2024 數據聲化
鯓語：刺碼
[ sin-gí ]：
StitchCode
#Sashiko, #Tangible data, #Data steganography, #StitchCode
This project begins by examining how information technology is hidden in fabrics, and retrieves the interactive cultural significance of steganography, craft practice, and physical labor.
“[ sin-gí ] StitchCode” uses the “Hitomezashi” , the method of Japanese Sashiko as a steganography technology, and binary transcodes the language records of aboriginal folk songs in “Fan Su Liu Kao ( Six Investigation of Pingpu customs, ‘番俗六考’)”on the cross-stitch fabric, transcoding the languages of the three songs of Tapuyen New Year’s Song（大傑巔社築祝年歌）, Taivoan Farming and Catching Party Drinking Song（大武壠社會飲歌） and Sincka Farewell Song（新港社別婦歌） into binary codes to produce embroidery, and through the historical text The documentary notes of foreign ethnic groups undergo cultural transcoding through language and imagery, and become a foreign cultural storage interface intertwined with digital language, local language, and material language. These data fabrics are cultural technologies that interactively encode cultural meanings, material materials, and physical experiences. They are composed of the interaction between people and materials, and at the same time form a culturally sustainable network that can index the meaning of information.
#刺子繡 #可觸數據 #數據隱寫術 #刺碼
《鯓語：刺碼》考察訊息技術如何隱藏在織物中開始，從中檢索出隱寫術與工藝實踐、身體勞動的交互文化意義。
作品以日本刺子繡的「Hitomezashi 一目刺し」刺法作為隱寫技術，將《番俗六考》中原民歌曲的語言紀錄進行二進制轉碼於映曬過影像的十字繡布上，轉譯大傑巔社祝年歌、大武壠社耕捕會飲歌與新港社別婦歌三首歌曲語言與為二進制語碼，生產繡品。
透過歷史文本中異族的紀實註記進行語言圖像化的文化轉碼，成為交織著數位語言、地方語言、物質語言的異文化儲存介面。這些數據織物是文化意義、物質材料、身體經驗交互編碼的文化技術，由人與材料交互作用構成，同時形成可索引訊息意義的文化永續網絡。
// Hitomezashi steganography
Hitomezashi steganography originates from mathematician Katherine Seaton’s proposal in her work Mathematical Specification of Hitomezashi Designs, in which she developed a mathematical approach to traditional Japanese sashiko embroidery. By utilizing binary alphabets and the concept of duality, her method encodes textual data into visual patterns through binary logic.
The duality of hitomezashi (literally “one-stitch sashiko”) is manifested in the alternating stitch directions—horizontal and vertical—which produce complementary patterns across the fabric. This system allows textual information to be transformed into binary data and subtly embedded into embroidered designs, forming a tactile and legible code.
// 一目刺し 隱寫術
刺子繡隱寫術源於數學家Katherine Seaton於Mathematical specification of hitomezashi designs 所倡議的數學刺子繡法，透過使用二進位字母表中的單字語法以及二元／對偶性（duality），將日本傳統刺子繡以二元編碼的方式創造圖形。「Hitomezashi 一目刺し」（一針刺子繡）的二元性表現在由縫製織物時的兩種針腳（直／橫）所形成的互補圖案中，將文字數據化後隱寫為可編碼的圖案。
Seaton, K. A., & Hayes, C. (2023). Mathematical specification of hitomezashi designs. Journal of Mathematics and the Arts, 17(1–2), 156–177. https://doi.org/10.1080/17513472.2023.2187999
© Lin, Hsin-I ．[ sin-gí ]：StitchCode 林欣怡，《鯓語：刺碼》 馬卡道族，2024
The linguistic data displayed on screens conveys meaning, but it remains intangible—a form of visual information that cannot be touched. In contrast, stitched textiles function as storage devices that encode meaning, materiality, and embodied experience into tactile form.
Much like the geometric patterns found in the embroidered textiles of the Shipibo people along the Amazon River—patterns which serve as visual “scores” translated from their ceremonial songs about medicinal plants—these stitched surfaces offer a medium where sound is visually encoded. Through the embroidery of patterns, the songs are sung; and through the act of singing, the patterns are embroidered. This reciprocal practice manifests a visual encoding of sound, preserving both collective and individual memory within the fabric of the community.
// 語言數據視覺化
螢幕中的語言數據顯示了訊息意義，但並非可觸的視覺資料。而針跡織物是用意義、物質和身體經驗進行可觸性編碼的「儲存裝置」。如同亞馬遜河沿岸的原住民西皮波族（Shipibo）的刺繡織品上的幾何圖案，是傳播藥用植物吟唱歌曲所翻譯而成的「樂譜」，透過織物上的刺繡圖案吟誦、亦透過吟誦繡製圖案，是一種聲音的視覺編碼，儲載了族群與個人的集體記憶。
