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My work often took place through in-person collaborative workshops or classes on accessible digitizing techniques. As we drew upon virtual networks to mitigate the effect of increasingly restricted borders, many people reached out for ways to create digital objects, or to build virtual sites for mourning and reflection. I thought about how my research and participatory processes could help capture a snippet of this social and technological change.

The project “Photographic Knitting Club” is a response to this emerging reality. Photogrammetry, a 3D reconstruction technique that creates models by stitching 2D images together, serves as a bridge between photography and sculpture, producing worlds that exist half-way between the digital and the physical. Breaking down photogrammetry to small steps, we look at the mechanics of photogrammetry that mimics the strange social structures emerging from how the pandemic interacts with technology and forms new social relationships. The process of stitching multiple perspectives resembles the function of an artist––a knot maker and connector of ideas who produces new knowledge.

The name “Photographic Knitting Club” connotes pleasure in the company of others, communal support, and making something by hand from start to finish. Knitting circles are also a predominantly feminine social space where non-commercial production takes place. In this way, the “Photographic Knitting Club” rejects impersonal use and the regime of proprietary technology that often exploits its users for profit. Knitting itself as a metaphor might also be extended to the necessity of how these activities rearrange new borders and boundaries of gender, class, and identity, nationality. Through a feminist perspective, this tutorial offers a tactile / material / philosophical reflection of the mechanics of 3D scanning.

The output will be distributed as an e-zine.

工作坊期間,〈影像編織俱樂部〉利用人人皆有的器材,以遠端方式帶領參與者觀察、拍攝、縫製上百張平時用來與外聯絡的空間。攝影製圖技術 (一種縫合多角度照片的3D掃描法) 可視為連結攝影與雕塑的過渡,在縫製多張照片中的相同特徵後,製圖技術能在空間中計算出所有拍攝位置及順序。在工作坊後,結合編織以及製圖過程特有的意象,藝術家將這些數據視覺化,使觀者能試著觀察參與者在空間中的移動方式及與空間的關係。以「數據女性主義」(Data Feminism) 的角度觀看,此實驗也能視為試探知識產生的方式:透過掃描測量的「客觀性」和自身對環境的身體感知的結合,是否能產生非單一的、多面向且身體性的詮釋。