它沒有敘事者，沒有立場，
沒有遺忘
只有歷史物質直接在感光材料上
留下索引性痕跡
It possesses no narrator, no stance,
and no oblivion;
there are only historical matters
leaving indexical traces
directly upon the light-sensitive material.
// Sound Negative: The Three Canals
# Water Veins, Infrastructure, and the Colloidal Archive of Contact Development ＃Watergram＃Contact Microphone＃Chrono-geographic Montage ＃Confluent Montage ＃Impersonal Narrative # #Zhu-Dong Canal, #Ting-Fu Canal, #Long-En Canal
// Astist：Hsin-I, LIN ．2026．Video / Hand-printed Film / Hand-printed Paper / Petri Dishes / Glass Bottles
// 聲音負片：三圳
＃水脈、基礎設施與接觸式顯影的膠體檔案 ＃水波顯影 ＃接觸式麥克風
＃測距蒙太奇 ＃並流蒙太奇 ＃無人稱敘事 ＃竹東圳 ＃汀甫圳 ＃隆恩圳
// 林欣怡．2026．錄像／手沖底片／手沖相紙／培養皿／玻璃瓶
// Site as Lab
// Special Thanks：Yu-xiu, DENG. Pei-jun, TSAI. Jia-jun, PENG. National Yang Ming Chiao Tung University IAA
// 場景實驗室
// 特別感謝：鄧宇琇、蔡佩君、彭佳筠、陽明交通大學應用藝術研究所
// The Sound Negative project engages with Taiwan’s historical irrigation canals as a site for long-term practice. Beginning with the Zhudong, Tingfu, and Longen canals in Hsinchu, the project traces a three-hundred-year material trajectory: the forced transformation of agricultural water from a communal resource into industrial raw material.
Rejecting theoretical propositions as a point of entry, the project allows material facts to lead the way: the water of the canals, the vegetal distribution of fallow farmlands, the vibrational frequencies of infrastructural materials, and the chemical density gradients of light-sensitive emulsions. The accumulation of these indexical traces proves far more resistant to overlay or dispute than any pre-announced structural discourse.
// 〈聲音負片〉計畫以台灣歷史灌溉圳道作為長期實踐場域，以新竹竹東圳、汀甫圳、隆恩圳為起點，追蹤農業水從灌溉資源被強制轉用為工業原料的三百年跨度物質過程。計劃以物質事實先行：圳道的水、棄耕農地的植物分布、基礎設施材料的振動頻率、感光乳劑的化學密度差異——這些物質索引的累積，比任何預先宣告的結構性論述更難被覆蓋或爭議。
// Canal Water : Tap Water
1000 : 2 / 500 : 2 ml
// The inherent surface tension of the canal water,
altered by the addition of tap water, produces distinct ‘atomization’
or ‘geometric orders’ within the Watergram.
// 圳水：自來水 1000:2 ／ 500:2 ml
// 圳水原本的表面張力，
因為自來水的加入在Watergram 中
產生不同的「霧化」或「幾何秩序」
圳水的化學物質、工業聲音的物理振動、植物的有機化合物，這些殖民歷史的物質遺留，在乳劑膠體裡轉化為銀粒子的密度分布，形成一種既非數位也非類比、既非語言也非圖像的特殊記錄形式。這是基礎設施的聲紋膠體檔案：不以圖像再現，而是讓工業音聲在圳水與感光膠體裡自我顯影。
// Zhudong Canal (1000:2): Agricultural water displaced by industrial diversion — trace residue.
// Tingfu Canal (500:2): Agricultural water absorbed by urban landscape aesthetics — slightly higher ratio.
// Longen Canal (1000:2): Agricultural water obscured by landscaping — trace residue consistent with Zhudong Canal.
The canal with the highest density of colonial history is the one that retains the most significant material memory of agricultural water. In the operation of the Watergram, this implies that under the same industrial sonic frequency, the water from the Tingfu Canal may yield Faraday ripple morphologies distinct from those of the Zhudong and Longen canals. The higher chemical integrity of its agricultural water results in a clearer wave response to industrial sound—exhibiting more regular nodal spacing and a more discernible geometric order.
// Zhudong Canal: Tunnel No. 1 — Laundry Pit (Se-sam-khenn) — Flume Bridge — Shangping Weir — Siphon — Baoshan Reservoir
// Tingfu Canal: Intersection of the 6th Fuel Plant & Jiangong 1st Rd — Tudigongkeng Aqueduct — Sluice Gate No. 4 — Chengde Rd Aqueduct / Harmonica Bridge — Southeast Street
// Longen Canal: Longen Weir — Water Intake — Qianjia Road — Zhulian Temple / Wang Shijie Tablet — Longen Canal Riverside Park
// 竹東圳 1000:2 農業水被工業截水取代：痕量殘留
// 汀甫圳 500:2 農業水被都市景觀化吸收：比例略高
// 隆恩圳 1000:2 農業水被景觀化覆蓋：與竹東圳相同的痕量
殖民歷史密度最高的圳道，反而保有最多的農業水物質記憶。 這個弔詭，在Watergram的操作中，意味著汀甫圳的水在相同工業聲音頻率下，可能產生與竹東圳和隆恩圳不同的Faraday波紋形態 ，農業水的化學完整性更高，對工業聲音的波形響應更清晰，波節間距更規則，幾何秩序更可辨。
＃竹東圳：第一號隧道 — 洗衫坑 — 水路橋 — 上坪攔河堰 — 虹吸工 — 寶山水庫
＃汀甫圳：六燃與建功一路交叉口 — 土地公坑渡槽 — 第四號水門 — 成德路渡槽 / 口琴橋 — 東南街
＃隆恩圳：隆恩堰 — 水道取水口 — 千甲路 — 竹蓮寺 / 王世傑祿位 — 隆恩圳親水公園
The project integrates two core technologies. Watergram employs water sampled from the three canals as the material medium for acoustic ripples, while infrastructural sounds—recorded via contact microphones—act as the driving sonic force. This process forcibly inscribes the vibrations of infrastructure into a soft geometric order within the canal water, ultimately recorded onto black-and-white photosensitive emulsion.
The sonic recordings reveal that agro-industrial infrastructures (brick arches, cast-iron pipes, concrete, etc.) remain silent due to their extreme density; they must be struck by the researcher’s body to find a voice. This material silence is a deliberate outcome of structural durability. While industrial infrastructure can emit sound spontaneously, agricultural infrastructure requires passive activation; the acoustic divergence between the two serves as a material manifestation of power relations. Contact microphones, utilizing piezoelectric crystals, are affixed directly to colonial canal structures to capture the unique frequency fingerprints of the materials themselves.
計劃整合兩個核心技術。水波顯影（Watergram）以三圳採集的水作為聲音波紋的物質載體，接觸式麥克風錄製的基礎設施聲響作為驅動聲波，讓基礎設施的振動在圳水體中強制刻入軟性的幾何秩序，記錄於黑白相紙乳劑。
聲錄工作揭示農工業基礎設施（磚拱、鑄鐵管、混凝土等）因高密度而沉默，必須透過研究者身體的敲擊才能發聲，這個物質沉默是建設耐久性的設計結果。工業基礎設施能自發發聲，農業基礎設施需要被動產生聲響，兩者的聲學差異是力量關係的物質形態。接觸式麥克風以壓電晶體直接貼附殖民圳體構造物，採集材料本身的振動頻率指紋。
The documentary video Watercourse: 313 integrates geographic surveying with hydrological logic, employing an editing methodology that leans toward Structural Film. The first technique is “Chrono-geographic Montage” , where the duration of each site’s footage is determined by the physical distance between locations—directly transducing geographic space into cinematic time. > The second is “Confluent Montage,” in which the visuals of the three canals are juxtaposed in horizontal bands, presented alongside digitized 35mm Watergram negatives in parallel.
Subtitles in Romanized Taiwanese (Tâi-lô) flow horizontally across the screen, serving as a material index of agricultural toponymy at the linguistic level. This creates a dialogue with the indexicality of the images within the same frame. The video maintains an impersonal narrative, refusing self-explanation and allowing meaning to emerge solely from the juxtaposition and measurement of matter.
紀錄影像〈流徑：313〉結合地理測量與水系邏輯，以向結構主義電影傾斜的方法剪接。一為測距蒙太奇，每個場點的影像時間長度由場點間的地理距離決定，地理空間直接轉換為影像時間。另一為並流蒙太奇，三圳影像以水平帶狀並置，35mm水波顯影底片轉為數位影像後平行呈現。
台語地名羅馬字字幕橫向流動，是農業地理命名在語言層的物質索引，與影像的物質索引性在同一個畫面裡形成對話。影像為無人稱敘事，不解釋自身，讓意義從物質的並置與測量中浮現。
35mm底片與黑白相紙作為膠體檔案，是對準感光乳劑的化學不可逆性對應歷史的物質不可撤銷性。膠體的中間態特性使它同時具備可塑與記憶雙重質性，讓圳水的化學身份、基礎設施的振動、研究者身體的敲擊，在乳劑的銀粒子密度分布裡共同簽名並定影。
新竹三圳是起點，台灣的圳道網絡是這個實踐的長期田野，讓水文的物質史以圳水的化學、基礎設施的振動、地理距離的影像時間，在感光材料上留下自身不可撤銷的索引痕跡。