Intersections of Tradition and Technology

INTERSECTIONS OF TRADITION & TECHNOLOGY

Acknowledgements We would like to gratefully acknowledge from the Queensland College of Art, Griffith University:

我们谨此诚挚感谢格里菲斯大学昆士兰艺术学院院长

Professor Elisabeth Findlay, Director of Queensland College of Art, Griffith University, for supporting the exhibition and catalogue.

Findlay)对本次展览和目录的支持；

Sharon Searle, Skye Smith and Alejandra Ramirez Vidal from Liveworm Studio QCA for their catalogue design and layout, Andrew Willis for photography and Stanley Tan for translation.

From Shanghai Academy of Fine Art: Associate Professor Qiansheng Li, Executive Dean, Digital Art, Liyin Wang, International Communication Office From Shandong University of Art and Design:

伊丽莎白·芬得利教授 (Professor Elisabeth 感谢昆士兰艺术学院Liveworm工作室的莎朗·舍尔 (Sharon Searle)、斯凯·史密斯（Skye Smith)和 亚历杭德拉·拉米雷斯·维达尔 (Alejandra Ramirez Vidal)对目录设计和排版的贡献；此外， 感谢安德鲁·威利斯（Andrew Willis） 和斯坦利·谭（Stanley Tan） 分别为目录承担了摄影和翻译任务。 我们同样诚挚感谢：

Associate Professor Jie Li, Vice Dean of School of Fashion Design

来自上海大学上海美术学院的

Associate Professor Xiaojie Lin, School of Digital Art and Communication

王黎音，国际交流办公室

Ms Zhenmei Gu, Lecturer, School of Fashion Design

李杰， 服装学院副院长，副教授

Ms Yinghong Yu, Lecturer, School of Fashion Design

林晓杰 ， 数字艺术与传媒学院副教授

Ms Jingyu Zhang, Assistant Lecturer, School of Fashion Design

顾振美， 服装学院讲师

But especially on behalf of all staff and students we would like to thank

于迎红， 服装学院讲师

Ms Fiona Wang, International and School Engagement Officer, QCA Mr Jianglong Yu, Coordinator, International Affairs Office, 山东工艺美术学院

ISBN: 9781925455946

李谦升，数字艺术学院执行副院长，副教授 来自山东工艺美术学院的

张竞羽， 服装学院助理讲师 我们还要代表所有教职员工和学生们特别感谢： 王雪吟女士，昆士兰艺术学院国际与学院联系事务主任 于江龙先生，山东工艺美术学院国际交流与合作处协调员

INTERSECTIONS OF TRADITION & TECHNOLOGY

Collaborative works by Students from the Queensland College of Art & Students from Shandong University of Art and Design

Contents Introduction

5

Global mobility

6

Director Queensland College of Art

7

Intangible technologies

8

Shanghai Academy of Fine Art

13

Outcomes from workshop • The Collar of Life’s Story

14

• Colour Code

15

• Mandarin Ducks

16

• Out-Light

17

Shandong University of Art and Design

18

El Wire Dress

20

Fan Tails

24

Shadow Play Cuff

32

Ginko Cuffs

34

Hand and Lotus Fan

38

Hand Fan

40

Hand Fan and Earrings

42

Cloud Fan

46

Blue Dragon

48

Direction Umbrella

50

Wrap up

52

Introduction In June 2019 a dozen intrepid students signed up for a study tour to China: The idea was to go to undertake field research, collaborate with Students from Shanghai Academy of Fine Arts and Shandong University of Art and Design. We were exploring emerging fields and applications for wearable technology in the context of jewellery, wearable objects and design for the body.

The study tour was funded by a New Colombo Plan grant originally applied for by Dr Beck Davis. This grant paid directly to students allowed them to fly to China, work hard, travel between cites and eat very well.

We are all very grateful for the NCP funding and for the hard work our colleagues, especially Julie Lambert in Griffith Global Mobility, undertook to make this happen. We are especially thankful for the care and commitment of our international and school engagement officer, Ms Fiona Wang. Without Fiona we would have been truly lost.

Our student’s learnt to communicate with their peers quickly, mostly through digital devices. They put in very long hours in workshops in Shanghai and Jinan and they produced great outcomes. They also performed wonderfully as student ambassadors for Queensland College of Art (QCA) and returned richer for the experience.

2019年6月，十多名勇敢的学生报名参 加了赴中国的短期游学之旅： 目的是进行实地调研，与上海大学上海美术学院和山东工艺美术学院 的学生展开合作，在珠宝、可穿戴物品和人 体设计的背景下共同探索可穿戴技术的新兴领域和应用。 本次游学由贝克•戴维斯博士最初申请的新科伦坡计 划（NCP）资助。这笔费用直接支付给了 学生们，使他们能飞往中国， 努力工作，在不同城市之间旅行并享受丰盛的食物。 对此，我们深表感谢。我们还要特别感谢我的同事们， 特别是格里菲斯大学全球流动办公室的朱莉•兰 伯特（Julie Lambert）女士，是他们的努力 确保了我们这次游学的顺利成行。 衷心感谢国际和学院联络事务官员王雪吟女士的关 心和支持。没有她的帮助，我们将寸步难行。 我们的学生学会了主要通过数字设备与同龄人快速沟通。

Our colleagues in Shanghai and Jinan could not do more for us. We were shown incredible hospitality and we are all very grateful for their warmth and kindness. We cannot thank our new friends enough.

他们在上海和济南的工作坊中投入了很多时

Daniel Della-Bosca and Paul Bardini

院的学生大使的角色，并因此而学习到了更多的东西。

间，并取得了丰硕成果。他们还完美承担了昆士兰艺术学

在上海和济南期间，和我们一起工作的中国同事们给予了 我们无微不至的帮助和盛情的款待。对他们 的热情和友善我们不胜感激。感谢我们的新朋友们！

丹尼尔•德拉•博斯卡（Daniel Della-Bosca） 保罗•巴迪尼（Paul Bardini）

Study Tour Group at Mount Tai

5

Global mobility Griffith University actively encourages students to explore their potential by participating in an overseas mobility program. In 2019, Griffith Global Mobility facilitated 1300 students to participate in study tours, resulting in transformational experiences. Griffith Global Mobility disperses funding to eligible students from the National Colombo Plan, a signature initiative of the Australian Government which aims to lift knowledge of the Indo-Pacific in Australia by supporting Australian undergraduates to study and undertake internships in the region.

It encourages a two-way flow of students between Australia and the rest of our region, complementing the thousands of students from the region coming to Australia to study each year.

The New Colombo Plan is intended to be transformational, deepening Australia’s relationships in the region, both at the individual level and through expanding university, business and other links.

格里菲斯大学全球流动项目 格里菲斯大学积极鼓励学生参加海外出行计划，发掘他们的潜力。 在2019年，格里菲斯全球流动性（Griffith Global Mobility）项目 促进了1300名学生参加学习之旅，从而带来了变革性的体验。 这 个项目从国家科伦坡计划中拨出资金给符合条件的学生，这是澳 大利亚政府的一项倡议，旨在通过支持澳大利亚大学生前往印度太平洋地区学习和实习，来提高对澳大利亚对该地区的了解。 它鼓励澳大利亚和世界其他地区之间的双向学生来往，每 年吸引了成千上外的海外学生来澳大利亚学习生。 新科伦坡计划旨在实现转型，通过个人层面以及不断扩大的大 学、企业和其他层面联系，加深澳大利亚与该地区的关系。 全球出行协调员（出站） 尼古拉·巴尔 Nicola Barr

Nicola Barr | Global Mobility Coordinator (Outbound)

Alvin Yapp, Griffith Graduate LHS study tour

Director QCA We are poised at a moment in history when technology has transformed the way we live. But we are also only just beginning to comprehend the vast impact that technology will have in the future. In a world of accelerated change the possibilities seem endless, as this exhibition clearly demonstrates.

The works in this exhibition are innovative and dynamic. The students are to be congratulated for their daring explorations and willingness to experiment with the intersection of design, technology and fashion. They have embraced the challenges and potential of new technologies, from 3D printing to the use of microprocessors.

Combining their imagination with traditional cultural forms they have created pieces that seem both familiar and strange.

The exhibition also showcases the so-called ‘softer’ skills that will be required in the future world of work: innovative thinking, creativity, collaboration and cross-cultural understanding. Griffith University in its mobility programs is committed to equipping students with these skills which will become increasingly prized in a global world.

The Queensland College of Art (QCA) is fortunate to have enjoyed a long standing collaboration with Shandong University of Art and Design. With the assistance of New Colombo Plan grants undergraduates from Australia had the opportunity to visit Jinan for the the first time. Working alongside their counterparts in China was a life-changing experience.

Daniel Della-Bosca and Paul Bardini created a learning environment where students were immersed in an enriching and vibrant design process involving genuine cross-cultural dialogue. Thank you to Daniel for bringing the students together and for organising and curating such a successful exhibition that showcases the promise of wearable technologies.

For a new generation of students the classroom of today is vastly different from the past. This exhibition pushes the boundaries of technology and highlights the creative power of cross-cultural exchange.

Professor Elisabeth Findlay, Director of Queensland College of Art, Griffith University

我们正处于一个技术改变了我们的生活方式历史的时刻。但是我 们也才刚刚开始理解技术对未来将产生的巨大影响。正如这次展 览所清楚地表明，在瞬息万变的世界中，一切都有无限的可能。 本次展览的作品具有创新性和活力。祝贺这些勇于探索和敢于尝 试将设计、技术和时尚相融合的学生们。他们欣然接受了从3D打 印到微处理器使用等的新技术带来的挑战和潜力。他们的将想象 力与传统文化形式相结合，创造出了了既熟悉又陌生的作品。 展览还展示了未来工作世界所需的所谓的“更软”的技能：创新思 维、创造力、协作和跨文化理解。这些技能在全球范围内日益受到 重视，格里菲斯大学的流动性计划致力于使学生具备这些技能。 昆士兰艺术学院很高兴能够与山东工艺美术学院展开长期合作。 在“新科伦坡计划”助学金的帮助下，澳大利亚的大学生首次有 机会访问济南，与中国的同行一起工作是一次改变人生的经历。 丹尼尔•德拉•博斯卡（Daniel Della-Bosca）和保罗•巴迪尼（Paul Bardini）创造了一个学习环境，学生可以沉浸在丰富而充满活力的设 计过程中，并涉及真正的跨文化对话。感谢Daniel带领学生们聚集在 一起，并组织和策划了一次成功的展览，展示了可穿戴技术的前景。 对于新一代学生而言，今天的教室与过去有很大的不同。该 展览突破了技术的界限，并强调了跨文化交流的创造力。 昆士兰艺术学院院长 伊丽莎白·芬得利教授 (Professor Elisabeth Findlay)

7

Intangible technologies Consumer culture has unfortunately impacted on contemporary society in such a dramatic way that the term ‘technology’ conjures images of electronic devices and ‘gadgets’ in the minds of many.

That is only partially true. A smartwatch for example is a technological device that is wearable, it represents a contemporary advancement of computing, electronics and manufacturing that permits the end consumer to wear a miniature computer for a range of purposes.

A garment on the other hand may seem commonplace, but is representative of thousands of years of learned skill, from the manipulation of natural fibre to the production of cloth on mechanical looms. It is unfortunately easy to forget that fabric creation and garment construction are not just technologies but highly integrated sets of technologies. For a modern human to wear a garment is to honour a continuous advancement of technologies from a time before recorded civilisation.

The watch or timepiece that preceded the smartwatch itself has a great history, Peter Henlein is credited as having made the leap from a stationary clock to a wearable device in the early 1500s. It was a rather large and heavy device by our standards but nevertheless it is wearable tech of the 16th century, and it is just as an important artefact as the microprocessor.

Wearable devices such as, sports and smartwatches, activity trackers, bluetooth earpods and more are seemingly ubiquitous devices and may be overlooked as meaningful objects. They are plentiful, but now also economically important. In 2019 the total number of consumer wearable devices is expected to reach 453 million units, with a total revenue of 42 billion dollars [1]. The largest proportion of wearable devices continues to be ear worn devices and the second largest category is smartwatches. What the consumer market demonstrates is that entertainment still remains the primary purpose of the majority of wearable devices, but wearable technology for healthcare is climbing rapidly and rightly so for inextricably human reasons.

The market success of wearable devices points to something in the human psyche that says we like things, and it is the materiality of the objects, garments and devices that we like. Deborah Lupton states

that humans have always been using materials as technologies [2].

The technologies at our disposal are digital in nature but housed in material form. Boundaries of self, blur as the objects become lighter and smaller and even implanted, but were these boundaries blurred some time ago? Clothes are technologies. Roland Barthes writes “the structure of real clothing can only be technological, because of clothes embeddedness in technological production (their traces of the actions of manufacture) and their structural fabrication (textiles, seams, zippers etc) [3]”. Barthes argues that Clothes are material and therefore not language, but Umberto Eco writes that “Clothes are Semiotic devices, machines for communication [4]. Susan Ryan supports Eco’s semiotic defense of the garment and by extension the wearable device. She writes that the “complex language of dress engages with wearable device, which has in fact, always involved technology at some level. To wear technological advancements or devices is to advance the language of dress in specific ways that converge with the cultural dimensions of technology, and as a result to be culturally seen within a technologically literate environment [5]”.

We could not bear to be seen without our clothing. We choose particular fabrics and cut of garment for sensorial preference, and we make visual aesthetic choices for our body shape. We choose footwear because it can help us run faster, climb higher or support us well. Shoes for health and well-being are as technologically important as glucose monitors. This points to the meaning we are looking for in wearable technology, a good shoe, garment or activity tracker can do something for us. All of these objects have the potential to improve us to change us, and not just in a functional sense, they are aesthetically important to us as well. The sensory experience of what we wear can be haptic, visual, auditory and olfactory. The experience can also easily be multisensory. So wearable technology in all of its myriad forms can have meaning for us in a physiological sense but also in a psychological and even philosophical sense. The data that a device can gather and share is quantifiable, which permits the experience to be simultaneously sensory and intellectual. This is the greater issue that wearable technology brings. What can this new information that is private and sometimes public, do for us? If our boundaries with clothing

无形技术 不幸的是，消费文化以一种戏剧性的方式对当代社会产生 了影响，以至于“技术”一词在许多人的脑海中会唤起电 子设备和“小工具”的图像。这是不完全正确的。例如， 智能手表是一种可穿戴的技术设备，代表了当代计算机信 息处理技术、电子产品和制造业的发展进步，使终端消费 者在出于各种目的的情况下佩戴微型计算机成为可能。 另一方面，服装可能看起来很平常，但它代表了传承了数千年的技 能，包括从处理天然纤维到在机械织机上生产布料。不幸的是，人 们很容易忘记：织物的创造和服装的制作不但是一门技术，而且 是综合性很高的技术。对于现代人来说，穿着服装表达了人们对 从有文字记载的文明之前开始的、不断进步的技术的崇敬之情。 智能手表之前的手表或钟表具有悠久的历史，Peter Henlein被认为 在16世纪早期实现了从固定的时钟到可穿戴设备的飞跃。按照我们 现在的标准，那是一个巨大而且笨重的设备，然而，它属于16世 纪的可穿戴技术，并且是一件与微处理器同样重要的手工制品。 如今，可穿戴设备（例如运动智能手表、活动追踪器、蓝牙耳 机等）似乎无处不在，但人们常常忽视它们的实用功能。它们 数量丰富，在经济方面也很重要。2019年，消费类可穿戴设 备的总数量预计将达到4.53亿台，总收益达到420亿美元[1]。 可穿戴设备中比例最大的仍然是耳戴设备，第二大类别是智能 手表。消费市场表明，娱乐仍然是大多数可穿戴设备的主要用 途。但是用于医疗保健的可穿戴技术正在迅速而合理地攀升。 可穿戴设备在市场上的成功表明人类心智方面的某些事实：我们 喜欢某些东西，我们所喜欢是是这些物品、服装和设备中的物 质性。Deborah Lupton指出，人类一直在使用材料并将材料的 使用作为一门技术[2]。 我们掌握的技术本质上是数字化的，但 是以物质形式存在。自我的边界随着物体变轻、变小甚至被植入 而变得模糊。但这些边界是不是在不久前就变得模糊了？服装 是技术层面的。Roland Barthes写道：“由于服装根植于技术生 产（服装中存在制造活动的痕迹），以及服装的结构制造（纺 织品、接缝、拉链等），所以实际服装的制作只能是技术层面 的[3]”。Barthes认为服装是物质，因此不是语言。但Umberto Eco写道,“服装是符号设备，是交流的机器[4]。”Susan Ryan 支持Eco关于服装符号保护的言论，并扩展了可穿戴设备的功 能。她写道，“服装的复杂语言与可穿戴设备结合在一起，实 际上，这在某种程度上始终涉及技术。穿戴技术进步或设备意

味着以特定的方式提高着装语言，将技术的各个文化维度融为 一体，因此，在技术文化环境中被视为具有文化意义[5]”。 我们无法忍受被人看到自己一丝不挂的样子。我们会根据感官偏好 选择特定的面料和服装剪裁方式，并根据自己的形体让衣物符合 视觉审美。我们选择穿鞋，是因为鞋能让我们跑得更快、爬得更 高，或者能为我们的双脚提供舒适的支撑。鞋子对于健康和幸福 的作用，从技术层面来讲，和血糖监测仪同样重要。这就体现出 了我们追求可穿戴式设备的意义，一双好的鞋子，一件舒适的衣服 或一台活动追踪器，它们都能为我们做些什么。 所有这些物品都 具有提升和改善我们的可能性，而且不仅仅是在功能上，它们的 审美意义对于我们也很重要。穿戴物品给我们带来的感官体验可 以是触觉的、视觉的、听觉的和嗅觉的。这种体验也可以很容易 地被改造为一种多感官体验。因此，各种样式的可穿戴技术对于 我们不仅有生理上的意义，而且也可以有心理上乃至哲学上的意 义。一台设备可收集和共享的数据是可以量化的，这就使这种体验 可以同时具有感觉和智能两方面的特性。这是可穿戴技术所引出 的一个更大的问题。这种新型的、私人的（有时是公共的）信息 能为我们做什么呢？如果我们与服装的边界在物质意义上延伸了 我们的身体，那么通过可穿戴设备共享的数据对我们的延伸则更 为深远，它延伸到了我们的家人和朋友，延伸到了跑步者团体， 延伸到了医疗保健专业人士，延伸到了跨国公司的营销部门。 Iztok Hrga 在她关于当前时尚背景下可穿戴设备的评论中写道，“ 服装代表的是视觉、身体和感知体验之间的一道桥梁[6]”, 它体 现了身体和周围环境之间的边界和联系。Hrga 认为可穿戴设备是 嵌入到衣物内的，而不像普通的消费者设备那样脱离衣物。Hrga 对可穿戴设备进行了分类，依据的并不是它们“是什么”，而是 它们能“做什么”。她大致将其分为三个领域：物质、外部刺 激和内部刺激 [7]；这有助于结构化的符号分类。Eco 曾写到“ 我是在通过我的衣服说话 [8]”，以及时尚是一种或一组影响交 流的思想内涵的代码（Eco 在这里写他的衣服对于他的演讲起到 了什么影响）。Eco 还写了服装的现象学影响，它的“存在”被 身体感知，以及将注意力强行集中到外部举止上 [9]。Eco 在对 一条新牛仔裤的影响进行思考后，发现它迫使他将生活转向外 部世界，同时降低了他的内在能力，亦即思考能力。Eco 提醒我 们，知识分子需要宽松的衣服，思想厌恶紧身的衣服 [10]。 我们所穿的衣服，装饰的珠宝，手腕和耳朵上佩戴的

9

Intangible technologies extends the body in a material sense, the data shared through wearable devices extends us in a far greater way, to our families and friends, to running groups and healthcare professionals, to the marketing departments of multinational companies.

in a meaningful way. Susan Ryan allows us to think of wearable technology in one of two ways, that “it is functional in application and potentially commercial in distribution, or that it is experimental and conceptual in nature to aid the awareness of embodiment [11]”.

Iztok Hrga in her review of current wearable technologies within the context of fashion writes that “Garments represent a bridge between visual, physical and perceptual experience [6]” and that they represent the frontier and the connection between the body and the environment around it. Hrga speaks of Wearable technology as embedded in clothing, not detached from it as consumer devices often are. Hrga writes of the categories of wearables, not insomuch as what they are, but described according to what they do. She categorises broadly into three areas, Material, External Stimuli and Internal Stimuli [7], and this is helpful in terms of structured semiotic categories. Eco writes “I am speaking through my clothes [8]”, and fashion is a code or set of codes that influence the ideological connotations of communication (Eco here writes of how his clothes affect his speech). Eco also writes of the phenomenological impact of clothing, of its ‘presence’ felt by the body, the imposition of attention focused on exterior demeanour [9]. Eco reflecting on the impact a pair of new jeans found that it obliged him to live toward the exterior world, whilst reducing his capacity for interiorness, in other words, thinking. Eco reminds us that intellectuals require loose clothing and that thought abhors tights [10].

This second point of Ryan’s is crucial to navigating the works in this exhibition. Wearable technology (inclusive of garments) deserves exploration, play and interrogation by artists and designers. The creative potential that wearable technology offers in facilitating a dialogue between people and through shared data or experience is where the new boundaries of meaning can be experienced. It is important that all technologies are explored critically, but playful investigation is often the best place to start and open source culture is evidence of that. Microprocessors such as the Arduino and Microbit and development platforms such as GitHub exemplify what any student, artist and designer can achieve by participating and contributing to a culture of shared information. This is important as it adds a new and experimental layer to a much older system of sharing knowledge, practices and skills. Unesco describes this as cultural heritage, tangible and intangible, meaning, passed down through oral tradition, performance craft and more [12]. There is nothing essentially different between a culture of microprocessor programmers and of traditional embroiderers from the Yao people, excepting a difference in material choice. What is interesting however is the dialogue resulting from the interactions of the time honoured, and newly emerging processes and technologies.

The clothes and shoes we wear, the jewellery that adorns us, the technological devices that are attached to our wrists and ears and wherever else we choose to attach things, all communicate the materials they are made of, the stimuli that is internalised and the stimuli that is exteriorised.

Importantly our devices are also communicated to. Our devices can receive data from external sources from the banal to the significant. From a consumer perspective advertising targeted to us based on search preference and appearing in notifications on a smart watch begin to shape us in insidious ways. The same devices however can connect us with our loved ones through sight and sound or bring us stories and data that we can engage with

The works shown in this exhibition demonstrate the respect paid to traditional practices that emerged from a deep investigation and experimentation with materials. It is a playful engagement however with new technologies and conceptual ideals that can forge novel enquiries that question both old and new practices and give rise to new creative potentials.

It is at this juncture, the intersections of traditional practices and experimentations with technology where creativity emerges.

These convergent spaces of divergent enquiries can give rise to new meanings, new ways to communicate, and new ways to tell stories.

无形技术 技术设备，以及身体其他部位所佩戴的东西，都在 传达着它们的材料特征和不同的内外部刺激。 值得注意的是，我们的设备也可以“被传达”信息。我们的设备可 以接收来自外部的数据，包括普通数据和重要数据。从消费者的角 度来看，那些智能手表上以通知形式出现，以我们的搜索偏好为依 据的广告，正在以一种“狡诈”的方式塑造着我们的生活。然而， 同样的设备也可以通过视觉和声音让我们和我们所爱之人产生联 系，或者给我们带来一些能让我们以有意义的方式参与的故事和数 据。 Susan Ryan 允许我们从两方面来考虑可穿戴技术，即“它在 应用上是功能性的，在分发上具有潜在的商业性，或者它在本质上 是实验性的和概念性的，目的是帮助人们将意识具象化 [11]”。 Ryan的第二个方面对于浏览本次展览的作品至关重要。可穿戴技术 （包括服装）值得艺术家和设计师探索、玩耍和审问。可穿戴技术 在促进人与人之间的对话以及通过共享数据或经验提供的创造潜力 是可以体验新意义界限的地方。认真研究所有技术很重要，但是有 趣的研究通常是最好的起点，而开源文化就是证明。诸如Arduino 和Microbit之类的微处理器以及诸如GitHub之类的开发平台体现了 任何学生、艺术家和设计师通过参与并促进共享信息文化所能实现 的目标。这一点很重要，因为它为更旧的共享知识、实践和技能 的系统增加了新的实验层。联合国教科文组织将其描述为有形和 无形的文化遗产，意思是，这是通过口头传统、表演手法等传递下 来[12]。微处理器编程人员的文化与瑶族传统绣花者的文化没有本 质上的区别，只是在材质选择上有所不同。然而有趣的是，对话 是由悠久的时代与新出现的过程和技术之间的相互作用引起的。 这次展览中展示的作品展示了对传统实践的尊重，这些传统实 践是通过对材料的深入研究和实验而产生的。然而，这与新技 术和概念理想是一种有趣的互动，可以形成新颖的探究，质疑 新旧做法，并产生新的创造潜力。正是在这一关头，传统实践 与技术的实验相交，才出现了创造力。这些不同探究领域的融 合可以产生新的含义、新的交流方式和讲故事的新方式。

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Intangible technologies Daniel Della-Bosca 2019

Daniel Della-Bosca 2019

[1] Costello Katie, 2018, Gartner press release, available at; https://www.gartner.com/en/ newsroom/press-releases/2018-11-29-gartnersays-worldwide-wearable-device-sales-to-grow-

[1] Costello Katie, 2018, Gartner新闻稿，网 址：https://www.gartner.com/en/newsroom/ press-releases/2018-11-29-gartner-saysworldwide-wearable-device-sales-to-grow-

[2] Lupton Deborah, 2014, Self-tracking cultures: towards a sociology of personal informatics, doi: 10.1145/2686612.2686623

[2] Lupton Deborah, 2014,自我跟踪文化：走向个 人信息社会学，doi: 10.1145/2686612.2686623

[3] Barthes Roland, 1967, Système de la mode, Paris, Éditions du Seuil [4] Eco Umberto, 1973, Social Life as a Sign System in David Robey (ed.) Structuralism: An introduction, Oxford, Clarendon Press [5] Ryan Susan Elisabeth, 2014, Garments of Paradise: Wearable Discourse in the Digital Age, Cambridge, Massachusetts, The MIT Press [6] Hrga Iztok, 2019, Wearable Technologies: Between Fashion, Art, Performance, and Science (Fiction), Tekstilec, 62/2, 124-136 [7] Hrga Iztok, 2019 [8] Eco Umberto, 1973 [9] Eco Umberto, 1986, Lumbar Thought, in Travels in Hyper-reality, Orlando, FL: Harcourt, Brace, Jovanovich, 192 – 194 [10] Eco Umberto, 1986 [11] Ryan Susan Elisabeth, 2014 [12] https://ich.unesco.org/en/whatis-intangible-heritage-00003

[3] Barthes Roland, 1967, Système de la mode, Paris, Éditions du Seuil [4] Eco Umberto, 1973, David Robey（ 编者）结构主义中的“社会生活即标志系 统”：简介, Oxford, Clarendon Press [5] Ryan Susan Elisabeth, 2014, 天堂服 装：数字时代的可穿戴性话语，剑桥， 马 萨诸塞州，麻省理工学院出版社 [6] Hrga Iztok, 2019, 可穿戴技术：在时尚、艺术、 表演和科学之间（小说）, Tekstilec, 62/2, 124-136 [7] Hrga Iztok, 2019 [8] Eco Umberto, 1973 [9] Eco Umberto, 1986, 腰部思想，超现实旅行，佛罗里 达州奥兰多：Harcourt, Brace, Jovanovich, 192 – 194 [10] Eco Umberto, 1986 [11] Ryan Susan Elisabeth, 2014 [12] https://ich.unesco.org/en/whatis-intangible-heritage-00003

Shanghai Academy of Fine Art 上海美术学院 The first workshop in China was organised at the Public Art Cooperation Centre (PACC). http://www. ipublicart.com/ The workshop was hosted by Professor Qiansheng Li, Executive Deputy Dean of the Digital Art Department of Shanghai Academy of Fine Art. Professor Li hosted the workshop at the PACC and organised collaboration with students from SAFA and Jiao Tong University. The agenda was set for an intensive two day workshop investigating the intersections of traditional Chinese embroidery and wearable technology. QCA students were introduced to the ideas of intangible cultural heritage through Yanxi Shen who represented the Yao people and the heritage of storytelling through embroidery.

上海大学上海美术学院 在中国的第一个工作坊是在公共艺术合作中心（PACC, http://www.ipublicart.com/） 举办的。该工作坊由上海 大学上海美术学院数字艺术数码系李谦升教授主持。 李教授在PACC主持了工作坊，并与上海美术学院和上 海交通大学的学生组织了合作。 会议议程是为期两天的 密集研讨会， 旨在研究中国传统刺绣与可穿戴技术的融 合。 昆士兰艺术学院的学生通过来自中国瑶族的沉延喜 的介绍而了解了非物质文化遗产的思想，并学习了刺绣 的叙事技巧。 我们要感谢上海大学上海美术学院国际交流办公室的王 黎音的帮助；感谢李教授对该工作坊的精心组织；感谢 沉延喜向我们展示了她的高超的技艺。

We wish to thank Liyin Wang of the International Communication office of SAFA, Professor Li for organising our workshop at PAAC, and Yanxi Shen for demonstrating her incredible skills.

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Outcomes from workshop

The Collar of Life’s Story | Ged Rutten, Kierra Jay Power, Ricco Caulio, Valencia Prizzi

The collar was created as a response to the storytelling elements of traditional Chinese embroidery. The design of this collar permits the addition of elements as the wearers own life story develops. The integrated electronics also allow for the personalised display of animated stories to a child whilst carried.

领子是对中国传统刺绣的讲故事元素的回应。 随着佩戴者自身生活故事的发展，该衣领的设 计允许添加更多元素。集成的电子设备还允许 在携带儿童时向儿童个性化显示动画故事。

Outcomes from workshop

Colour Code | Brigitte Whittle, Marlene Morales, Lorraine Boshoff, Jaizel Macphail

These wristband prototypes were developed in collaboration with Shanghai University students, Amber Jane and Kristy. Each wristband allows you to send colour ‘coded’ (and animated) messages to your special other, friends and family. The wristbands are fitted with a programmed microbit to communicate to each other through coloured signal.

这些腕带原型是与上海大学生Amber Jane和Kristy合 作开发的。每个腕带都允许人们将彩色“编码”（和 动画）消息发送给特殊对象、朋友和家人。腕带配有 经过编程的微比特，可以通过彩色信号相互通信。

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Outcomes from workshop

Mandarin Ducks Lorraine Boshoff, Bronwyn Daniels

The brooches consist of a male and female mandarin duck, a symbol for love in Chinese culture, each with an attached remote that triggers concealed lighting. When the remote is triggered, the ducks light up red or blue to allow the wearer to communicate feelings of attraction or disinterest towards another person. That person could then use their brooch to communicate their feelings in return. The students from SAFA felt that in Chinese culture there was a shared experience of shyness and inability to communicate romantic feelings, and wished to create these pieces in an attempt to bridge this communication gap.

胸针由一对鸳鸯组成，鸳鸯是中国文化中爱情的象 征，每只都配有一个可触发隐藏照明的遥控器。 触发 遥控器后，鸳鸯会以红色或蓝色点亮，从而使佩戴者 可以对其他人传达吸引或不感兴趣的感觉。 然后， 人们可以使用胸针传达自己的感受作为回应。 来自 上海大学上海美术学院的学生认为，在中国文化中， 人们的浪漫情感有一种羞涩和无法言说的共同特点， 并希望通过创作这些作品以弥合这种交流差距。

Outcomes from workshop

Out-Light Waron Kao, Samantha Robinson, Shari Lyon

Our wearable technology piece is designed to be worn anywhere on the body. Using color and light sensors, the light up display will recognise and alert you if you have spent too much time indoors. A red light will remind you to venture outside. When outside the lighting will reflect the new colours of the environment, from greens to blues and a full rainbow spectrum. This visual feedback is both a reward and an incentive to spend more time outside with nature.

我们的可穿戴技术部件被设计为可穿戴在身体上的 任何地方。显示屏通过使用颜色和光传感器识别并 提醒您已经在室内待了太长时间。红灯会提醒您去 户外活动。外部的照明将反射环境的新颜色， 从绿 色到蓝色，再到整个彩虹光谱。这种视觉反馈既是 奖励，也激励人们将更多时间在大自然中度过。

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Shandong University of Art and Design The student work represented here is from the third year fashion design Students of Shandong University of Art and Design. The work represents a response to a brief set by their professor that had them explore aspects of traditional Chinese garment, material and pattern from any historical period and reinterpret their findings for high street fashion?.

We are honoured to exhibit the work of the students who showed such patience, generosity and hospitality to our Queensland College of Art students.

We would like to thank those students and their professor and teachers.

The garments exhibited here are created by; Yuxin Zhang 张誉心 Hui Liang 梁慧 Qingyi Wang 王清怡 Yiming Zhang 张益铭 Sijia Cui 崔思佳 Wenqi Xu 徐文琦 Xiaoning Hu 胡晓宁 Dongyao Wu 吴东耀 Zhi Zhang 张治 Guowei Tian 田国伟 Yumeng Wang 王雨萌 Lin Tang 唐琳

山东工艺美术学院 这些作品来自山东工艺美术学院服装设计系大三学生。 这项工作是对他们的教授所作简短陈述的回应，他们被要求探索任何历 史时期的中国传统服装、材料和图案等的各个方面，并重新诠释他们 对“高街时尚”的认识。 我们很荣幸向昆士兰艺术学院的学生展示这些表现出如此耐心、慷慨和 热情的学生的作品。 我们要感谢那些学生及其教授和老师们。 这里展示的服装是由以下学生设计： 张誉心 梁慧 王清怡 张益铭 崔思佳 徐文琦 胡晓宁 吴东耀 张治 田国伟 王雨萌 唐琳

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​皮影艺术与当代服饰融合 梁慧 The Integration of Shadow Play and Contemporary Garment

By Hui Liang

EL WIRE DRESS As this garment was fashioned from PVC. It seemed appropriate to bring it to life using electroluminescent wire.

The wires were fashioned into the garment during its construction at SUAD. Ged Rutten, Kierra Jay Power, Ricco Caulio, Valencia Prizzi

丝连衣裙 由于这件衣服是用PVC制成的，使用电致发光线使其栩栩如 生似乎是适当的。 这些线是学生们在山东工艺美术学院制 作服装时候加入其中的。

Ged Rutten, Kierra Jay Power, Ricco Caulio, Valencia Prizzi

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纯正华人 上衣

吴东耀

牛仔裤 田国伟 Pure Chinese T-shirt by Dongyao Wu Jeans by Guowei Tian

笔墨云端 唐琳 Pen and Ink Cloud

by Lin Tang

中国龙 吴东耀 A Chinese Dragon

by Dongyao Wu

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罗带 朱奕 Ribbons

by Yi Zhu

FAN TAILS A shopping experience at the Jinan electronics market revealed a stall of low voltage motors that proved suitable for use with fabric ribbons. Careful experimentation and prototyping found resulted in the perfect balance of ribbon length, speed and ‘degree of twirl’.

Ged Rutten, Kierra Jay Power, Ricco Caulio, Valencia Prizzi

风扇尾巴 济南电子市场的购物经验证明，低压电机适于与织 带一起使用。 经过仔细的实验和原型制作， 可以 使丝带长度、速度和“旋转度”达到最佳平衡。 Ged Rutten, Kierra Jay Power, Ricco Caulio, Valencia Prizzi

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SHADOW PLAY CUFF It was through our collaboration with students at SUAD in Jinan that we were able to learn more about Traditional Chinese shadow plays, and the influence this had in many of the students contemporary clothing designs. The Shadowplay Cuff is a marriage of Chinese tradition with contemporary materials and design, to create a piece of wearable technology. The cuff is illuminated by integrated lighting, which playfully contrasts with the shadow dragon.

Marlene Morales, Brigitte Whittle, Lorraine Boshoff, Jaizel Macphail

皮影戏护腕 通过与山东工艺美术学院学生的合作，我们得以了解更多有 关中国传统皮影戏的知识，以及这对许多学生当代服装设计 的影响。皮影戏护腕是中国传统与当代材料和设计的结合， 创造了一种可穿戴技术。 袖带由集成照明照亮，与影龙形 成鲜明对比。 Marlene Morales, Brigitte Whittle, Lorraine Boshoff, Jaizel Macphail

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GINKO CUFFS On our arrival to the SUAD campus in Jinan, the first thing we noticed was the beautiful Gingko leave trees around campus – a natural element we don’t have in Australia.

We drew similarities with the Gingko leaf silhouette and the traditional Chinese motif – Yun Wen. Combining these patterns, we designed and fabricated a sculptural wrist piece and earrings with integrated LED lighting for dramatic effect on the catwalk.

Samantha Robinson, Shari Lyon, Waron Kao, Bronwn Daniels

银杏袖口 当我们到达济南的山东工艺美学学院校园时，我们首先注意 到的是校园周围美丽的银杏落叶树-这是我们在澳大利亚没 有的自然元素。 我们发现银杏叶轮廓和中国传统图案-云纹 有相似之处。 结合这些图案，我们设计并制造了带有集成 LED照明的雕刻腕带和耳环，可为T台带来戏剧性效果 Samantha Robinson, Shari Lyon, Waron Kao, Bronwyn Daniels

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HAND AND LOTUS FAN This Laser cut hand and Lotus fan is a later development from our earlier prototype fans with our collaboration with SUAD. This fan is inspired by the free adventures we had over in china witnessing the different floral variety specifically the lotus, which was in bloom at the time of our visit in Jinan.

Marlene Morales, Brigitte Whittle

手和莲花扇 这款激光切割的手和莲花扇是我们与山东工艺美术学院学生 在早期原型风扇基础上的后续开发。 这款风扇的灵感来自我们在中国进行的免费户外参观活动， 目睹了各种花卉品种，尤其是莲花，这是我们在济南访问时 盛开的花朵。 Marlene Morales, Brigitte Whittle

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HAND FAN The hand fan is an iconic symbol of traditional Chinese culture. This piece is a fully resolved work which draws on the prototypes developed while at SUAD. The design incorporates the traditional Chinese hand fan, the crane and references bamboo in its form, integrating these elements with the contemporary acrylic and LED lighting.

Lorraine Boshoff

手摇扇 手摇扇是中国传统文化的标志性象征之一。这个手摇扇是在 山东工艺美术学院期间开发的原型上进一步设计而成。 该 设计结合了中国传统的手摇扇、仙鹤、借用了竹子的形式， 将这些元素与当代的丙烯酸和LED照明相结合。 Lorraine Boshoff

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HAND FAN AND EARRINGS The Fan and earrings are a further iteration of the prototypes developed in China at SUAD. This piece aims to combine Chinese tradition with contemporary materials and technology by merging the traditional Chinese hand fan with laser cutting technology and fluorescent acrylic. The edges will glow in daylight due to the light transmission properties of the material and can further be enhanced by LED lighting.

Brigitte Whittle, Marlene Morales, Lorraine Boshoff, Jaizel Macphail

手摇扇系列2 这两个手摇扇是在山东工艺美术学院期间开发的原型的进一 步迭代。 该作品旨在通过将中国传统的手摇扇与激光切割 技术和荧光丙烯酸材料相结合，将中国传统与当代材料、技 术相结合。 由于材料的透光特性，该扇的边缘将在日光下 发光，并且可以通过LED照明进一步增强。 Brigitte Whittle, Marlene Morales, Lorraine Boshoff, Jaizel Macphail

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CLOUD FAN This fold out fan has illustrated clouds in the Yunwen and Leiwen style (cloud and thunder pattern). This is a reminder of Jinan and cloudy hot days spent in company of fellow students from SUAD. Marlene Morales, Brigitte Whittle, Lorraine Boshoff, Jaizel Macphail

云扇 这款折叠扇以云纹和雷纹风格的云（云和雷电图案）为例。 这让我们回想起和山东工艺美术学院的同学们一起度过的那 些炎热而没有阳光的日子 。 Marlene Morales, Brigitte Whittle, Lorraine Boshoff, Jaizel Macphail

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BLUE DRAGON A lot of our collaboration with SUAD revolved around the mythical creature, dragons. In honour of our comradery with the students of SUAD and in the spirit of modern technology, this piece aims to immerse the user through AR and to admire a universal creature, the dragon.

This dragon was sculpted within VR and exported through necessary processes.

Marlene Morales

蓝色的龙 我们与山东工艺美术学院的许多合作都围绕着神话中的生 物-中国龙。 为了纪念我们与山东工艺美术学院学生的合作 以及本着现代技术的精神，该作品旨在通过AR使用户沉浸 其中，并欣赏这种随处可见的生物形象-龙。 它被雕刻在VR 中，并出口到Sketchfab。 https://skfb.ly/6NLGK Marlene Morales

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DIRECTION UMBRELLA Inspired by the difficulties in navigating new places, especially with cloud cover, this umbrella uses a microprocessor and sensors to determine orientation and then visually convey that information to the user.

Marlene Morales

方向伞 受到在新地点（尤其是云层覆盖）中导航困难的启发，这款 雨伞使用微处理器和传感器来确定方向，然后以视觉方式将 该信息传达给用户。 Ged Rutten, Valencia Prizzi

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The Shandong University of Art and Design and the Queensland College of Art have had a long-standing relationship of student exchange and collaboration. This study trip however was the first time that QCA students in Design and Fine Art, actively collaborated with Fashion students. All students responded to the brief set by Professor Li of SUAD and worked together in the fashion studios to resolve outcomes. This convergence of skills proved to be transformative as the designs were presented iteratively which permitted feedback from all staff and students. Technicians at SUAD also graciously helped with their laser cutting and 3D printing facilities.

The collaboration fostered the opportunity for the student teams to explore materials and processes that they had not used previously.

We would like to thank our colleagues at SUAD for the opportunity to work together and to present the outcomes in a fashion show in Jinan. The attention and friendship granted to us by everyone at SUAD prompted us at QCA to respond by coordinating a joint exhibition in Brisbane detailed in this catalogue. It is our hope that the collaboration continues.

山东工艺美术学院与昆士兰艺术学院在学生交流与合作办 学方面保持着长久而稳定的关系。然而，本次研学旅行是 昆士兰艺术学院设计与美术专业的学生首次与时装专业的 学生们积极地开展合作。所有的学生都回应了山东工艺美 术学院李（Li）教授的任务，在时装工作室共同合作来获 得成果。实践证明，这种技能上的融会贯通是有变革意义 的，所有的教职员工和学生们都可以为不断出现的设计方 案提供反馈。山东工艺美术学院的技术人员在激光切割和 3D打印设备方面也提供了慷慨的帮助。此次合作为学生团 队提供了难得的机遇，使他们得以探索之前从未接触过的 材料和流程。 我们谨向山东工艺美术学院的同仁们表达我们的感谢，谢 谢你们提供了合作的机遇以及在济南举办时装表演的成 果。山东工艺美术学院的每一个人都向我们传达了关注和 友善，我们昆士兰艺术学院也愿意积极响应，在布里斯班 合作举办展览，如后附目录所述。我们希望双方继续保持 合作

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