{"id":25295,"date":"2025-11-05T07:21:22","date_gmt":"2025-11-05T07:21:22","guid":{"rendered":"https:\/\/hy-phen.space\/journal\/?p=25295"},"modified":"2025-11-08T15:26:14","modified_gmt":"2025-11-08T15:26:14","slug":"island-of-afterglow","status":"publish","type":"post","link":"https:\/\/hy-phen.space\/journal\/issue-4\/island-of-afterglow\/","title":{"rendered":"Po-hao Chi – Island of Afterglow: Attuning to Rhythms at the Edge of Water"},"content":{"rendered":"\r\n\r\n\r\n\t
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Introduction<\/h4>\n

Jiugang, a low-lying islet at the mouth of the Touqian River, offers a vivid glimpse of life negotiated through overlapping rhythms. Fishing practices are attuned to the migration of tides and tidal cycles, while temple caretakers follow lunar rhythms. During peak hours, commuters rush across the bridge connecting the islet to Hsinchu, using it as a shortcut to avoid congested highways. Meanwhile, the broader ecology responds to local cues: the hum of pumps triggered by rising water, the seasonal ebb and flow of shoreline debris and the emergence of fiddler crabs at low tide. Yet these rhythms \u2013 embedded in both infrastructure and natural forces \u2013 rarely register in the official datasets and metrics that continue to frame the island primarily as a \u2018flood-prone zone\u2019, subject to spatial and regulatory constraints that stand in stark contrast to Hsinchu\u2019s rapid urban and technological growth.<\/span><\/p>\n

My earlier work focused on neighbourhoods in Xizhi, northern Taiwan, a district shaped by recurring floods and its proximity to the Keelung River. In these settings, daily life unfolds around water and is organised by infrastructure, memory and adaptive practices that cater to both seasonal flow and sudden inundations. My research in Jiugang extends this inquiry by engaging with a layered history: once a sediment-filled port and later a shifting fisheries site, the islet now functions informally as a \u2018flood buffer\u2019. This unique context provides fertile ground to explore how artistic methodologies can generate alternative modes of ecological dialogue.<\/span><\/p>\n

The <\/span>Island of Afterglow <\/span><\/i>workshop was developed as part of the broader <\/span>Song of the Wind <\/span><\/i>initiative and unfolded in three phases over two days. It included guided night and day walks, as well as a model-making session based on the islet\u2019s geography, including collective reflection. The workshop encouraged site-based attentiveness and explored how observations across time and space might be expressed through material forms and shared narratives. Beyond its methodological role, the project temporarily activated Jiugang Island, fostering public engagement and interaction, and bringing into view ecological and social patterns often invisible within formal representations.<\/span><\/p>\n

Theoretical Context: Rhythmanalysis and Sensorium<\/h4>\n

The basis for the <\/span>Island of Afterglow <\/span><\/i>workshop stems from a fundamental paradox: despite the abundance of climate data, visualisations and environmental monitoring tools, sensing practices often prioritise instrumental outputs over situated knowledge (Gabrys 2016), resulting in limited collective responses to ecological change. Although we frequently encounter scientific graphs, reports and predictive models, a notable gap persists between acquiring information and effectively translating it into collective action or sustainable coexistence. Whether framed in terms of anthropocentric perspectives or broader environmental alienation, central questions remain: How can we engage environmental phenomena in affective, aesthetic and collaborative ways? What alternative methods can bridge the gap between abstract data and embodied experience?<\/span><\/p>\n

To approach these questions, <\/span>Island of Afterglow <\/span><\/i>primarily draws upon Henri Lefebvre\u2019s (2004) \u2018rhythmanalysis\u2019, a conceptual framework that focuses on observing and interpreting the rhythmic dimensions of everyday life. Lefebvre defines rhythm as energy deployed within specific times and spaces, encompassing bodily processes such as breathing and heartbeat, daily routines, urban flows and cyclical natural events. For Lefebvre, rhythm is shaped by the dialectical relation between repetition and difference, with each cycle involving subtle variations that contour lived experience.<\/span><\/p>\n

Central to Lefebvre\u2019s rhythmanalysis is the idea that the analyst\u2019s own body serves as a primary analytical instrument, functioning as a sensory reference point for perceiving and interpreting rhythms within a specific environment. The rhythmanalyst actively engages their surroundings through multisensory perception, utilising hearing, sight, smell and touch to detect subtle ecological and social rhythms.<\/span><\/p>\n

In the <\/span>Island of Afterglow <\/span><\/i>workshop, participants were guided to heighten their sensory awareness of breathing patterns, walking pace and environmental sensations. These embodied perceptions provided fundamental reference points for recognising and analysing the ecological and infrastructural rhythms of Jiugang Island. Lefebvre\u2019s conceptual categories \u2013 eurhythmia (harmonious rhythms), arrhythmia (disruptive rhythms), and polyrhythmia (multiple coexisting rhythms) \u2013 were introduced as interpretive tools rather than fixed classifications. Participants thus developed observations and interpretations grounded in embodied, sensorial experiences, enabling creative engagement with the island\u2019s socio-<\/span>ecological context.<\/span><\/p>\n

Complementing Lefebvre\u2019s rhythmanalysis, Caroline A. Jones\u2019s (2006: 14\u201316) concept of the \u2018mediated sensorium\u2019 highlights how modern perception is shaped by both cultural<\/span>–<\/span>historical contexts and technological mediation. Jones suggests that contemporary artistic practices employing multisensory immersion, as well as narrative and experiential interventions, can reveal and reconfigure technologised sensory biases in everyday life, which aligns with the workshop\u2019s use of embodied, participatory methods (e.g., sensory walks, tactile modelling, collective mapping and 3D scanning) to foreground how perception is materially and culturally produced.<\/span><\/p>\n

The workshop\u2019s theoretical approach further aligns with interdisciplinary practices, including sensory ethnography, which focuses on embodied perception of environments (Ingold 2000), examples of socially engaged art that highlight community<\/span>–<\/span>based ecological engagement (Thompson 2012) and autographic visualisation methods for materially tracing environmental processes (Offenhuber 2016). Collectively, these frameworks support the workshop\u2019s integrative approach, emphasising embodied and sensory methodologies as mediators between abstract ecological data and lived, local experiences.<\/span><\/p>\n

Fieldwork Context: Jiugang Island<\/h4>\n

Jiugang Island lies at the confluence of the Touqian River and the Taiwan Strait, on the periphery of Hsinchu City. Historically established as a trading port during Japanese rule (1896\u20131930s), the island gradually lost its maritime function due to sedimentation, leading to a shift toward small<\/span>–<\/span>scale fisheries and informal residential development.1<\/a><\/sup><\/span><\/p>\n

Today, Jiugang\u2019s landscape comprises overlapping socio<\/span>–<\/span>ecological layers: its flood<\/span>–<\/span>control infrastructure, fisheries, and architectural patterns based on elevation<\/span>–<\/span>based housing restrictions in the designated flood<\/span>–<\/span>buffer zone that prohibit new permanent structures on land less than 50 cm above the designated base elevation.2<\/a><\/sup><\/span> These constraints shape everyday life. Oyster and eel fishing, for instance, is subject to tidal and migratory rhythms. At the same time, residents adjust their home lives and daily routines to accommodate pump operation schedules and water-level monitoring.<\/span><\/p>\n

A key mediator on the island is DaoGangFengChao,3<\/a><\/sup><\/span>\u00a0a community empowerment unit based at the former Coast Guard station (Figure 1). It serves as a creative hub and educational base, organising environmental walks, community farming initiatives, river<\/span>–<\/span>crossing events and art festivals. Preservation efforts in fishing villages like Jiugang are not only rooted in the daily needs of residents but are also driven by the development of tourism (Tai and Kang 2007). Their emphasis on community-led practices supports the workshop\u2019s research objective of balancing historical frameworks with adaptive living strategies by means of selected walking routes and discussion topics.<\/span><\/p>\n

These community-<\/span>based insights guided the <\/span>Island of Afterglow <\/span><\/i>workshop. Working closely with DaoGangFengChao, local residents and educators from Hsinchu Community College, we co<\/span>–<\/span>planned routes and activities. Our daytime and nighttime walks were mapped during joint field visits, and we intentionally avoided restricted areas to ensure accessibility. The walks explored levee breaches, temple courtyards, tidal flats and historic port<\/span>–<\/span>perimeter paths \u2013 each rich in history \u2013 as well as infrastructural boundaries and environmental narratives.<\/span><\/p>\n

Workshop participants, from both Jiugang and the greater Hsinchu area, brought diverse backgrounds and perspectives. By integrating the design of activities with Jiugang\u2019s spatial<\/span>–<\/span>historical dynamics, the workshop encouraged participants to experience local rhythms not as separate phenomena but through movement, sensory engagement and co<\/span>–<\/span>created storytelling and modelling. By adopting this approach, Jiugang served not just as a setting but as an active participant, influencing both the logistical setup and the conceptual framework of the workshop.<\/span><\/p>\n

Methodology: A Participatory Approach for Field-based Inquiry<\/h4>\n

Co-planned with <\/span>DaoGangFengChao<\/span> through a series of iterative field meetings, the workshop unfolded in three interconnected phases: Nighttime Walk, Daytime Walk, and Islet Model Making and Sharing. Rather than importing a preset template, the programme grew organically from ongoing local dialogue, prioritising accessibility while extending the island\u2019s existing initiatives and community momentum.<\/span><\/p>\n

Recognising the complexity of working within a semi<\/span>–<\/span>informal settlement, we adopted an open participatory model grounded in care and responsiveness. Instead of recruiting a fixed <\/span>group of participants, the workshop welcomed diverse residents and visitors from Jiugang and Hsinchu, allowing flexible forms of involvement. Acknowledging the plurality of perspectives within Jiugang, elders and residents were invited to share their own stories and sensory knowledge. Rather than speaking for the island, their contributions foregrounded lived experiences that coexisted with other situated viewpoints.<\/span><\/p>\n

Participants were provided with a structured yet adaptable \u2018Instruction Card\u2019 (Figure 2), designed explicitly for all workshop phases, to guide them in documenting sensory observations and reflections. Prompts included noticing intersections between natural and human<\/span>–<\/span>made rhythms, shifts in embodied or emotional states and sensory triggers that evoke memories, supporting consistent yet flexible documentation of experiences across the programme\u2019s activities.<\/span><\/p>\n

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Figure 2: Left: a schematic map of Jiugang Island for sensory annotations. Right: bilingual prompts guiding participants to document perceptual shifts and rhythmic experiences. Image design: Po-hao Chi, 2025.<\/figcaption><\/figure>\n
Nighttime Walk (21 June, 19:00\u201321:00)<\/span><\/h5>\n

The nighttime walk was designed to explore Jiugang Island\u2019s socio-ecological<\/span>\u00a0dynamics through multisensory engagement under conditions of reduced visibility. Preliminary visits indicated that nighttime illumination on Jiugang Island differs significantly from the brightly lit urban core of Hsinchu City. Due to the absence of commercial lighting and the predominance of residential streetlights, Jiugang\u2019s nocturnal environment is uniform and minimalistic. This limited lighting restricts mobility and distinctly shapes sensory perceptions, and the experience is accentuated by visual and auditory contrasts with illuminated industrial facilities and continuous traffic on opposite riverbanks.<\/span><\/p>\n

Guided by local elders and community members, participants traversed a planned route through Jiugang\u2019s residential areas, river levees, temple courtyards, a community food forest and spaces beneath Jiugang Bridge. At these locations, residents shared stories about the local infrastructure, labour practices, community life and flood memories, providing essential social and historical context for sensory exploration (Figure 3).<\/span><\/p>\n

Participants then collaborated in small groups to share performative narratives using portable lights, natural materials and LED strips. These brief performances, presented at specific sites along the route, translated multisensory observations into tangible expressions, collectively articulating Jiugang\u2019s socio<\/span>–<\/span>ecological rhythms (Figure 4).<\/span><\/p>\n

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Figure 3: Night walk participants create performative narratives under Jiugang Bridge, using light to evoke tidal memory and river rhythms. Photo by Yao Yu-sheng. Image \u00a9 Song of the Wind<\/i> project and the participants.<\/figcaption><\/figure>\n
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Figure 4: Participants and residents engage in a light-and-shadow performance using portable lights and LED strips during a storytelling session. Photo by Yao Yu-sheng. Image \u00a9 Song of the Wind<\/i> project and the participants.<\/figcaption><\/figure>\n
Daytime Walk (22 June, 10:30\u201312:00)<\/span><\/h5>\n

In contrast to the nighttime session, the daytime walk emphasised tangible environmental and historical traces, enabling direct engagement with Jiugang\u2019s layered socio<\/span>–<\/span>ecological context. Participants traversed informal fishing paths, visited historical sites such as the former Tamsui Customs Office, intertidal zones, ecological farms and residential areas subject to flood<\/span>–<\/span>zoning regulations. These sites were selected to visibly demonstrate interconnected environmental, cultural and infrastructural dynamics.<\/span><\/p>\n

Along the route, residents and elders shared personal and historical accounts, highlighting how shifts in infrastructure and ecology have shaped local life. Their narratives emphasised interactions between human practices and natural processes, illustrating the impacts of flood<\/span>–<\/span>control measures, sedimentation and tidal cycles (Figures 5 and 6).<\/span><\/p>\n

Using the structured yet adaptable instruction cards (Figure 2), participants systematically documented sensory perceptions and material traces, including driftwood, shells, plastics and found artefacts. These physical traces revealed interactions between ecological elements such as wind, water and weather, and human interventions. Participants noted the intersections of natural and artificial rhythms, sensory triggers that prompted pauses or route adjustments and shifts in bodily or emotional states.<\/span><\/p>\n

This documentation produced a rhythmanalytical inventory, capturing both material artefacts and embodied interpretations of Jiugang\u2019s temporal and environmental complexities. These tangible records provided a foundation for the subsequent reflective model<\/span>–<\/span>making session.<\/span><\/p>\n

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Figure 5: In the courtyard of the oldest resident\u2019s home in the village \u2013 who also happens to be the elder sister of our workshop tour guide \u2013 Jiugang elders share stories of flooding, housing changes, and resilience. Photo by Yao Yu-sheng. Image \u00a9 Song of the Wind<\/i> project and the participants.<\/figcaption><\/figure>\n
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Figure 6: Residents near Jiugang Bridge show archival images of the old wooden bridge, recalling the dangers and inconvenience of crossing the river before its construction. Photo by Yao Yu-sheng. Image \u00a9 Song of the Wind<\/i> project and the participants.<\/figcaption><\/figure>\n
Islet Model-making and Sharing (22 June, 13:00\u201315:30)<\/span><\/h5>\n

The final session invited participants to translate their earlier observations and collected materials into tactile island sculptures, structured by four thematic prompts: \u2018Emotional Landscape\u2019, \u2018Rhythmic Imprint\u2019, \u2018Narrative of Structure\u2019 and \u2018Embodied Mark\u2019. Each thematic prompt guided participants in identifying specific materials, forms and concepts derived from their sensory fieldwork (Figures 7 and 8).<\/span><\/p>\n

For the \u2018Emotional Landscape\u2019, participants used acrylic paints to create a visual atmosphere that reflected their overall impression of Jiugang\u2019s spaces. Colours represented emotional states; for example, tranquillity might be depicted with blue or green, while isolation could be expressed through muted or darker tones (Figure 9).<\/span><\/p>\n

For \u2018Rhythmic Imprint\u2019, participants juxtaposed found objects such as leaves, stones, nails and tiles, which reflected concerns about tensions between human activities and natural environments. They used coloured pens and fluorescent paints to indicate intangible rhythms, including wind, tides and transitions between day and night. For example, these dynamics were articulated through shells combined with screws, wavy lines representing wind and dots in fluorescent colours illustrating nighttime illumination.<\/span><\/p>\n

For the \u2018Narrative of Structure\u2019, participants used materials such as clay, string and pins to construct spatial boundaries that represented local infrastructural elements, including levees and roads. These structures symbolised relationships between humans, water and spatial management, informed directly by residents\u2019 stories of flooding and infrastructural change collected during the walks.<\/span><\/p>\n

Lastly, the \u2018Embodied Mark\u2019 prompt asked participants to depict direct sensory interactions with Jiugang\u2019s environment. Using contrasting textures such as soft cotton, rough sandpaper, smooth stones and coarse driftwood, they mapped tactile experiences onto their models. For example, cotton might symbolise the sense of comfort associated with gardens, whereas sandpaper or rusted metal could signify unease in areas of infrastructural decay, while written annotations on the sculptures served to highlight encounters and to transform impressions of the environment into tangible ideas.\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

Upon completion, participants 3D<\/span>–<\/span>scanned their sculptures using LiDAR<\/span>–<\/span>equipped mobile devices, capturing precise textures and material nuances that facilitated detailed preservation and accessibility of embodied experiences (Figure 10). Participants then shared their models, engaging in collective discussions that articulated interpretations of Jiugang\u2019s environmental rhythms, personal narratives and historical memories. These sculptures thus functioned as tactile interfaces, bridging sensory perception and collective socio<\/span>–<\/span>ecological dialogue.<\/span><\/p>\n

The digitally documented sculptures offer ongoing potential for broader community engagement. They can be integrated into community practices such as augmented-reality experiences, ecological forums or comparative discussions with other estuarial communities, linking embodied sensory awareness with broader socio-environmental contexts (Figure 11).<\/span><\/p>\n

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Figure 7: Participants selected and arranged natural and human-made materials collected from Jiugang Island in preparation for the tactile modelling session. Photo by Po-hao Chi.<\/figcaption><\/figure>\n
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Figure 8: Workshop participants creating their islet models at the Jiugang Village Activity Centre. Photo by Yao Yu-sheng. Image \u00a9 Song of the Wind<\/i> project and the participants.<\/figcaption><\/figure>\n
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Figure 9:. A participant creates a miniature islet, using moss and paint to represent ecological features observed during the walks. Photo by Yao Yu-sheng. Image \u00a9 Song of the Wind<\/i> project and the participants.<\/figcaption><\/figure>\n
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Figure 10: A participant used a smartphone to 3D scan the islet model. Photo by Yao Yu-sheng. Image \u00a9 Song of the Wind<\/i> project and the participants.<\/figcaption><\/figure>\n
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Figure 11: 3D-scanned outputs of islet models. Left: \u2018Christmas Rainbow Island\u2019, expressing affective eurhythmias. Right: \u2018Tin-Roof and Tile Noise Islet\u2019, mapping infrastructural and sonic tensions. To view the full set of 3D models, see: https:\/\/skfb.ly\/pAKTo <\/a><\/figcaption><\/figure>\n

Findings and Reflections<\/h4>\n

Through guided walks and model<\/span>–<\/span>making, participants transformed environmental cues such as tidal shifts, wind patterns and infrastructural cycles into tangible artefacts. Several thematic patterns emerged:<\/span><\/p>\n

Personal and Affective Rhythms<\/span><\/h5>\n

Some participants expressed personal and emotional connections to Jiugang\u2019s environment. One model, \u2018Christmas Rainbow Island\u2019, employed glitter, crushed leaves and small candles to represent comfort, warmth and cyclical rhythms. Another participant created two islands connected by distinct paths, one broad and leisurely and the other composed of playful stepping<\/span> stones, to contrast coexisting tempos. These personal expressions illustrated how rhythm allowed participants to negotiate emotional attachments to place.<\/span><\/p>\n

Structural Tensions and Sensory Disruptions<\/span><\/h5>\n

Other participants highlighted tensions within Jiugang\u2019s socio<\/span>–<\/span>material context. One participant contrasted soft cotton with rusted iron, evoking discomfort linked to infrastructural decay and exposure. Another produced an illustration of oppressive midday heat through a radial ink pattern, visualising the atmospheric constraints on comfort and movement. These examples reflect Lefebvre\u2019s concept of \u2018arrhythmia\u2019, where conflicting rhythms necessitate bodily adaptation and interpretation.<\/span><\/p>\n

Temporal Traces of Environmental Change<\/span><\/h5>\n

Several participants addressed Jiugang\u2019s layered ecological memory by materialising temporal patterns. One sculpture used concentric metallic rings to represent historical flood levels based on oral accounts from local elders. Another combined driftwood, shells and plastics to depict tidal processes and gradual debris accumulation. A third model contrasted natural erosion (rounded driftwood) with human interventions (corrugated iron), emphasising differing rates of ecological and infrastructural change.<\/span><\/p>\n

Together, these findings demonstrate how embodied field practices, rooted in material engagement, can transform abstract ideas of time and environmental patterns into concrete expressions. Rather than dictating meaning, the workshop encouraged various forms of attunement, allowing rhythm to serve as a lens for diverse, place<\/span>–<\/span>specific expressions.<\/span><\/p>\n

Discussion<\/h4>\n

The <\/span>Island of Afterglow <\/span><\/i>workshop avoided artist<\/span>–<\/span>led or theory<\/span>–<\/span>driven formats. The goal was to gather diverse local responses to Jiugang Island\u2019s socio<\/span>–<\/span>ecological context by collecting insights from residents and visitors with different backgrounds, aiming to inspire future research that aligns with the broader goals of the <\/span>Song of the Wind <\/span><\/i>initiative.<\/span><\/p>\n

Participants were recruited without fixed criteria, leading to a diverse mix of ages, educational levels and expertise. This diversity resulted in varied thematic interests, making it challenging to establish a clear focus. While common themes such as anthropocentrism were not explicitly highlighted, some participants explored them on their own. This approach fostered an inclusive environment, allowing discussions to mirror participants\u2019 personal experiences and priorities, even though there was limited theoretical depth or cohesive narrative.<\/span><\/p>\n

The workshop preparations facilitated inclusion of diverse perspectives, experiences and practical considerations from participants and local partners, ensuring responsiveness to Jiugang\u2019s specific infrastructure and environmental conditions. To systematically gather participants\u2019 insights, feedback surveys were distributed, allowing for structured evaluation and reflection on the activities and their effects.<\/span><\/p>\n

However, the openness and broad scope of the activities introduced methodological challenges. Participants came with varying degrees of familiarity regarding Jiugang\u2019s historical context, regulatory frameworks and policy considerations. Some were highly involved with the site, regularly participating in local activities or belonging to advocacy groups, while others visited for the first time or had different <\/span>levels of<\/span> arts<\/span>–<\/span>related experience. Consequently, interpretations shared during discussions were influenced by participants\u2019 varying degrees of engagement and familiarity with the themes and methods at stake, as well as by perspectives provided by local partner organisations. While recognising these inherent limitations, the workshop consciously avoided imposing theoretical frameworks or predetermined conclusions, allowing interpretations to emerge organically from participant interactions and situated knowledge.<\/span><\/p>\n

The central role of rhythm in the workshop\u2019s design and analysis, articulated as \u2018Attuning to Rhythms\u2019, was intended as a methodological approach. Drawing on rhythmanalysis, rhythm served as a practical tool to observe, experience and express temporal and spatial interactions without resorting to complex theoretical language. Attunement was put into practice through embodied sensory methods (walks, modelling, sharing), helping participants to notice and respond thoughtfully to patterns and changes in their environment. In this way, rhythm was not just a metaphor but a practical, accessible way to connect participants\u2019 embodied experiences directly to Jiugang\u2019s infrastructural, ecological and social contexts.<\/span><\/p>\n

Thus, the workshop demonstrated how participatory methods focusing on sensory and rhythm<\/span>–<\/span>based activities can connect abstract environmental concepts with a range of lived experiences. Although there are inherent methodological limitations, this approach established a foundation for future community<\/span>–<\/span>focused research and interventions that are adaptable and responsive to local contexts and needs.<\/span><\/p>\n

Conclusion and Future Directions<\/h4>\n

This article demonstrates rhythm as a generative methodological framework for site-responsive artistic research, bridging the gap between abstract environmental data and embodied ecological experience. Through the <\/span>Island of Afterglow <\/span><\/i>workshop, rhythm was operationalised as both a practical method and an interpretive metaphor, allowing participants to articulate Jiugang Island\u2019s socio-ecological rhythms through tangible, participatory forms.<\/span><\/p>\n

The workshop provided a replicable model of rhythm-oriented inquiry, integrating sensory-based fieldwork (walks and model-making) with collaborative dialogue and local narratives. By offering structured yet flexible tools, including instruction cards, tactile models and LiDAR scans, participants generated artefacts that translate individual sensory perceptions and community knowledge into accessible resources for future use.<\/span><\/p>\n

These outcomes offer significant potential for further application. Digitised models and documented sensory narratives can serve as adaptable interfaces for community education, ecological consultation, comparative studies and augmented<\/span>–<\/span>reality engagement. Within the broader <\/span>Song of the Wind<\/span><\/i> initiative, these materials may support ongoing dialogue around flood management, spatial governance and environmental change.<\/span><\/p>\n

Future extensions of this methodology could include seasonally embedded studies to observe rhythmic variations over time, thematic workshops addressing specific environmental challenges (e.g. sedimentation, heat stress, water governance), and cross<\/span>–<\/span>modal experiments such as sonic interpretations of local ecological data and community narratives. Such directions align with the overarching aim of cultivating context<\/span>–<\/span>sensitive strategies for ecological participation and stewardship.<\/span><\/p>\n

In summary, rhythm, when approached through embodied, participatory practice, provides a relational vocabulary for negotiating diverse perceptions, experiences and knowledges about socio<\/span>–<\/span>environmental conditions. As ecological challenges grow increasingly complex, such methods offer practical pathways toward deeper, locally grounded ecological awareness and responsive community engagement.<\/span><\/p>\n

Endnotes<\/h4>\n
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  1. Jiugang was officially established in 1896 as one of Taiwan\u2019s eight special entry and exit ports during the Japanese colonial era, ceasing operation in the 1930s due to progressive river silting and ecological transformation. ↩<\/a><\/span><\/li>\n
  2. Under the Hsinchu City Government\u2019s recent zoning regulations, new construction within Jiugang Island\u2019s designated flood-buffer zone is permitted only on land elevated by more than 50 cm from the official base level. These rules seek to retain the area\u2019s floodwater capacity, yet they have inadvertently encouraged informal housing and regulatory uncertainty. ↩<\/a><\/span><\/li>\n
  3. DaoGangFengChao was established in 2023. See: https:\/\/jgdisland.blogspot.com<\/a> ↩<\/a><\/span><\/li>\n<\/ol>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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