【導讀】導致混亂和誤解。本文旨在澄清數字印刷的術語是什么意思，和定位在它的真實性，通過比較，攝影，以便更好地解釋目前圍繞紡織品數碼印刷的一些背景問題。字圖像打印機，隨后蒸固定在織物基材染料沉積液滴的行為。然而，有許多流程和技。此外，作者薩拉·布拉多克克拉克指出，計算機只是一種工具，所以它。品，并在晶界存在應被理解為一個數字打印的打印。這是必要的，使?jié)撛诘母深A措施。可能被發(fā)現，有針對性的，并證明在此區(qū)域內的研究和實踐。件代表了一系列創(chuàng)造性的藝術家或設計師的判斷。該決定規(guī)定的功能，或進入其中，數字印花織。物可形成產品，這反過來將影響印花織物的壽命以及數字印刷的旅程將在其一生中。規(guī)定的范圍內的初始設計過程中的因素。負簡稱由本杰明，他聲稱，真實的，而這將意味著，前提條件是正宗外，換句話說，如果梅洛·龐蒂建議就在不同媒。圖像作為數字文件附加數字印刷材料的圖像在該點的輸出。

　　

【正文】 something (Collins, 1994: 1763). It does not necessarily have to be experienced personally, so the history can be experienced by a third party that in turn is witness to its evidence. Thus, by predetermining the future factors for its existence, this evidence can arguably be said to be present in the case of the joint processes, techniques, material and nonmaterial ponents of the digital prints. What is more, this substantive existence is clearly a transmissible function, reinforcing this paper’s belief in justification for the boundaries constituting authenticity of the digital print. However, these predestined factors of tomorrow will also influence the nature of the black box of future textile inkjet systems. 5. CONCLUSION To sum arise: the digital image constitutes the file on the puter, and the digital print is the image as file bined with the image as dye. The digital image is printed by an inkjet printer with independent print heads, but as the digital print needs to be printed using the digital file, and the process for printing digitally necessitates the print action to be included as a joint process involving the digital file, this means that the digital file is printed digitally using a digital printer. Without these bined processes and technologies, including the material and nonmaterial, there would be no digital print. What then is authentic in the digital print? The researcher suggests that unlike the negative of a photograph, which allows multiple reproductions to be produced, in textiles, a digital print requires not 杭州電子科技大學信息工程學院本科畢業(yè)論文外文翻譯 9 one item or artifact, but as described, a series of processes, technologies, materials and nonmaterial ponents in order to realise reproduction。 and each ponent, whether process or technology, imparts its own individual aesthetic on the final digitally printed textile, resulting in a collection of aesthetics which when joined together, produce a plex aesthetic that is characteristic of digitally printed textiles. The fact that many are, or can be, reproduced, with each undertaking a unique existence determining different futures, reinforces the notion that the authentic of the digital print precedes these independent textile pieces. As the coded file informs the print heads, and the print heads are inactive without suitable information upon which to act, the file and the print heads must act in the same manner as the brain and the hand (when used as a tool)。 but, once the dye is removed from the ink jet printer, and then fixed onto a textile, its authenticity is lost, and the printed textile is one of many with its own future, distinct ownership, aesthetic function, and aesthetic appreciation. Therefore, for each digital print, the alterations that may take place as a result of it being formed into a product within space and time, place it outwith the boundaries of authenticity within digital printing. Yet, for an artist, designer or craftsperson, there is much satisfaction in creating a digital print that is no longer authentic, but has the potential to go on to engage with, and stimulate exciting dialogues between further artists, designers, crafts persons or makers, who in turn will invest their own aesthetic and tacit knowledge into future developments during the lifetime of the digitally printed textile. 6. REFERENCES [1] Benjamin, W. 1936. The Work of Art in the Age of Mechanical Reproduction, London: Penguin. [2] Braddock Clarke, S. E. and O’Mahony, M. 2021. Techno Textiles 2: Revolutionary Fabrics for Fashion and Design,London: Thames amp。 Hudson. [3] Collins. 1994. Collins English Dictionary , London: HarperCollins. [4] Dewey, J. 1934. Art as Experience, New York: Perigee Books. [5] Flusser, V. 1983. Towards a Philosophy of Photography ,London: Reaktion. [6] Hopper, A. Ideas Change the World. DOI= [7] Latour, B. 1987. Science in Action , Cambridge, Massachusetts: Harvard University Press. [8] MerleauPonty, M. 1960. ‘Eye and Mind’, in MerleauPonty’s Essays on Painting, Illinois: Northwestern University Press. [9] Russell, A. 2021. ‘Alex Russell’, in B. Quinn, Textile Designers: at the Cutting Edge, London: Laurence King.