西哥的工匠織成，作品因此充滿質素和原創性，

習傳統印度紡織圖案，然後讓人工智能自行創

呈現出一種樸實的美。穆洛茲經常為一些墨西

作不同的圖案。一般來說，傳統的紡織圖案都

哥的邊緣社群和原住民辦紡織項目，讓他們可

深植於文化和大自然之中，所以每個圖案都強

以賺取更多收入，讓她的藝術創作可以支援他

烈地反映了當地的身份認同。但這些由人工智

們持續擁有一個更健全的生態系統。

能生成的圖案雖然具備傳統印度紡織的元素，

卻沒有明顯的地方特色。有趣的是，它們展示

小場工匠是一個二人藝術組合，成員包括里見

出一種跨國界的紡織風格，一種在交易旅程中

美香和漢娜．佩爾奈．威爾遜，她們重新展示實

往往被磨平了的特質。

驗計劃《小場電子織物裁縫店》，她們會在臨時裁縫店裡接受客人委約，為他們度身訂造電子

as a visualisation of online connections and

Choi’s role as a collaborator. Collaboration

substantialising the network through the use of

is one of Choi’s key practices. He has

tactile materials. As a result, the audience became

collaborated with fellow artists, students,

a part of a system that shaped and distributed the

workshop participants and audiences to create

web of care.

織碼如詩 |

The second part of the exhibition highlights

together. In the exhibition, CHAT exhibited the

Another video documentary, FUTURE PROOF,

video documentary of the performance piece

reflects Choi’s collaboration with his fellow

Distributed Web of Care, which was conceived to

artist in another form. It was originally a lecture

remove the border between performers on stage and their audience. Based on Choi’s critique of the over-centralisation of power in the World Wide Web of the Internet, the performance was designed to welcome people with disabilities and difficulties. In the performance, Choi highlights the alarmingly dominant power of the

performance realised in collaboration with Christine Sun Kim, a sound artist who was born Deaf, in 2016. They posed several questions to the audience; How can we use technology in a

Interweaving Poetic Code

a platform on which to envision a better future

way that respects various communities, such as Deaf and disabled people? How can we translate

IT industry which still continues to grow, and

non-technological, human languages such as

proposes to code to give care and generate a

Sign Language? In an attempt to answer these

network of care among us, the people, instead

questions, white fabric tapes were stretched

of code to control. In the performance, Choi

around the performance space. When audience

invited the audience to experience the process

members interacted with the tapes, they

of distributing the net, passing thread around

transmitted a signal to activate the installed chime.

紡織衣品。她們故意套用裁縫店的形式，去批判

女兒們，她從紡紗開始，然後編織、縫紉、針毯、

當下速食時裝的過度生產，而且現在的消費者

染色，一路走來。她為頭和手臂做了洞口，把它

都亳不批判地盲從企業操控的時裝潮流，沒深

當成裙子，穿著它管理家頭細務。布中有 21 個

思過自己真正想要的是甚麼。相對之下，裁縫則

感應器，把她身體所承受的壓力一一記錄下來。

促使顧客自主地參與，由選擇布料，到決定款式、

例如她抱著孩子、靠著廚櫃煮食，這些動作帶

Interweaving Poetic Code

風格、功能，都要親力親為。小場工匠把電子衣

來的數據會透過色彩和溫度變化呈現在布的壓

品和度身訂造連在一起，開闢顧客們天馬行空

力點上。

織碼如詩

的想像，令科技重新變得實用而且個人化。與戴文多夫的作品相呼應，崔泰潤在 2019 年秋羅拉．戴文多夫是一位資訊科學家、設計師，而

季參與 CHAT 六廠藝術家駐場計劃期間由心光

且是育有兩女的母親。她嘗試把負壓轉化成創

盲人院暨學校的學生工作坊發展而成的作品《接

意，亦試圖以創作平衡公私兩個世界，照顧自己

觸互聯網》也有展出。電子裝置和網絡對於協

的時候也照顧他人。

助視障人士參與社會有舉足輕重的作用，但當然，他們和普羅大眾一樣對於網絡背後的機制

在 2019 年的時候，戴文多夫創作了《布想起來》，

和原理一知半解。三件罩衣上呈現中心化、去

她把一些具有感應電阻和分流電壓功能的電線

中心化、分散式三種基本網絡系統，也有邀請

織入布中，那些電線載得所承受的力並於顯示

學生們自製網絡地圖。這個與視障學生合作的

介面展示。這個作品後來在 2020 年的疫症封城

工作坊後來在 2020 年再度轉化，卻遺憾因為疫

期間被發展成《穿上》，當時她有更多時間陪伴

情緣故，他沒法親自來港主持工作坊。他口述教

physically touch and feel the code.

could interact with the fabric touch panel to ring the

The third part of the exhibition is the showcase of

chime which is hanging from the ceiling.

works by Choi’s fellow artists who share the same interest in the poetic use of computation, codes and

Another of Choi’s textile works, Code to Knit, was

the notion of care in textile. Nowadays computation

realised through a combination of code created for

technology are often applied to wearables,

computation and textile. The work is the outcome

collecting personal data about our health, daily

of a workshop with visually impaired students in

routine and behaviour. The accumulation of

Hong Kong. While it was not a direct collaboration,

data forms an expansive database waiting to be

the work could not have been conceived without

analysed and used for various purposes including

the experience of working with those visually

marketing and product development. Generally,

impaired students. The set of 8 knit pieces show the

this systematic collection process is invisible and

output of JavaScript code. Each piece of code was

automatic. So in contrast to that, the works by

translated into textile code and pattern, then knitted

participating artists like Aarati Akappeddi, Andreas

onto the fabric. JavaScript code renders typed

Angelidakis, Laura Devendorf, Amor Munoz and

programme to appear as a visual pattern and the

KOBAKANT remind us that there are always unique

code for textiles fabricates the raw material into a

individuals behind technology by bringing back a

finished textile piece. Taking advantage of the tactile

human element into their works.

織碼如詩 |

display piece for CHAT’s exhibition so that visitors

Interweaving Poetic Code

Choi then converted the performance piece into a

beauty of textile, this work was made for visitors to

為「Ecclesia of Demos」，通常被譯作「集會」，

們房間和其中一件珍愛物品的詩。他們的詩用

意旨一群因為共同目的而聚集的人。在展覽期

JavaScript 程式寫成，再轉換成 ASCII 字元畫，

間，《線軸柱式》的意涵豐富多變，時而變成公共

被用作產品的設計上，其後在 CHAT Shop 裡發

擺設，時而變成表演舞台，時而變成孩子的玩具。

授學生們編碼的知識，協助他們寫一首關於他

售。這個工作坊不但示範了如何詩意地使用編

Interweaving Poetic Code

織碼如詩

碼，也讓學生體驗了一種嶄新的思考模式，從而

反學習是崔泰潤其中一個倡導，鼓勵重新審視

衍生出創意。

自己所學知識的來源和方式，而且要用別樣的方式去驗證。於是展覽就有了一個名為「反學習

安格利達克斯的作品《線軸柱式（DEMOS CHAT

空間」的地方，參觀者可走進其中，親手編織、

六廠）》啟發自經典遊戲俄羅斯方塊，邀請參觀

針織、繪畫、編碼和製作飾物。在基本的指導

者與許多軟方塊互動。電子科技容許我們在布

下，所有參觀者都可以自己挑選心儀的素材，自

上進行印刷，越過了傳統紡織的障礙，容讓更多

己進行創作。那末在學習紡織和編碼的過程中，

創意在紡織品上併發。安格利達克斯在 CHAT 六廠

所有人都可以大量地注入自己的獨特創意。

的藏品裡發現了一條六十年代香港生產的連身

裙的格紋布，遂把圖案變了幾種顏色、印在乙

展覽的最後一個部份是崔泰潤的一組連框繪圖

烯基物料上。在安格利達克斯的家鄉希臘，有

和備忘錄。它們大部份都寫在小小的正方便條

一個關於普尼克斯山的軼聞，傳說公元前五世

紙上，就像 Instagram 的格式那樣，實際上他真

紀，由幾道階梯組成的一個小高台，就是希臘

有把它們上載到自己的 Instagram 帳戶中。內容

公眾人物演講的所在。講者、觀眾和階梯，被稱

涵蓋友誼、社會正義、親屬關係、遠距離關係，

Studies of Indian Textiles are a set of 6 black and

reversal on the fundamental logic of codes dictating the

white textile patterns which were generated through

outcome of the textile work. In the two hanging pieces,

an experimental machine learning process. An Indian-

Coded Textile (Matter and Memory) I&II , short poems

American artist, Akkapeddi trained a generative

are woven into a textile piece and visitors can read

adversarial network on traditional Indian textile

them by decoding the binary code which make up the

patterns and programmed Artificial Intelligence

geometric textile patterns. On Morse Code Gameboard

to create different patterns. In general, traditional

(Matter and Memory), visitors are invited to create

textile patterns are rooted in culture and nature,

secret words with small felt pieces. All exhibited works

thus reflecting a strong sense of identity of the place

were woven by a craft person in Mexico and show

where the patterns originated. The 6 patterns created

pristine beauty in its originality and quality. Besides

by AI carried the characteristics of traditional Indian

the works in the exhibition, Munoz often organises

textile patterns yet without an obvious local narrative.

textile projects for the marginalised communities and

Interestingly they show the transnational nature of

indigenous people in Mexico by offering them a way to

textile patterns which have often been vernacularised

make more income or to build a sustainable ecosystem

during the trading journey.

of living through her artistic projects.

Amor Munoz’s playful textile pieces are directly

KOBAKANT is an artist duo formed by Satomi Mika

interwoven with two different kinds of codes – binary

and Hannah Perner-Wilson. At CHAT, they restaged the

and Morse. In Munoz’s pieces, textiles are the

KOBA Electronic Textile Tailor Shop which was an

織碼如詩 |

foundation on which codes are created and this is a

Interweaving Poetic Code

Aarati Akkapeddi’s Memory & Motif: Generative

甚至 2019 年藝術家在港經歷的社會運動。有一

裝進行時裝秀。貫穿整個季度，CHAT 六廠的社

些文字比較資訊性，有一些則比較個人，記下了

區及共學團隊與許多香港本地組織和單位合作，

崔泰潤在社會正義和現實之間拉鋸的兩難。正

例如流動閱酷、保良局陳麗玲（百周年）學校、

方便條紙襯托在藍色和粉紅色卡紙上，不規則

社區文化發展中心、救世軍恒安綜合職業復康

地掛在展牆上，遠遠看去，這些四方紙片就像一

服務，也特邀了編織機導師譚志榮，也有由藝術

Interweaving Poetic Code

首視覺詩，掩飾住藝術家的脆弱易感。但當你

家帶領的項目，如崔泰潤的「CPU 餃子工作坊」、

近距離細看，你就會看到一個渴望改變社會的

阿拉提．阿卡裴迪的編織碼印花工作坊，以及

個體那真實而人性的掙扎。

與戴文多夫有關關懷的對談。因應疫情，所有

織碼如詩

活動都遙距完成。展覽以外，「織碼如詩」也包括了許多其他活動。例如我們邀請了許多學者、倡議者、研究員、藝

回顧著這一系列繽紛多彩的活動，我們整個

術家、策展人在研討會中一起以紡織的語境去

CHAT 六廠團隊都發現自己走過了一段反學習的旅

探討編碼、包容和關懷等主題。表演《分散式關

程，沿途放下了許多我們習以為常的思維和工作

懷網絡：首爾與香港的旗舞詩》就由崔泰潤和鄭

模式。在疫情的陰霾下，我們不斷發掘新方法

芝譓聯合策劃和編舞，然後與 4 位香港的表演

與不同的社群一起把「編碼如詩」的願景實現出

者合作演出。由香港詩人陳滅詩作出發，表演

來，比一般情形需索更多的時間和心力，過程中

者與遠在首爾的崔泰潤和鄭芝譓一起把詩句中

直接體現了包容、多元、平等及公平。走到最後，

的文字化成旗舞，再與現場觀眾溝通。再生服

藉著大家同心協力，「編碼如詩」匯入了所有參

裝也為 8 位特別公開徵集而來的模特兒設計服

與者的生命經驗、情感和未來想望，全部寄予

garments for their commissioners in their temporary

personal work in parallel, she also had to care for herself

tailor shop. KOBAKANT intentionally employed the

and others simultaneously.

tailor shop format as a critical commentary on fast fashion businesses over-manufacturing garments and

In 2019, Devendorf made A Fabric That Remembers in

how the consumers’ behaviour has become passive

which the wire for sensing resistance and dividing voltage

without deep consideration into what they really want

was interwoven with the fabric. This wire captured the

and instead uncritically following the trends dictated by

force that was applied to the fabric and then displayed

these businesses. In comparison, the process of having

it on an output interface. A Fabric That Remembers has

garments tailor-made requires much more customer

evolved into Wear which Devendorf created during the

engagement, from selecting the fabrics, to defining the

COVID-19 lockdown in 2020. While spending more time

shape, style and function. By bringing back the tailoring

with her young daughters at home, Devendorf made

in electronic garment making, KOBAKANT evokes the

the fabric for Wear from scratch by spinning, weaving,

commissioners’ creative imagination for electronic

sewing, felting and dyeing. She made holes for the head

garments while personalising the technology to best

and cut-outs for the arms. She then wore this fabric as

suit the wearer’s needs.

a dress. While Devendorf took care of household chores

織碼如詩 |

project. In addition to accomplishing professional and

Interweaving Poetic Code

experimental project to create custom made e-textile

and her children in this dress, 21 sensors embedded Information scientist, designer and mother of two small

within the fabric recorded the pressures that came into

daughters, Laura Devendorf has attempted to turn

contact with her body. This record was then played back

negative pressure into a creative one through her textile

on to the fabric in the form of colour and temperature

在那些繁麗的色彩、質感和科技之中。織碼如詩

當下，跨境旅行的自由度仍然相當有限，崔泰潤

這兩年的成果，但他卻是遙遙在場帶領工作坊

Interweaving Poetic Code

仍然未能在開展後來港。雖然他無法親眼目睹或參與表演，而且無間斷地把他的正能量發放給香港團隊和這個展覽。

徵引文獻《M+ Matters: Art and Design in the Digital Realm》，Tai Kwun 網頁， 2018 年 9 月， https://www.taikwun.hk/en/programme/detail/m-plus-matters-artand-design-in-the-digital-realm/179 2021 年 10 月 5 日讀取。

various tasks around the house, such as holding her

COVID-19, Choi was unable to present the workshop

daughters or leaning on the kitchen table while cooking.

in person. So he taught the students how to code virtually and helped them to create a poem about their

Echoing Devendorf’s work on the topic of care, Choi

room and their favourite items in the room. Their poems

presents Touching the Internet, which is a collection

which were written in JavaScript were then translated

of three smocks he made in his workshop for the

into ASCII graphic art, which later became the designs

students of the Ebenezer School and Home for the

for products sold at CHAT Shop. This workshop not

Visually Impaired in Hong Kong during his CHAT

only conveyed the poetic use of coding, but also

residency programme here in the autumn of 2019.

allowed the students to develop their creativity.

Computer devices and the Internet play a significant role in allowing visually impaired people to participate

Inspired by the computer game Tetris, Andreas

as a member of society. However, much like general

Angelidakis’s The Bobbin Order (DEMOS CHAT)

users, they are not familiar with the mechanism and the

consists of multiple soft blocks, inviting all visitors

structure of the Internet. Through the 3 tactile smocks,

to interact with them in any way they like. The

Choi demonstrated the basic systems of the Internet:

advancement of digital technology has enabled

centralised, decentralised and distributed, and invited

the printing of images onto fabric, bypassing the

the students to create a map of the Internet. Choi’s

restrictions of traditional weaving methods and

experience of workshopping with visually impaired

allowing for more creativity and more interesting textile

students evolved into a coding workshop in 2020.

works. Angelidakis discovered this chequered pattern

織碼如詩 |

Unfortunately due to travel restrictions related to

Interweaving Poetic Code

changes on the spots where a force was felt while doing

Interweaving Poetic Code

織碼如詩

in the 1960s in Hong Kong. He adapted the pattern

titled Unlearning Space, where visitors could walk

and printed it on vinyl fabric in multiple colours.

in and take part in different hands-on projects such

In Angelidakis’s home country of Greece, there is

as weaving, knitting, drawing, accessory-making

an anecdote from 5th century BC about the hill of

and coding. With very basic instructions, visitors can

Pnyx, where a set of steps provided a higher spot

pick the materials they like and enjoy their selected

for the speaker of the demos. The combination of

activities. Each experience allows space for visitors

speaker, audience and steps was called the Ecclesia

to inject their own unique ideas and designs into the

of Demos, often translated as Assembly, ‘a group of

project so that they can express their creativity while

people gathered together in one place for a common

learning how code is used in textile-making.

purpose’. During the exhibition period, The Bobbin Order served different purposes. It was used as

The last exhibit of the exhibition is a set of framed

public furniture, as a stage for performances, and as

drawings and memorandums by Choi. Most of them

colourful blocks that children could play with.

are hand-written on small square papers, much like

織碼如詩 |

this idea, the exhibition includes a workshop space

Interweaving Poetic Code

from an dress in the CHAT Collection that was made

the image format used on Instagram. Indeed, Choi has Unlearning is one of Choi’s ethos and it means to

uploaded them onto his Instagram account as well. The

critically question and to challenge how and where

drawings and memorandums range from friendship,

your knowledge comes from. It also allows for

social justice, kinship, long-distance relationship to the

exploring alternative ways to examine things. Echoing

social movement that Choi witnessed in 2019 when he was in Hong Kong. Some of them are instructive

Interweaving Poetic Code

織碼如詩

dealing with the dilemma of trying to find the balance

performers communicated through semaphores

between social justice and reality. Attached to the

with audience members, as well as Choi and Chung

blue and pink mounted paper and hung irregularly on

who were in Seoul. Rebirth Garments produced 8

the wall, these small square papers look like visual

garments tailor-made for selected models from a

poems, and they seemed to disguise Choi and his

community of queer, disabled, trans, non-binary and

vulnerabilities. However, on closer inspection, they

intersex friends of all sizes and ages in Hong Kong.

reveal the very human notion of an individual struggling

CHAT’s Learning and Community team organised an

while consciously trying to make society better.

event called Access Breach: Radical Visibility for the models to be dressed in Rebirth Garments’s clothing

In addition to the exhibition Interweaving Poetic Code,

and perform on a catwalk. Over the season, the team

CHAT’s Spring Programme also presented various

invited many of Hong Kong’s community groups and

events and happenings. The discussion forum invited

individuals to weave poetic code together, from Queer

academics, activists, researchers, artists and curators

Reads Library (QRL), Po Leung Kuk Anita L.L. Chan

to exchange ideas about practices in coding, inclusion

(Centenary) School, Centre for Community Cultural

and care in relation to textiles. The performance

Development (CCCD), The Salvation Army Heng On

Distributed Web of Care: Semaphore Poetry Between

Integrated Vocational Rehabilitation Service, to knit

Seoul and Hong Kong was jointly planned and

machine instructor Tam Chi Wing Kevin. The team also

choreographed by Choi and Ji-Hye Chung and staged

helped to organised the CPU Dumpling Workshop

by 4 Hong Kong performers. Extracting words from

with Choi, the workshop on coding textile pattern with

織碼如詩 |

the poem written by Chan Chi Tak, Hong Kong’s

Interweaving Poetic Code

writings and others are Choi’s random thoughts while

Interweaving Poetic Code

織碼如詩

Aarati Akkapeddi and the conversational session

emotions and future dreams of all who took part in it,

of care and textiles with Laura Devendorf. The

and resulted in a wonderful blend of colours, textures

workshops took place in Hong Kong as well as

and technologies.

織碼如詩

online, due to the COVID-19 pandemic. on global travel, Choi could not come to Hong Kong

programmes and events we produced with Choi

even after the opening of the exhibition. Although it

and his fellow artists, I recognise that all of us,

is a pity that he could not see the outcome of a two-

CHAT staff included, were somehow challenged

year-long discussion with his own eyes, he has made

to unlearn traditional ways of thinking, habit, and

appearances in most of the events remotely. He has

ways of work that were already ingrained in us.

also facilitated the workshops, participated in the

Instead, we started to explore a way to realise the

performance, and through it all, kept sending positive

vision of Interweaving Poetic Code by bridging the

energy to the Hong Kong team and the whole exhibition.

Interweaving Poetic Code

Looking back at all the colourful and creative

Due to the tight travel restriction still currently imposed

different communities in such an unpredictable time in history. Making Interweaving Poetic Code

Citation

indeed required sensibility in ensuring inclusion,

M+ Matters: Art and Design in the Digital Realm, Tai Kwun, September 2018,

diversity, equality and fairness, while extra time and effort were also needed to care for others. However,

viewed 5 October 2021, <https://www.taikwun.hk/en/programme/detail/mplus-matters-art-and-design-in-the-digital-realm/179>.

through our combined efforts, Interweaving Poetic Code became a reflection of the life experiences,

CHAT 六廠平面圖 CHAT Floorplan

Interweaving Poetic Code

織碼如詩

迴廊

Arcade

展廳一

Gallery 1

崔泰潤 Taeyoon Choi

安德列斯．安格利達克斯 Andreas Angelidakis

克莉絲汀．孫．金 Christine Sun Kim 阿拉提．阿卡裴迪 Aarati Akkapeddi 阿莫爾．穆洛茲 Amor Munoz 小場工匠 KOBAKANT 羅拉．戴文多夫 Laura Devendorf

展廳二

Gallery 2

「反學習」空間 Unlearning Space

紗廠紡

The Hall

崔泰潤 Taeyoon Choi 安德列斯．安格利達克斯 Andreas Angelidakis 展期 Exhibition period: 08.05 - 06.06.2021

陳廷驊基金會展廳

織碼如詩 |

The D. H. Chen Foundation Gallery

Arcade

紗廠紡

展廳一

The Hall

Gallery 1

展期 Exhibition period: 08.05 - 06.06.2021

迴廊

Arcade

Interweaving Poetic Code

迴廊

「反學習」空間

Unlearning Space

展廳二

Gallery 2

迴廊織碼如詩

Arcade

對崔泰潤來說，呈現在旗幟上的步行椅象徵積極學習。 Interweaving Poetic Code

透過一系列的手工編織旗幟，崔泰潤邀請你一同探索編碼和紡織。 For Choi, the walking chair depicted on the flags is a symbol of active learning. With his series of handwoven flags, Choi invites you to join him in the exploration of code and textiles.

《好學的我》 Academic Me

《反學習旗》 Unlearning Flag

2019 | 塑膠彩布本 | 27.8 x 35.7 厘米

2021 | 紗線梭織，一組六幅 | 40 x 87 厘米（每幅）

2019 | Acrylic painting on canvas | 27.8 x 35.7 cm

2021 | Yarn weaving, set of 6 | 40 x 87 cm (each)

尺寸可變 2021 | Foam and printed vinyl seating modules | Dimensions variable

《 CPU餃子》 CPU Dumplings

2021 | 海綿橡膠、乙烯基打印座位模組 |

織碼如詩

Interweaving Poetic Code

《線軸柱式（ DEMOS CHAT 六廠）》 The Bobbin Order (DEMOS CHAT)

2021 | 裁切貼紙壁畫 | 360 x 250 厘米 2021 | Mural on die-cut sticker | 360 x 250 cm

《 CPU餃子》 CPU Dumplings 2018 | 訪問錄像 | 3’46” | 2018 | Interview video | 3’46” |

展演於 Performance at: Data and Society (18.01.2018)

合作夥伴 Collaborators: Jeanna Matthews, Darakhshan Mir

錄影 Video: Quartz (Siyi Chen)

展廳一

Gallery 1

Interweaving Poetic Code

織碼如詩

《非運算》 Non-computation

《一起開始我們的旅程》 Let’s begin our journey!

2020 | 塑膠彩紙本 | 30 x 15 厘米

2021 | 裁切貼紙壁畫 | 158 x 280 厘米

2020 | Acrylic on paper | 30 x 15 cm

2021 | Mural on die-cut sticker | 158 x 280 cm

Interweaving Poetic Code

織碼如詩

《織碼如詩圖》 Interweaving Poetic Code Diagram

《織碼如詩簡介錄像》 Interweaving Poetic Code Intro Video

2021 | 裁切貼紙壁畫 | 600 x 275 厘米

2021 | 錄像 | 6’22”

2021 | Mural on die-cut sticker | 600 x 275 cm

2021 | Video | 6’22” 附香港手語傳譯 with Hong Kong Sign Language interpretation

62 為了揭開電腦技術的神秘面紗，崔泰潤手造電腦，展示了電腦的基本結構和系統。 To demystify computer technology, Choi made hand-

織碼如詩

made computers, unveiling their fundamental structures and mechanisms.

《手製電腦》 Handmade Computer 2015 | 錄像 | 3’42”

Interweaving Poetic Code

2015 | Video | 3’42”

《手製電腦》 Handmade Computer 2015 | 獨立電子零件、木材、紙張 | 尺寸可變 2015 | Discrete electronic components, wood, paper | Dimensions variable

《 FSM原理圖》 FSM Schematics 2015 | 油性筆紙本 | 43 x 27.5 厘米 2015 | Marker drawing on paper | 43 x 27.5 cm

《互斥或》 XOR 2015 | 獨立電子零件、銅帶、油性筆紙本 | 29 x 22.5 x 3 厘米 2015 | Discrete electronic components, copper tape, marker drawing on paper | 29 x 22.5 x 3 cm

《打開機器》 Open Machine

《訊號至雜訊》 Signal to Noise

2015 | 水墨油性筆紙本 | 73.6 x 55.6 厘米

2015 | 水墨油性筆紙本 | 76.2 x 55.9 厘米

2015 | Ink and marker drawing on paper | 73.6 x 55.6 cm

2015 | Ink and marker drawing on paper | 76.2 x 55.9 cm

織碼如詩

《我們是開放電路》 We are Open Circuits

《模擬數碼／數碼模擬轉換器》 ADC/DAC

2015 | 水墨油性筆紙本 | 73.6 x 55.9 厘米

2015 | 水墨紙本 | 76.2 x 55.9 厘米

2015 | Ink and marker drawing on paper | 73.6 x 55.9 cm

2015 | Ink drawing on paper | 76.2 x 55.9 cm

《不遠的將來》 Near Future

《在緊急情況下》 In Case of Emergency

2015 | 水墨紙本 | 76.2 x 55.8 厘米

2015 | 水墨紙本 | 76.2 x 55.9 厘米

2015 | Ink drawing on paper | 76.2 x 55.8 cm

2015 | Ink drawing on paper | 76.2 x 55.9 cm

Interweaving Poetic Code

崔泰潤的藝術實踐包括了油畫、繪畫和詩，卻與教學和編程同樣重要。他還試圖運用油畫、繪畫和詩

織碼如詩

的想像特質與電腦運算的形而上世界結合。 Choi’s artistic practice of painting, drawing and poetry are equally as important as teaching and programming, and he attempts to integrate the imaginative aspects of painting, drawing and poetry into the metaphysical

Interweaving Poetic Code

world of computation.

左 left

《未能運算》 Uncomputable 2018 | 塑膠彩布本 | 122 x 157.5 厘米 2018 | Acrylic painting on canvas | 122 x 157.5 cm

右 right

《未能運算》 Uncomputable 2018 | 塑膠彩布本 | 122 x 157.5 厘米 2018 | Acrylic painting on canvas | 122 x 157.5 cm

請使用手機掃描 QR code閱讀詩作 Please scan the QR codes with your mobile phone to read the poems

《 CPU 建築》 CPU Architecture

2015 | 油性筆紙本 | 55.8 x 76.2 厘米

2015 | 油性筆紙本 | 55.5 x 71.2 厘米

2015 | Marker drawing on paper | 55.8 x 76.2 cm

2015 | Marker drawing on paper | 55.5 x 71.2 cm

《與閘和與非閘》 And & Nand Gates

《邏輯閘博士》 Dr Gates

2015 | 油性筆紙本 | 55.5 x 71.2 厘米

2015 | Marker drawing on paper | 55.5 x 71.2 cm

《正反》 Flip Flop

織碼如詩

《抽象的層次》 Layers of Abstractions

《緩衝》 Buffer

2015 | 油性筆紙本 | 46.3 x 54 厘米

2015 | 油性筆紙本 | 71.2 x 55.5 厘米

2015 | Marker drawing on paper | 46.3 x 54 cm

2015 | Marker drawing on paper | 71.2 x 55.5 cm

Interweaving Poetic Code

《電晶體先生》 Mr TR 2015 | 油性筆紙本 | 71.2 x 55.5 厘米

3 1

2015 | Marker drawing on paper | 71.2 x 55.5 cm

4 7

66 1

崔泰潤經常強調互聯網其分散式、通達度和連結人們的性質。通過表演和與身體的互動，崔泰潤為人們提供了親身體驗這些性質的機會。 Choi often highlights Internet’s accessibility and capacity for distribution and connecting communities. Through performance and body interactions, Choi oﬀers opportunities for people to physically experience these qualities.

《哎呀》 Jeez

2019 | 塑膠彩布本，雙屏 |

2020 | 塑膠彩布本

122 x 152.4 厘米（每幅） 2019 | Acrylic painting on canvas, diptych | 122 x 152.4 cm (each)

2020 | Acrylic pain 30.5 x 45.7 cm

《分散式關懷網絡》 Distributed Web of Care

《未能運算》 Uncomputable

2018 | 塑膠彩布本 | 30.5 x 45.7 厘米

2018 | 塑膠彩布本

2018 | Acrylic painting on canvas | 30.5 x 45.7 cm

2018 | Acrylic pain 30.5 x 45.7 cm

Interweaving Poetic Code

織碼如詩

《控制論森林》 Cybernetic Forest

《分散式關懷網絡@ CHAT六廠》 Distributed Web of Care @CHAT 2021 | 裁切貼紙壁畫 | 514.6 x 260 厘米 2021 | Mural on die-cut sticker | 514.6 x 260 cm

本 | 30.5 x 45.7 厘米

nting on canvas |

《分散式關懷網絡 @惠特尼》 Distributed Web of Care @Whitney 2019 | PVC 貼紙 | 395 x 310 厘米 2019 | PVC sticker | 395 x 310 cm

織碼如詩

本 | 30.5 x 45.7 厘米

《分散式關懷網絡》 Distributed Web of Care 2019 | 數碼錄像 | 2’52” 2019 | Digital video | 2’52”

於2019年3月27日惠特尼美國藝術博物館展演 Performance at The Whitney Museum of American Art, 27 March, 2019

合作夥伴 Collaborators: Jerron Harman, stud1nt, Tiriree Kananuruk, Jonathan Dahan, Chancey Fleet,

Interweaving Poetic Code

nting on canvas |

and the School for Poetic Computation

製作 Production: Neta Bomani, Emily Miller, Livia Huang, Shira Feldman, Yen Song, Cezar Mocan

根據與Cori Kresge早前合作之作品 2

Based on an earlier work with Cori Kresge

3 4

錄影 Video: Ashleigh Goh Hua 攝影 Photo: Filip Wolak

《甚麼是編碼?》 What is Code? 2021 | 裁切貼紙壁畫 | 567 x 310 厘米 2021 | Mural on die-cut sticker | 567 x 310 cm

織碼如詩

Interweaving Poetic Code

《從編碼到針織》 Code to Knit 2021 | 夾層圓筒針織布，一組12幅 | 560 x 712 厘米（每幅） 2021 | Tubular knitted spacer fabric, set of 12 | 560 x 712 cm (each)

《預防未來》 FUTURE PROOF 2016 | 裝置 | 尺寸可變 2016 | Installation | Dimensions variable

3 1

《預防未來》 FUTURE PROOF 2016 | 錄像 | 3’ 2016 | Video | 3’

於2016年9月1日首爾媒體城市雙年展展演 Performance at the Seoul Mediacity Biennale, 1 September, 2016

合作夥伴 Collaborator: Christine Sun Kim 製作 Fabrication: Small Studio Semi 電子工程 Engineering:

Interweaving Poetic Code

織碼如詩

Sub 9 (Jingwen Zhu, Yingjie Bei)

錄影 Video: Raya

《預防未來》 FUTURE PROOF 2017 | 塑膠彩布本 | 20 x 25.5 厘米 2017 | Acrylic painting on canvas | 20 x 25.5 cm

織碼如詩

崔泰潤及藝術家友好 Choi and his fellow artists 崔泰潤邀請他的藝術家友好們以紡織和電腦運算

之間的詩意關係，來探討歷史、時尚、消費主義、

Interweaving Poetic Code

編碼和關懷。 Choi invited his fellow artists to use textiles and computation in poetic ways to address history, fashion, consumerism, coding and care.

《 Future Base》 Future Base 2016 | 炭、紙本，一組20幅 | 30 x 40 厘米（每幅） 2016 | Charcoal on paper, set of 20 | 30 × 40 cm (each)

Interweaving Poetic Code

織碼如詩

《記憶與圖案：印度織品的生成研究》 Memory & Motif: Generative Studies of Indian Textiles 2021 | 數碼印花棉，一組6幅 | 60 x 60 厘米（每幅） 2021 | Digital print on cotton fabrics, set of 6 | 60 x 60 cm (each)

織碼如詩

摩斯密碼桌上遊戲（物質與記憶） Morse Code Gameboard (Matter and Memory) 2020 | 羊毛氈連羊毛氈球體和圓柱體、動畫錄像 |

Interweaving Poetic Code

120 x 120 厘米，附60件羊毛氈棋子 2020 | Wool-woven sheet with spheres and cylinders, animation video | 120 x 120 cm, with 60 small felt pieces 2

編碼織物 II（物質與記憶） Coded Textile II (Matter and Memory) 2018-20 | 羊毛梭織掛氈 | 125 x 300 厘米 2018-20 | Wool-woven tapestry | 125 x 300 cm

編碼織物 I（物質與記憶） Coded Textile I (Matter and Memory) 2018-20 | 羊毛梭織掛氈 | 125 x 280 厘米 2018-20 | Wool-woven tapestry | 125 x 280 cm

2017-19 | 混合媒體裝置 | 尺寸可變 2017-19 | Mixed-media Installation | Dimensions variable

Interweaving Poetic Code

《小場電子織物裁縫店》 KOBA Electronic Textile Tailor Shop

織碼如詩

《接觸互聯網》 Touching the Internet

2019 | Video | 4’03”

2020-21 | 人手梭織掛毯、嵌入式電子、錄像 | 269 x 102 厘米

於心光盲人院暨學校舉辦工作坊

2020-21 | Handwoven tapestry with

Interweaving Poetic Code

2019 | 錄像 | 4’03”

embedded electronics, video | 269 x 102 cm

Workshop at the Ebenezer School and Home for the Visually Impaired

由CHAT六廠統籌 Organised by CHAT 錄影 Video: Frankie Li 2

《穿上》 Wear

《接觸互聯網》 Touching the Internet 2019 | 定制服裝，一組三件 | 尺寸可變

《布想起來》 A Fabric that Remembers 2019 | 梭織掛毯、嵌入式電子 | 102 x 48.5 厘米 2019 | Woven tapestry with embedded electronics | 102 x 48.5 cm

2019 | Custom garment, set of 3 | Dimensions variable 1 2

3 4

Interweaving Poetic Code

織碼如詩

《甚麼是線？》 What is Thread?

《甚麼是通達？》 What is Accessibility?

2021 | 裁切貼紙壁畫 | 266.5 x 170 厘米

2021 | 裁切貼紙壁畫 | 233 x 72.1 厘米

2021 | Mural on die-cut sticker | 266.5 x 170 cm

2021 | Mural on die-cut sticker | 233 x 72.1 cm

展廳二：「反學習」空間織碼如詩

Gallery 2: Unlearning Space

「反學習」空間的設計宗旨在於透過各種手作坊，讓參觀

Interweaving Poetic Code

者學習如何在紡織品製作中使用編碼。所有展出繪畫及畫作皆由崔泰潤創作。 The Unlearning Space is designed for visitors to learn how coding is used in textiles-making through various hands-on workshops. All exhibited paintings and drawings are made by Taeyoon Choi.

《急切重整》 Radical restructuring 2021 | PVC 貼紙 | 1100 x 360 厘米 2021 | PVC sticker | 1100 x 360 cm

3 7 6

織碼如詩

《城市論壇：旗》 Speakers Corners: Flags 2010 | 粉彩紙本 | 33 x 58.5 厘米 2010 | Gouache on paper | 33 x 58.5 cm

《隨著人群聚集》 As crowd gathers

《城市論壇：廣告牌》 Speakers Corners: Billboards

《城市論壇：示威者》 Speakers Corners: Pickets

2010 | 水墨紙本 | 96.5 x 65.6 厘米

2010 | 粉彩紙本 | 33 x 58.5 厘米

2010 | 水墨紙本 | 74 x 81.5 厘米

2010 | Ink drawing on paper | 96.5 x 65.6 cm

2010 | Gouache on paper | 33 x 58.5 cm

2010 | Ink drawing on paper | 74 x 81.5 cm

《尊重女性》 Respect Women

《哇》 Whiz

Interweaving Poetic Code

《這不是程式》 This is not a program

2017 | 水墨紙本 | 45.7 x 51.5 厘米

2019 | 塑膠彩紙本 | 48.5 x 64.5 厘米

2010 | 塑膠彩紙本 | 27.8 x 34.4 厘米

2017 | Ink drawing on paper | 45.7 x 51.5 cm

2019 | Acrylic painting on paper | 48.5 x 64.5 cm

2010 | Acrylic drawing on paper | 27.8 x 34.4 cm

Interweaving Poetic Code

織碼如詩

78 2 3

79 1

《 JFK – ICN》 JFK – ICN

2016 | 塑膠彩布本 | 27.9 x 35.5 厘米

《異邦之夜》 Night in a Foreign Land 2019 | 塑膠彩布本 | 55.8 x 30.5 厘米

2016 | Acrylic painting on canvas | 27.9 x 35.5 cm

2019 | Acrylic painting on canvas | 55.8 x 30.5 cm

請使用手機掃描 QR code閱讀詩作 Please scan the QR code with your mobile phone to read the poem

織碼如詩

《分散式關懷網絡》 Distributed Web of Care

2018 | 塑膠彩布本、樹莓派 |

《分散式關懷網絡》 Distributed Web of Care 2018 | 塑膠彩布本、WiFi路由器 |

30.5 x 45.5 x 5.5 厘米

30.5 x 45.5 x 6 厘米

2018 | Acrylic painting on canvas, Raspberry Pi | 30.5 x 45.5 x 5.5 cm

2018 | Acrylic painting on canvas, WiFi router | 30.5 x 45.5 x 6 cm

《信封》 Envelope

《藍色之夜》 Blue Night

2019 | 塑膠彩布本 | 30.2 x 45.5 厘米

2020 | 塑膠彩布本 | 30.5 x 45.7 厘米

2019 | Acrylic painting on canvas | 30.2 x 45.5 cm

2020 | Acrylic painting on canvas | 30.5 x 45.7 cm

Interweaving Poetic Code

《抗議， 2015》 Protest, 2015 2016 | 塑膠彩布本 | 28 x 35.7 厘米 2016 | Acrylic painting on canvas | 28 x 35.7 cm

Interweaving Poetic Code

迴廊

織碼如詩

Arcade

1 2 3 5

4 6 7

《反學習學術界白色人種》 Unlearning Whiteness in Academia

2019 | 水墨紙本 | 38 x 38 厘米

2020 | 油性筆紙本 | 50 x 65 厘米

2019 | Ink drawing on paper | 38 x 28 cm

2020 | Pen drawing on paper | 50 x 65 cm

《學術大樓》 Academic Tower

《反學習》 Unlearning

2020 | 油性筆紙本 | 15 x 30 厘米

2021 | 裁切貼紙壁畫 | 160 x 160 厘米

2020 | Pen drawing on paper | 15 x 30 cm

2021 | Mural on die-cut sticker | 160 x 160 cm

《學校董事局的智者》 School Board of the Wise

《夢想的暑期班》 Dream Summer School

《分散式自由開放學校》 Distributed Free Open School

2019 | 塑膠彩布本 | 30.5 x 46 厘米

2019 | Acrylic painting on canvas | 30.5 x 46 cm

《沒有多樣化領導方法，便不算多元》 You can not have diversity without diversifying your leadership

Interweaving Poetic Code

織碼如詩

2016 | 塑膠彩布本 | 22.7 x 30.5 厘米 2016 | Acrylic painting on canvas | 22.7 x 30.5 cm

《點對點同儕學習》 Learn Peer to Peer 2019 | 塑膠彩布本 | 30.5 x 45.5 厘米 2019 | Acrylic painting on canvas | 30.5 x 45.5 cm

82 1

《去自我中心》 Decentering ourselves

2020 | 油性筆紙本 | 15 x 30 厘米 2020 | Pen drawing on paper | 15 x 30 cm

織碼如詩

《犬儒主義和懷疑論者》 Cynic and Skeptic

2020 | 油性筆紙本 | 36 x 46 厘米

Interweaving Poetic Code

2020 | Pen drawing on paper | 36 x 46 cm

《我只要》 All I want

2019 | 油性筆紙本 | 15 x 15 厘米 2019 | Pen drawing on paper | 15 x 15 cm

10 7 1

《看著你的心》 Looking into your heart

2020 | 油性筆紙本 | 50 x 65 厘米 2020 | Pen drawing on paper | 50 x 65 cm

6 16

10 9

13 17

《異類》 Oddkins

《遠距離戀人》 Long Distance Lovers

2020 | 油性筆紙本 | 36 x 46 厘米

2020 | 油性筆紙本 | 46.5 x 61.5 厘米

2020 | Pen drawing on paper | 36 x 46 cm

2020 | Pen drawing on paper | 46.5 x 61.5 cm

83 《愛是同在一時間》 Love is being in the same time

2019 | 油性筆紙本 | 46.5 x 61.5 厘米

2020 | 油性筆紙本 | 15 x 30 厘米

2019 | Pen drawing on paper | 46.5 x 61.5 cm

2020 | Pen drawing on paper | 15 x 30 cm

《在那一刻》 At that moment

《知性上親近》 Intellectual Kinship

2020 | 水墨紙本 | 50 x 65 厘米

2020 | 油性筆紙本 | 46.5 x 61.5 厘米

2020 | Ink drawing on paper | 50 x 65 cm

2020 | Pen drawing on paper | 46.5 x 61.5 cm

《若我們尋找》 If we look for

《後資本主義》 Post-Capitalism

2019 | 油性筆紙本 | 15 x 15 厘米

2020 | 油性筆紙本 | 15 x 15 厘米

2019 | Pen drawing on paper | 15 x 15 cm

2020 | Pen drawing on paper | 15 x 15 cm

《共存》 Coexistence

2020 | 油性筆紙本 | 15 x 30 厘米

2020 | Pen drawing on paper | 36 x 46 cm

2020 | Pen drawing on paper | 15 x 30 cm

《關懷自己布簾》 The Care of the Self Curtain

《向真菌學習》 Learning from Fungus

2020 | 油性筆紙本 | 36 x 46 厘米

《完美情人》 Perfect Lovers

織碼如詩

《詩意的正義》 Poetic Justice

Interweaving Poetic Code

《民主》 Democracy

2020 | 數碼繡花、雪紡綢，一組兩張 132 x 237 厘米（每張） 2020 | Digital embroidery on polyester chiffon, set of 2 | 132 x 237 cm (each)

《友情有多種形式》 Friendship takes many forms

2020 | 油性筆紙本 | 15 x 30 厘米

2020 | 油性筆紙本 | 46.5 x 61.5 厘米

2019 | 油性筆紙本 | 15 x 15 厘米

2020 | Pen drawing on paper | 15 x 30 cm

2020 | Pen drawing on paper | 46.5 x 61.5 cm

2019 | Pen drawing on paper | 15 x 15 cm

84 紗廠坊

The Hall

展期 Exhibition period: 08.05 - 06.06.2021

Interweaving Poetic Code

織碼如詩

《織碼如詩旗》 Interweaving Poetic Code Flag 2021 | 提花針織布，一套14幅 | 154 x 220 厘米（每幅） 2021 | Jacquard knitted fabric, set of 14 | 154 x 220 cm (each)

《線軸柱式（ DEMOS CHAT 六廠）》 The Bobbin Order (DEMOS CHAT) 2021 | 海綿橡膠、乙烯基打印座位模組 |

尺寸可變 2021 | Foam and printed vinyl seating modules | Dimensions variable

85 季度項目

Seasonal Programmes 織碼如詩

研討會 Discussion Forum

詩意互聯：以紡織與編碼組織社群

主題演講：織碼如詩講者：崔泰潤及阿歷山大．蓋洛威主持：陳潔詩

議題三：建構另類未來講者：Innocent Mutanga及扎伊納布．阿利尤主持：黃子欣

Keynote: Interweaving Poetic Code Speakers: Taeyoon Choi and Alexander R. Galloway Moderator: Amy K.S. Chan

Session 3: Radical Re-Imaginings Speakers: Innocent Mutanga and Zainab Aliyu Moderator: Chantal Wong

議題一：科技關懷講者：再生服裝（思介．古巴賈）及睿程（姜葛蘭琴及姜美而）主持：布蘭達．羅德里格斯．阿列格雷

議題四：連結就是修復講者：莫昭如及阿善娜也（Asinnajaq）主持：羅璧如

Session 1: Care as Technology Speakers: Rebirth Garments (Sky Cubacub) and Rhys (Ophelia Keung and Kadri Keung) Moderator: Brenda Rodriguez Alegre

Session 4: Networks and Restorations Speakers: Mok Chiu Yu and Asinnajaq Moderator: Eugenia Law

議題二：電子織物的隱喻講者：羅拉．戴文多夫及安娜普娜．瑪美迪普迪主持：李勺言 Session 2: Metaphors of E-Textiles Speakers: Laura Devendorf and Annapurna Mamidipudi Moderator: Bruce Li

Interweaving Poetic Code

Poetic Emergences: Organisation through Textile and Code 16-19.04.2021

議題五：短路紡織講者：小場工匠（里見美香和漢娜．佩爾奈．威爾遜）及阿莫爾．穆洛茲主持：高橋瑞木 Session 5: Short Circuiting Textiles Speakers: KOBAKANT (Satomi Mike and Hannah Perner-Wilson) and Amor Munoz Moderator: Takahashi Mizuki

86 導賞團 Tour

《線軸柱式（DEMOS CHAT六廠）》 The Bobbin Order (DEMOS CHAT) Rhapsody Infinity 05.06.2021

「織碼如詩」策展人導賞 Curator Tour of Interweaving Poetic Code

Interweaving Poetic Code

Collaborator: Po Leung Kuk Anita L.L. Chan (Centenary) School

講者：高橋瑞木

手搖針織機示範

Speaker: Takahashi Mizuki

Hand Flat Knitting Machine Demonstration

嘉賓導賞：社群共讀 Viewpoints on View: Community Speaks 網上項目講者：唐耀夏、葉敏儀、馬莉茢及曾令弦 Online Programme Speakers: Arthur Thompson, Trada Ip, Lilit Marcus and Zephyrus Tsang

演出/示範 Performance/ Demonstration

分散式關懷網絡：首爾與香港的旗舞詩 Distributed Web of Care: Semaphore Poetry Between Seoul and Hong Kong 22.05.2021

合作單位：鄭芝譓、崔泰潤及4位香港表演者 Collaborators: Ji Hye Chung, Taeyoon Choi and 4 local performers

紗鷗麗編織示範 Saori Weaving Demonstration 09.05 & 11.07.2021

合作單位：社區文化發展中心及救世軍恒安綜合職業復康服務

合作單位：保良局陳麗玲（百周年）學校

08.05 & 12.06.2021

織碼如詩

Collaborators: Centre for Community Cultural Development (CCCD) and The Salvation Army Heng On Integrated Vocational Rehabilitation Service

05.06.2021

合作單位：譚志榮 Collaborator: Tam Chi Wing Kevin

自由編織紗鷗麗！ Free Weaving with Saori! 13.06.2021

合作單位：社區文化發展中心及救世軍恒安綜合職業復康服務 Collaborators: Centre for Community Cultural Development (CCCD) and The Salvation Army Heng On Integrated Vocational Rehabilitation Service

騷動大愛：織夢如詩派對 Access Breach: Radical Visibility 30.06.2021

合作單位：再生服裝（思介．古巴賈）、崔泰潤、崔秀炫、SINSHAN（單浩賢）、 Harmony 'Anne-Marie' Ilunga、Karen Yiu及鄧詩廷 Collaborators: Rebirth Garments (Sky Cubacub), Taeyoon Choi, Suhyun Choi, SINSHAN (Shan Hao Xian Harry), Harmony ‘Anne-Marie’ Ilunga, Karen Yiu and Stephanie Teng

創作自己的關懷小旗子 Make Your Own: Care Flag 22.05.2021

主持：CHAT六廠紡織項目團隊 Moderator: CHAT Textile Programme Team

編織碼印花：Java Script印布工作坊

Code to Print: Screenprinting with Java Script Design 26.06 & 11.07.2021

主持：阿拉提．阿卡裴迪及CHAT六廠共學團隊 Moderators: Aarati Akkapeddi and CHAT Learning Team

織與憶：家庭照顧工作坊 Textile as Memoir: Speculative Design Workshop 10.07.2021

餃子工作坊：電腦運算入門課程 CPU Dumplings Workshop: Fundamentals of Computation CPU

主持：羅拉．戴文多夫及CHAT六廠共學團隊 Moderators: Laura Devendorf and CHAT Learning Team

30.05.2021

主持：崔泰潤

共學互動

Moderator: Taeyoon Choi

Co-Learning Interaction

針織與編碼：針織機展示與討論

關懷閱讀：「流動閱酷」在CHAT六廠

Code and Knit: Knitting Machine Show-and-Tell

Reading as Care: Queer Reads Library at CHAT

05.06.2021

01.05 – 05.08.2021

主持：譚志榮 Moderator: Tam Chi Wing Kevin

關懷閱讀：《閱酷字典》迷你討論會

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Workshop

「印」記：反學習小生物 Stamp-ede: Unlearned Critters

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工作坊

01.05 – 05.08.2021

Reading as Care: Queer Reads Lexicon Brainstorm 13.06.2021

主持：流動閱酷 Moderator: Queer Reads Library

「反學習」空間 Unlearning Space 01.05 – 05.08.2021

非視覺鉤織工作坊 Touch to See: Crochet Workshop 19.06.2021

主持：葉敏儀 Moderator: Ip Man Yi Trada

騷動大愛：織夢如詩派對

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Access Breach: Radical Visibility 由 C H AT 六廠與 Eato n H K 共同策劃，

Alongside Taeyoon Choi, Suhyun Choi and

崔泰潤、崔秀炫及再生服裝（ Re b i r t h

Rebirth Garments, CHAT organised the event titled Access Breach: Radical Visibility in collaboration with Eaton HK.

Ga rme nt s ）合作組織「騷動大愛：織夢如

Interweaving Poetic Code

詩派對」。我們公開招募模特兒演釋再生服裝親手度身設計的服裝，以充滿未來感的時裝、驕傲的節拍、正向的身體價值觀及彩虹的顏色，在天橋上提倡多元、平等及共融。這個派對歡迎不同背景、體型及年齡的人士，包括酷兒、殘疾人士（包括身體、情緒、精神、智力、發展與心理上的，不論明顯

We called for models to wear custom-made outfits designed by Rebirth Garments to celebrate futuristic fashion, pride beats, body positivity and rainbow colours, aiming to raise awareness around diversity, equality and inclusivity on the runway. With this event, we welcomed queer, disabled (including but not limited to

與否）等一同參與。

physical, emotional, mental, intellectual, developmental or psychological, whether it

在 4 0 位報名者中，共有 8 名被挑選為模

is apparent or not), trans, non-binary and intersex friends of all sizes and ages.

特兒。再生服裝根據實用性及美學上的追求為他們創作獨一無二的服裝。

Among 40 applicants, 8 were selected as our models. Based on the models’ requirements, both functional and aesthetic, Rebirth Garments created one-of-a-kind clothing for them respectively.

Interweaving Poetic Code

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Interweaving Poetic Code

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穿著特製服裝的模特兒被邀請進行肖像拍攝。我們邀請了專業攝影師鄧詩廷於她的個人工作室進行拍攝。

Models were invited to a photo shoot in their custom-made clothing. We invited professional photographer, Stephanie Teng for the portrait session and the shooting was done in her photo studio.

Interweaving Poetic Code

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Interweaving Poetic Code

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Interweaving Poetic Code

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Interweaving Poetic Code

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模特兒的肖像照於香港逸東酒店大堂展出，他們亦準備登上舞臺！

The portraits were installed at the lobby in Eaton HK and the models are ready to rock the stage!

Interweaving Poetic Code

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在模特兒最喜愛的音樂節拍下，他們展示各自的獨特性，與觀眾同慶！

Each model celebrated their uniqueness with the audience to their favourite music.

崔泰潤工作室 Taeyoon Choi Studio

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項目經理：申才珉

平面設計：兪藝那

Project Manager: Jaemin Shin

Graphic Designer: Yena Yoo

監製：崔秀炫

技術專員：Sub 9（朱靜文、貝英杰）、Cezar Mocan、李東訓

Producer: Suhyun Choi

Engineering: Sub 9 (Jingwen Zhu, Yingjie Bei), Cezar Mocan, Donghoon Yi

紡織專員：Ye Seom Ahn

錄像製作：小農地（李宗哲、崔連根、Joseph Lee）

創始捐助機構

主要捐助機構

Founding Donor

Main Donor

合作單位

項目合辦

項目夥伴

Partner

Programme Co-Organiser

Programme Partner

Textile Specialist: Ye Seom Ahn

Video Production: Sonongji (Jongchul Lee, Yeonkeun Choi, Joseph Lee)

支援夥伴 Supported by

心光盲人院暨學校 Ebenezer School and Home for the Visually Impaired

保良局陳麗玲（百周年）學校 Po Leung Kuk Anita L.L. Chan (Centenary) School The Big Things Playground

社區文化發展中心

Centre for Community Cultural Development

展覽

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Exhibition

Interweaving Poetic Code 01.05-18.07.2021

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高橋瑞木

執行董事及首席策展人

Takahashi Mizuki

Executive Director and Chief Curator

CHAT 六廠團隊（截至2021年5月1日） CHAT CREW (as of 1 May 2021)

Curatorial Team

王慰慰

展覽及館藏策展人

陳信騫

展覽及館藏策展助理

Wang Weiwei

Curator, Exhibitions and Collections

David Chan

Curatorial Assistant, Exhibitions and Collections

Paola Sinisterra

紡織項目總監

鄭銘柔

策展助理

Director, Textile Programmes

Taylor Cheng

Curatorial Assistant

胡敏儀

展覽管理總監

謝詠琳

館藏管理專員

Wendy Wo

Director, Exhibition Management

Maggie Tse

Registrar

陳朗晴

展覽副策展人

林楚穎

展覽管理助理經理

Sunnie Chan

Associate Curator, Exhibitions

Hazyl Lam

Assistant Manager, Exhibition Management

李勺言

共學助理策展人

黃昭穎

紡織項目主任

Bruce Li

Assistant Curator, Learning

Gabrielle Wong

Officer, Textile Programmes

羅璧如

共學及社區助理策展人

冼慧芝

共學助理主任

Eugenia Law

Assistant Curator, Learning and Community

Rayven Sin

Assistant Officer, Learning

張靜文

共學及社區策展助理

郭杏蓮

車衣隊

Carmen Cheung

Curatorial Assistant, Learning and Community

Kwok Hang Lin

Sewing Team

張志謀

車衣隊

Cheung Chi Mau

Sewing Team

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策展團隊

管理及財務團隊 Operations and Finance Team

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趙子珉

營運及財務高級總監

劉彥揚

創意及營運助理技術員

Chiu Tsz Man

Senior Director, Operations and Finance

Lau Yin Yeung

呂瑪琳

營運總監

Technical Assistant, Creative Production and Operations (Contract)

Marlene Lieu

Director, Operations

袁建暉

行政助理

Leo Yuen

Administrative Assistant

林秀蘭

行政助理

Varia Lam

Administrative Assistant

何燕兒

訪客服務高級專員

Miki Ho

Senior Associate, Visitor Experience

江沅婷

訪客服務高級專員

Jane Kong

Senior Associate, Visitor Experience

曾曉彤

訪客服務高級專員

Cloris Tsang

Senior Associate, Visitor Experience

袁雅芝

訪客服務專員（合約）

Cathy Yuen

Associate, Visitor Experience (Contract)

楊狄恩

訪客服務專員（合約）

Yeung Tik Yan

Associate, Visitor Experience (Contract)

溫志堅

營運經理

Dominic Wan

Manager, Operations

關淑敏

文創店務經理

Kwan Shuk Man

Manager, Shop

鄒詠婷

高級會計

Ida Chow

Senior Accountant

李盈慧

高級行政秘書

Stephanie Li

Senior Executive Secretary

文永亮

創意及營運助理經理

Dennis Man

Assistant Manager, Creative Production and Operations

春山正

創意及營運高級主任（數碼媒體）

Haruyama Masashi

Senior Officer, Creative Production and Operations (Digital Media)

林泳欣

創意及營運高級主任（平面設計）

朱寶鈿

訪客服務專員（合約）

Willis Lam

Senior Officer, Creative Production and Operations (Graphic Design)

Tinny Chiu

Associate, Visitor Experience (Contract)

石鳴

文創店務專員（合約）

郭穎淘

創意及營運主任

Nick Shek

Associate, Shop (Contract)

Joyce Kwok

Officer, Creative Production and Operations

鄭毓健

文創店務專員（合約）

吳啟峰

創意及營運助理技術員

Ng Kai Fung

Technical Assistant, Creative Production and Operations (Contract)

Cheng Yuk Kin

Associate, Shop (Contract)

陳嘉曦

文創店務專員（合約）

Tracy Chan

Associate, Shop (Contract)

品牌及傳訊團隊

數碼圖錄

Branding and Communications Team

Digital Catalogue

蘇綽玲

品牌及傳訊總監

編輯

高橋瑞木

Zon So

Director, Branding and Communications

Editors

Takahashi Mizuki

黎翠欣

傳訊助理經理 Assistant Manager, Communications

文字編輯

黎翠欣

胡敏儀

Suzanne Lai

Copyeditors

Suzanne Lai

Wendy Wo

羅港俊

傳訊高級主任（數碼媒體）

Felix Lo

Senior Officer, Communications (Digital Media)

黃曉恩

傳訊高級主任

Grace Wong

Senior Officer, Communications

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黃曉恩林泳欣

Design

Willis Lam

夥伴及發展團隊

撰稿

崔泰潤

高橋瑞木

Partnership and Development Team

Contributors

Taeyoon Choi (P.4-11)

Takahashi Mizuki (P.30-55)

中文翻譯

鄭銘柔

何倩彤

Chinese Translation

Taylor Cheng (P.4-11)

Ho Sin Tung (P.30-55)

Exhibition Production Technician

攝影

蔡詠茱

Photography

CHAT 六廠共學及社區團隊 CHAT Learning & Community Team (P.90-91, 94-95)

陳永剛

夥伴及發展總監

Antony Chan

Director, Partnership and Development

展覽製作技術員

Belinda Choi Wing Chu

Grace DuVal (P.89)

葉政宏 Nakamura Masahiro

Chris Lusher (P.17-26, P.28-29, P.58-73, P.75-83)

黃慧心

文永亮

Wong Winsome Dumalagan

Dennis Man (P.14-16, P.27, P.74, P.84)

展場技術專員

鄧詩廷 Stephanie Teng (P.92-93)

On-site Engineering

馮穎琳 Fung Wing Lam

Interweaving Poetic Code

Grace Wong

設計

展覽紀錄編輯

Exhibition Documentary Production

羅港俊 Felix Lo

Cstand Production

100 出版 Published by

織碼如詩六廠基金會有限公司

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Mill 6 Foundation

荃灣白田壩街45號南豐紗廠 The Mills, 45 Pak Tin Par Street Tsuen Wan, N.T., Hong Kong T (852) 3979 2301 W www.mill6chat.org E enquiry@mill6chat.org 2021年9月出版 Published in Sept 2021 ISBN: 978-988-79608-1-2

版權所有。除構成合理交易的私人學習、研究和評論外，在未經出版者的書面同意下，均不被授予任何許可複製、印製或以數碼、影印、攝錄等其他形式發佈數碼圖錄的任何內容。 All rights reserved. Apart from any fair dealing for the purposes of private study, research, criticism, or review, no part of the contents of this digital catalogue may be reproduced, printed, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written consent from the publisher. © 2021 版權屬於藝術家、作家及六廠基金會有限公司 © 2021 the artists, authors and Mill 6 Foundation Limited

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