【正文】 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. 。 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)。 3. The mechanics of production。m Flusser’s definition of what is real, as opposed to what is authentic. He maintains that the world, and the camera, are merely ‘preconditions’ for the image, and this could lead us to consider that in digital printing the puter can also be classified as a precondition, for the act of creating an initial image as a coded file, and the final dyebased version of that image can similarly both be described as ‘preconditions’ (Flusser, 1983: 37). The negative referred to by Benjamin was, he claimed, authentic, and this would imply that the preconditions are outside the authentic, in other words, the authentic acts as a boundary for what constitutes original physical condition and original change in ownership, and as these boundaries also define the real of the photographic process, they can be said to share similar. boundaries, and for the purposes of this paper, arguably this means they can both be located within the same area of the same field. Another French philosopher, Maurice MerleauPonty, tells us that an image, regardless of its method of production or reproduction, is not located in the viewer, it is outside the person. It is a thought woven to make a connection between two nontouching entities, and it is the researcher’s belief that the digital image is only real when it bees integrated into such a woven set of ideas about an image situated somewhere between the file and the surface of the textile. However, for this to be achieved, the boundaries of a digital print must retain links to the imageasfile and the imageasdye, traversing the two distinct media, the nonmaterial and the material. If, as MerleauPonty suggests regarding creativity across diverse media, neither of these processes possess parable aesthetic qualities or attributes, then a system of equivalence must exist to connect them (1960: 142). Thus, for the digital print to be reproducible, this paper suggests that there needs to be a viable constant, which in this case constitutes the authentic traversing media, prising the image as digital file plus the image digitally printed as material at the point of output. The ponents of the means of reproducing are: the printer, but the printer needs something to print and the digital file, but the digital file does not exist in the printer, it is on the puter. So, the means of reproducing also requires the puter and the printer to be treated as interdependent, and therefore these two should be considered as a single entity for the purposes of digitally printed textiles. 杭州電子科技大學(xué)信息工程學(xué)院本科畢業(yè)論文外文翻譯 8 4. KEY FACTORS Four key factors influence or dictate what will bee the history of the digitally printed textile: 1. The visual aesthetic of the original image。 but, whereas the photograph’s negative is one single physical item, the digital print’s