2022年1月12日 星期三

week 16. final project

 Project Ormega:

Project: Wang

Project: Yeheyuan Tobacco and the others...

 Project: The Escape Incident Report

Project: 真心話大冒險

2022年1月2日 星期日

week 15. introduction to Entanglement HCI

1. students present final project proposal.

Entanglement HCI The Next Wave? (2019 TOCHI)



by Superflux

by PSK Studio






Neuromancer-Entanglement Project demo:
1. find brands, products, devices, et al. in Neuromancer
2. find everyday objects (or create new models) and make speculative entanglement with items in 1.
3. Cite texts,  micro-scenarios, in Neuromancer
4. Plan time-space narratives for exhibition

Due date: June 10th, 2022

2021年12月19日 星期日

week 14. experiential speculation & narrative from the future

Experience sharing: Daily photos with Neuromancer texts

Experiential speculation v.s. Conceptual speculation

Stuart Candy and Jake Dunagan. 2017. Designing an experiential scenario: The People Who Vanished. Futures 86: 136–153.


UMK by Dunne


1. 未來與現在的人物關係描述
2. 錨點事件 (anchor event) 引入情境
3. what-if 規則造成的後果與危機
4. 解除危機的邀請與行動開展的召喚

Paper reading:
The poetics of design fictions
(the narrative diagram)

Extrapolation Diagram, by Chris Woebken (via About - The Extrapolation Factory)

PPPP by Dunne & Raby


1. What is the possible narrative scheme? Illustrate it with diagram (分組討論)
2. What are the anchors? objects, human, place, legend, or ritual?

Practice: a letter from future

Compose a letter from future where the anchor event has just happened.
This letter should sensitize the relationship between future and the present, inspire how to conduct a design research, and fictionize your roles and worlds.

Final project requirement:
 Neuromancer X Everyday Entanglement

Demo & Exhibition
1. posters (any size)
2. Design fiction props (artifacts, newspapers, DMs, ..., any other kinds of format)
3. 10 mins presentation (using PPT or report in ACM format)

Report, photos (or trailers) :
2. ACM SIGCHI Extend Abstract (EA) format 6~10 pages
3. includes: Introduction, Background, Design research gaps, The Design, the deployment in contexts (real or fictional, simulated), Probing and Data collecting, Findings and Implications, Discussion, and Conclusion
4. photos include: mood boards, concept sketches, final props and visuals, speculative scenarios in Everyday contexts (home, street, office, city, ...)

Due date: 1/10, 2022
upload to google drive

week 13. material speculation

1. Students practice transforming everyday objects into speculative artifacts in Neuromancer
  (1) identify the possible object in the Neuromancer fiction
  (2) apply one quality of speculative aesthetics to the object (remove details, reduce colors, simplify shapes, blur functions, ...) to get close to the fictional artifacts.
  (3) sketch the fictional artifact
  (4) name it and cite the texts in the book

William Gibson's Neuromancer: Concept Art

2. Paper reading: Material Speculation (AA'15)
3. Rung-Huei Liang. 2013. Pragmatist Poetics in Interaction Design. (IASDR 2013)

"Bachelard sets material imagination apart from formal imagination [2]. Rather than being conceived intellectually in formal imagination, material imagination is an idea that comes from contact with nature material, such as water and fire." p. 2524

  1. What are counterfactual artifacts?
       (containing an 'if'- clause that is contrary to fact)
      nonfunctional prototypes, storytelling props, fictional objects
  2. What is Possible World Theory?
  3. What is pragmatist speculation?
  4. What is formal speculation v.s. material speculation?

Neuromancer-Entanglement Project proposal:
1. find brands, products, devices, et al. in Neuromancer
2. find everyday objects (or create new models) and make speculative entanglement with items in 1.
3. Cite texts,  micro-scenarios, in Neuromancer
4. Plan time-space narratives for exhibition

Due date: Jan 3rd, 2022

2021年12月5日 星期日

week 11. thought experiments

1. Students share photos of speculative aesthetics
choose a speculative photo
   1. identify the multiple possible worlds (1) by the photographer (2) by the objects, (3) by the possible users, characters  
   2. give annotations to describe the qualities of speculative aesthetics

2. Thought experiments (Speculative Everything  一書的文字)

"One way this might be possible is to treat design speculations not as
narratives or coherent “worlds” but as thought experiments—constructions,
crafted from ideas expressed through design—that help us think about
difficult issues." p. 80. SE
"一個可行之道是不要把設計推測當成敘事或條理分明的「世界」看待,而要視為能幫助我們思考困難議題的思想實驗――用經由設計表達的構思,精心建造的物品。 " P. 105

"Thought experiments are usually done in fields
where it is possible to precisely define limits and rules, such as mathematics,
science (particularly physics), and philosophy (especially ethics) to test
ideas, refute theories, challenge limits, or explore possible implications.
They make full use of the imagination and are often beautiful designs in

"思想實驗通常是在有可能劃定界線和規則的領域進行,例如數學、科學(特別是物理學)和哲學(尤其是倫理學),來測試構思、駁斥理論、質疑限制或探究可能的後果。¹ 它們充分運用想像力,本身也常是美麗的設計。"

"One of our favorite forms of thought experiment uses reductio ad absurdum,
a type of logical argument in which one assumes a claim for the sake of
argument and derives an absurd or ridiculous outcome by taking it to its
extreme, concluding that the original claim must have been wrong because it
led to such an absurd result."

"我們最鍾意的一種思想實驗是採用歸謬法(reductio ad absurdum),在這種邏輯論證中,我們為便於討論,假設了某個主張,並將之推演到極致而導出荒謬的結果,進而斷定,既然原來的主張會產生如此荒謬的結果,它必是謬誤。" P. 107

"Another well-established form of thought experiment is the counterfactual. A
historical fact is changed to see what might have happened, if. . . . It is
sometimes used in history to understand the importance of key events and
their influence on how the world turned out."

"另一個已廣為接受的思想實驗形式是反事實(counterfactual):改變歷史事實來看看,假如……可能會發生什麼事。歷史學有時會運用這種實驗來了解關鍵事件的重要性,以及它們對世界如何演變的影響。" P. 107

"...we are
more interested in using props to transport viewers’ imagination into a
thought experiment, or what-if, and allow enough room for them to make
their own interpretations." p. 93, SE

"我們更有興趣利用道具來將觀者的想像力移轉到思想實驗,或「要是……會怎麼樣」,讓他們有足夠的空間做自己的詮釋。" P. 121

Generally speaking, there are seven types of thought experiments in which one reasons from causes to effects, or effects to causes. (wikipedia)


Prefactual (事前) (未來導向,事前推測)

Prefactual (before the fact) thought experiments — — speculate on possible future outcomes, given the present, and ask "What will be the outcome if event E occurs?"


Counterfactual (反事實) (過去導向,事前推測)

Counterfactual (contrary to established fact) thought experiments —  — speculate on the possible outcomes of a different past; and ask "What might have happened if A had happened instead of B?" 


Semifactual (半事實)  (過去導向,事前推測)

Semifactual thought experiments — — speculate on the extent to which things might have remained the same, despite there being a different past; and asks the question Even though X happened instead of E, would Y have still occurred? 


Prediction (預測) (未來導向,事前推測)

The activity of prediction attempts to project the circumstances of the present into the future.


Hindcasting (後報) (過去導向,事前推測)

The activity of hindcasting involves running a forecast model after an event has happened in order to test whether the model's simulation is valid.


Retrodiction (追溯) (過去導向,事後推測)

The activity of retrodiction (or postdiction) involves moving backwards in time, step-by-step, in as many stages as are considered necessary, from the present into the speculated past to establish the ultimate cause of a specific event (e.g., reverse engineeringand forensics).


Backcasting (未來回溯) (未來導向,事後推測)

he activity of backcasting —involves establishing the description of a very definite and very specific future situation. It then involves an imaginary moving backwards in time, step-by-step, in as many stages as are considered necessary, from the future to the present to reveal the mechanism through which that particular specified future could be attained from the present.

See Blade runner 2049 ->2048 nowhere to run -> 2036 Nexus Dawn -> Blackout 2022

Bladerunner (1982) 2019

Next week:
 Bring one artifact to classroom, related to Neuromancer Chap1 & 2, to do material speculation.

2021年11月28日 星期日

week 10. design fiction (revisiting Neuromancer)

1. students present images of Neuromancer chap1,2
2. What is Design Fiction?
    What is Prop?
    What is Diegetic Prototype?

source: Design Fiction: A Short Essay on Design, Science, Fact and Fiction

Bruce Sterling 
ACM Interaction 2009 cover story, Design Fiction by Bruce Sterling

Postscape Design Fiction
Core77 Speculative Design

The Solution Printer: Magic Realist Design Fiction

1. What are the differences between Design Fiction and Speculative Design?
    (clear fiction v.s. techno-poetic speculation)
2. Aesthetics of speculation: What if an an everyday object is a diegetic prototype of another possible world?

How about science fiction?

also see TEI 2017 student design challenge references:

Watching/Reading List
We encourage wild, obscure references to any kind of sci-fi media. Here’s some our favourite to get you started

      • Vermilion sands [JG Ballard] - Houses with memory, living fashion and sound jewellry.
      • Rainbows End [Vernor Vinge] - Augmented Reality, haptic feedback and silent messages.
      • Snow Crash [Neil Stephenson] - Virtual reality, physical augmentations.
      • Her [Spike Jonze] - computers as people, ubiquitous computing, super AI.
      • Matrix [The Wachowski Brothers] - simulated reality, downloading programs into the brain
      • Blade Runner [Ridley Scott] - Dystopian futures, Androids and AI, replication of beings.
      • Brainstorm [Douglas Trumbull] - physically experiencing somebody else's reality
      • Diamond Age [Neil Stephenson] - parenting from afar via evolving storytelling
      • Dune [Frank Herbert] - cognitive augmentation



觀察生活周遭, 拍照片表達對照的概念
   未來 vs. 過去, 推測的世界 (what we have the potential to become) vs. 現狀  (what we are) 
   都市場景, 交通工具, 廢墟/大樓, 生活用品, 信仰, 政治, 國際經濟, 權力, 社會制度, 家庭制    度, 教育, 身體, 運動, 休閒, 品牌, 符號, 文字, 自然環境, 物種....


Design fictions an introduction and provisional taxonomy

by Derek Hales

Part I : Chiba City Blues

"The sky above the port was the color of television, tuned to a dead channel."

第一部: 千葉市藍調



2021年11月21日 星期日

week 9. aesthetics of speculation

1. students present 物件故事改寫

2. Practice "Poetics of design fictions" design process


What is "speculation"? What is speculative design? What is aesthetics of speculation?

naive realism 素樸實在論.  modal realism (MR) 模態實在論, possiblist realism 可能主義實在論, speculative realism (SR) 推測實在論

pragmatist aesthetics 實用主義美學 (Dewey), speculative aesthetics 推測美學

學生報告分享 (11/29):

EX3 學生報告 (12/6):
speculative aesthetics around the life world:
觀察生活周遭, 拍照片表達奇異的推測美感(aesthetics of speculation)、技術詩意(techno-poetic)、類平行世界、almost impossible reality。
  參考: Lynne Cohen, Lucinda Devlin, Mike Mandel and Larry Sultan

Lars Tunbjörk’s Alien at the Office (2004)   (mundane spaces that seem extraordinary. Yet these alien spaces are where many people spend their working lives)

Lucinda Devlin's photos:

Lynne Cohen's artworks:
Lynne Cohen’s Occupied Territory (1987)

Taryn Simon’s An American Index of the Modern and Unfamiliar9 (2007)

Richard Ross’s Architecture of Authority10 (2007)

(The above three examples reveal spaces that we know must exist but have no idea how they look. They have a harsh, inhuman quality, stripped down to the absolute essentials, emphasizing their purpose.

Lucinda Devlin’s The Omega Suites (1991–1998)  provides glimpses into extreme
but ghoulish spaces—execution chambers, the places where the state, on its
citizens’ behalf, takes people’s lives. They are clinical, easy-to-maintain,
brutally engineered environments designed to achieve one purpose—the
humane killing of human beings. They include safety measures, provision for
last-minute retrieval, and the need for the event to be witnessed.

Larry Sultan's Untitled Evidence:
http://larrysultan.com/gallery/evidence/ : gathered images from the archives of research centers,
laboratories, test sites, and industrial facilities, presented without captions
or other information. They compel us to interpret what is going on, to project
stories and meanings onto them, illustrating that even objective records are
rarely neutral.

For us, these are the proto-images for an aesthetics of speculation. They
suggest a techno-poetic landscape situated somewhere between what we are

and what we have the potential to become.

EX 3. Deadline: 2021/12/6


What are the possible qualities of speculative aesthetics?  for example:
multiple possible worlds,
hidden truth,
object's viewpoint,
other unknown actor's viewpoint,
other species viewpoints
object's enjoyment (allure, emotion),
non-human (machine, AI)'s perspective,
strange object-to-object relationship,
Constructively identify at least 20 qualities by concluding classmates' sharing.

Example :


Speculative aesthetics

Speculative Aesthetics and Object-Oriented Inquiry (OOI),” by N. Katherine Hayles 

 Graham Harman: “Aesthetics as First Philosophy"
 p. 159:

The essential move here is to identify aesthetics with “enjoyment” (Levinas’s term) or “allure” (Harman’s) so that the sensual qualities of objects in which other objects “bathe” is understood as an essentially aesthetic response. Thus aesthetics is generalised so that it applies not only to humans but to all objects, including inanimate ones.

p. 167:

Following Harman, Bogost accepts that “all objects recede interminably (沒完沒了的) into themselves,” which implies that putting things “at the center of a new metaphysics also requires us to admit that they do not exist just for us.”
p. 168:

"we never understand the alien experience, we only ever reach for it metaphorically.”
p. 169:
"Where I begin to depart from Bogost and Harman is on the issue of how objects manifest themselves. Whereas they emphasise an object’s allure, the attraction it emanates for other objects, more important in my experience is the resistance objects offer to human manipulation and understanding"
"The difference between resistance and acquiescence is that acquiescence is always metaphoric, whereas resistance is decisive: “Whatever I am, I’m not that,” an object can respond to human probing."
 p. 178.
"I ended by arguing that the way to escape anthropocentrism is precisely through an imaginative projection into the worldviews of other objects and beings, based on evidence about their ways of being in the world,"