在众多的图像理论中，傅拉瑟的技术图像理论另辟蹊径，从装置和程序的角度理解现代图像的生成机制，打开图像研究的物质面向。然而，以往的研究大多将技术图像等同于现代媒介技术所生成的图像，忽略了传统技术在图像生产中的作用。本文聚焦编织这一人类古老的技艺，将编织产生的图像——织纹——与傅拉瑟的技术图像理论进行对话，尝试跨过现代与传统的鸿沟，看到一个不同的“技术图像的宇宙”。研究发现，织纹虽然产生自编织这一传统技术，其中却包含着决定图像生成过程的装置和程序，是技术图像的另一种形式。同时，织纹独特的物质性及其在历史中所扮演的角色打破了以往关于技术图像的诸多陈见，它不仅将技术图像的历史延伸到了文字产生之前，而且呈现了一种不同的图像与表面的关系，也召示着一种非对抗式的人机关系和跨越人与非人的分布式智能。本文希望借这一研究引发更多关于编织的媒介思考。

Among various theories about images, the theory of technical image proposed by Vilém Flusser is distinguishing in that it turns to understand the mechanism of the formation of modern images from the perspective of apparatus and programs, which reveals the material aspect of image production. However, so far most of the studies on technical images have been oriented to modern technologies, whereas the role that the traditional technologies in image production is neglected. This paper focuses on one of the most ancient technologies of human society, textile making and the image derived from them, texture, trying to use this special form of artifact to have a dialogue with Flusser’s theory of technical image. It’s argued that although texture, as a form of image, is produced through weaving and knitting, two very ancient techniques, the key to the production is apparatus and programs. Therefore, it is a form of technical image. What’s more, by looking into the materiality and history of textile making, texture also demonstrates some characteristics of technical image that are missing in previous theorization. Unlike Fluseer’s chronicles, texture extends the history of technical image much earlier than the invention of writing system. It sheds light on a unique relationship between image and surface. And lastly, it suggests a possibility of a cooperative relationship between human and machine, as well as a form of distributive intelligence between human and non-human.