2018年12月25日 星期二

week 16. transmedia & near future design

http://www.artisopensource.net/2013/10/28/near-future-design-the-perception-of-a-new-possible-and-a-new-role-for-design/



"This is what we have defined as Near Future Design.
A performative dimension in which the observation of the state of the arts and technologies meets anthropological and ethnographical observation."
"
  • The Design Fictions
    • Simulacra
    • Transmedia Narratives "
    • the output of the Design Fiction phase, thus, is constituted by a set of Transmedia Narratives implementing the simulacrum for the story;
    • the Transmedia Narrative is a multi-modal storytelling technique which is able to move and combine the effects of multiple media, from physical objects, to websites, urban interventions and more."

"If, as suggested by Baudrillard, we were to simulate as closely as possible a fake holdup, we just would not be able to do it, because the people and, in general, the “machine”, the process through which people constantly interpret the reality they have around themwould not be able to distinguish the signals of what is real and fake/simulated."

Transmedia Narratives

a transmedia story represents the integration of entertainment experiences across a range of different media platforms
Henry Jenkins, 2007

2018年12月18日 星期二

week 15. what-if and world-building


1. Students present "writing" phase

2. Introducing TTTE (Temporal-Technological Thought Experiment) framework


(past-,      present-,  future-)    technology X (past-, present-,  future-)     world

Past     World (Past-Directed)
Present    World (Present-Directed)
Future      World (Future-Directed)
Past     Technology
Technology in     History
Alternative    technological heritage   (Present-Directed      Forecasting)
Futuristic Speculation  on      technological      heritage
Present      Technology
Present     Artifacts in    Past (Hindcasting)
Present facts
Invariant  Artifacts   in Future (Prediction,   Forecasting)
Future      Technology
Futuristic Artifacts   in   Past (Counterfactual)
Futuristic Artifacts in    lived      reality
(Prefactual,   Present-Directed     
Hindcasting)
Futuristic Artifacts   in   Future (Design     Fictions)


Rererence: Yeates, L.B., Thought Experimentation: A Cognitive Approach

3.

Project (step 3): what-if and world building
1. define your counterfactual logic (what-if statements), one or more
2. build your own micro-possible-world, and possible objects (both archaeological and speculative)
upload to google drive on Jan. 2nd. 2019.


Final Project Demo:  (Jan. 9th, 2019)
Report format: 2019 ACM DIS pictorial form, (submit to DIS before Jan. 18th)
Exhibitions: fictional archaeology (ready-made modification) and counterfactual artifacts (new made)
transmedia narratives: documents, photos, videos, sounds, notes, artifacts, posters...





2018年12月11日 星期二

week 14. material speculation

1. Students present speculative design cases
2. Paper reading: Material Speculation (AA'15)

Questions:
  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?


Project (step 2) Writing phase of your narratives: (in group)
1. Define anchoring events, write mini-scenarios according to your project step 1.
2. The documentation may include collective writings, photos, drawings, music, postcards recordings, props,  3. Link the personal, emotional stories to possible worlds 
see  The poetics of design fiction for reference

Create your own writing style and documentation formats.
You may also include thing-centered narratives.

  
Presentation: Dec. 19, 2018. upload to course folders on google drive



2018年11月27日 星期二

week 12. fictional soundscape

Ekkomaten—exploring the echo as a design fiction concept

Moon graffiti by Near Future Lab (Counterfactual thought experiment)

Feature Lab:
  Near Future Lab
  Blog

非洲太空計畫


Once Upon a Future - IoX project

different layers of sounds in science fiction movie


https://www.youtube.com/watch?v=-fu7jN2_2pE

https://www.youtube.com/watch?v=u9L0pord5jE

Confabulation/Speculation/Reminiscence ?



EX5. Fictional Soundscape (with 7 types of Thought Experiment)

Imagine you are a future anthropologist, record soundscape of Taipei:
record the following 4 types of sound

1. Ambient sound
2. Foreground sound (music, movie themes...)
3. human voice, conversation, news report, TV talk show...
4. sound clips from science fiction films

Discuss and pick up 2 types of thought experiments, and composite of the sounds into to two "fictional soundscapes." : Deadline Dec. 12, 2018

Reference:
http://www.ambient-mixer.com/
https://coffitivity.com/

Speculative Archaeology  demo  examples:

http://designfictions2013.blogspot.com/2014/05/week-12-midterm-fictional-ethnography.html
http://designfictions2013.blogspot.com/2015/12/week-13-fictional-ethnography-demo.htm
l



2018年11月20日 星期二

week 11. future archeology

What is Future Archeology?
Whet is speculative archaeology?

Towards a speculative archaeology

(1)"I focused on DeLanda and his version of Deleuze but I briefly brought up speculative realism and why this “movement” rejects “the linguistic turn”."
(2) "Preucel and Meskell (2006:14) suggest that the fuzzy concept of materiality “takes as its remit the exploration of the situated experiences of material life, the constitution of the object world and concomitantly its shaping of human experience”."
(3)"Most speculative realists therefore attempt to break with correlationism (not Meillassoux himself though since he wishes to radicalize correlationism from within). I am all in favour of diminishing the centrality of the human being in archaeology."



The way of the Shavel

題外話: (創造性的背離 creative betrayal by Franco Meregalli)

【叶嘉莹】从西方文论与中国诗学谈李商隐诗的诠释与接受 南开大学




Questions:
1. What is the documentation film you want to present? What is you Archeology Plan and activity?
2. How to present speculative aesthetics of archaeology?
3.  how about speculative betrayal?




設計的未來考古學










Question:
What evidence (in what style) do you want to present?



http://whatthecool.com/post/957922435/extinct-modern-technology
http://www.leapleapleap.com/2013/09/time-the-future-archaeology-of-annie-wan/
http://blog.archaeologyofthefuture.com/
http://www.cracked.com/photoplasty_216_25-common-items-that-will-baffle-future-archeologists/


Case study:

Dunne and Raby, Designs for an Overpopulated Planet 

Project (step 1) Speculative Archaeology Plan: (in group)
1. Design your narrative scheme.
2. Plan your speculative archaeology activity, imaginative excavation (挖掘), and documentation.

Presentation: Dec. 5, 2018.

2018年11月6日 星期二

week 9. narrative from future

Speculative photo sharing

來自後攻殼動隊時代的一封信

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


                                     http://speculative.hr/en/category/works-en/
















Questions:
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.


2018年10月30日 星期二

week 8. design poem

Science Poem Manifesto by OK DO
Design notes on a lonely drone (6 poems 翻譯與朗讀)

Science fact -> science fiction -> science poem
Design fact -> design fiction -> design poem

scientist, engineer, designer (artist) ?


Feature film: Prometheus


http://scifiinterfaces.wordpress.com/2012/11/15/prometheus-overview/

Science fiction or religious fiction?


EX 4: Design Poems (Science Poems) project

1. Choose a science (or design) fact (artifacts).
2. Use the artifacts as material of Poems.
3. You can change the color, painting, material, ...... to composite a setting.
4. You may add poem or Heiku to your work. (or poems by the artifacts)
5. Take lots of photographs and upload to the Google drive.



Deadlines:Nov. 14, 2018

2018年10月23日 星期二

week 7. aesthetics of speculation

1. design fiction slides by Bleecker:


Pecha kucha v2_rotterdam_2011 from bleeckerj




2. Practice "Poetics of design fictions" design process

https://en.wikipedia.org/wiki/Aesthetics


Questions:
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

EX 3:
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:
http://www.lucindadevlin.com/

Lynne Cohen's artworks:
http://www.lynne-cohen.com/
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.

Deadline: 2018/11/7

印出兩張與同學交換。



Questions:
What are the possible qualities of speculative aesthetics?  for example:
out-of-place,
out-of-time,
multiple possible worlds,
hidden truth,
object's viewpoint,
other unknown actor's viewpoint,
other species viewpoints
withdrawal,
resistance,
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.


Reading:
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,"


2018年10月16日 星期二

week 6. seven types of thought experiments

1. Students present Time framework for sci-fi movies.
2. Thought experiment

"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

"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
themselves."

"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."

"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."


"...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


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

(1) 

Prefactual

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?"
 (2)

Counterfactual

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?" 

(3)

Semifactual


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? 



(4)



Prediction

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

(5)

Hindcasting

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.

(6)

Retrodiction


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).



(7)



Backcasting


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


















2018年10月2日 星期二

week 4. narratives in Einstein's Dreams

1. student presentation
2. what is "narrative" in science ficiton?
3. What is "counterfactual narratives" ?

Markussen & Knutz (2013) Design fiction 時間架構圖:



EX2:
1. 選擇一個電影,具有特殊的時間空間敘事架構 (例如,你的名字、明天的我要和昨天的你約會、觸不到的戀人、江之島三稜鏡、現在很想見你、回到未來、....)
2. 依照上圖的原則,畫出敘事架構圖。(世界,多重世界,自我,敘事者,自我複本,年代,時間幾何...)
Deardline 10/17/2018 上課分享
上傳到Google drive (公布於 FB 課程社團)

參考:
Thomas Markussen and Eva Knutz. 2013. The poetics of design fiction. In Proceedings of the 6th International Conference on Designing Pleasurable Products and Interfaces (DPPI '13). ACM, New York, NY, USA, 231-240.

2018年9月25日 星期二

week 3. parallel universes

相較於哲學上對多重實在的形上學探討,物理學更聚焦在「真實世界」的多重性詮釋,即所謂的「平 行宇宙」(parallel universes)。Max Tegmark (2003)發表在美國科學人雜誌上的論文,提出平行宇宙的四 個層次的分類學:

Level 1:
形成我們所在的宇宙的組合方式必定發生過不只一 次,與我們自身相似的對應體(counterparts)必然存在於多重宇宙的某處。在某個與我們宇宙相近的複 本中,我們的對應體正經歷著另一個不一樣的命運。Tegmark 描述第一層次的平行宇宙有相同的物理 定律,但可能在初始值的設定上不同,例如,與我們最接近的複本中的我們的幽靈,已經經歷了 2020 年。



also see:
https://twinstrangers.net/

Level 2:
第二層的另類空間來自於宇宙大爆炸以來,空間的不規則的伸展,所形成的多重世界。根據 Tegmark 的說法,有些區域已經停止伸展並且形成泡泡,而當此泡泡爆炸,便形成新的第一層次多重宇宙。因 此,第二層次的宇宙來自於空間中的遞迴式嵌入(recursive embedding),而 Brian Greene 認為此種現象 是所謂的黑洞效應。...Tegmark 則 認爲 level 2 宇宙與 level 1 有相同的物理定律,但只是在常數和等式中代入不同的數字。

Level 4 第四層次的宇宙基來自於一個思想實驗(thought experiment):此類型宇宙的物理定律沒有絕對的必然 和我們所處的宇宙完全一樣。Tegmark 提問,一個遵循古典物理卻沒有量子效應的宇宙會如何? 時間 是離散(discrete)而非連續的宇宙會如何?Tegmark 建議 level 4 宇宙是所有數學可以描述的所有可能 世界,唯一的限制就是 level 4 宇宙不可違反數學邏輯。

Level 3 這個類型的平行宇宙就是發生在次原子層次最聲名狼藉的奇怪現象,使得物理學家做出平行宇宙的假 設。不同於 level 2 和 level 4(可能與目前的物理定律不同),level 3 對於量子現象之多重世界詮釋,並 未違反任何物理定律。次原子粒子的行為,例如電子,無法以絕對的確定性預測,僅可以機率描述, 但無法預測此機率的哪一部分被真實化(actualized),此機率以數學描述即是所謂粒子的波形函數(wave function of the particle),著名的薛丁格等式(Schrödinger equation)。量子力學的隨機函數,暗示了多重 可能世界:一個電子所有可能的位置和軌跡,只有一個會被實現,其他僅以可能的機率被理解。


哥本哈根詮釋
"哥本哈根詮釋(Copenhagen interpretation)是量子力學的一種詮釋。根據哥本哈根詮釋,在量子力學裏,量子系統的量子態,可以用波函數來描述,這是量子力學的一個關鍵特色,波函數是個數學函數,專門用來計算粒子在某位置或處於某種運動狀態的機率,測量的動作造成了波函數塌縮,原本的量子態機率地塌縮成一個測量所允許的量子態。”  ~wiki


雙縫實驗





量子延遲:


惠勒延遲實驗:




https://www.bilibili.com/video/av25010229/

延遲實驗中量子改變過去:



https://www.bilibili.com/video/av11761018/

量子糾纏




 塌縮 (collapse)
1. 如果應用在人的回憶,是否有相同的現象?
2. 所謂歷史,是否有實在論 (realism),量子觀的歷史如何看待塌縮?
3. 測量是甚麼,意圖在測量中扮演的腳色如何?
4. "意圖"在回顧已發生事件中的腳色如何?
5. 逆向因果律的可能性。



參考文獻:
1. Max Tegmark. 2003. Parallel universes. Scientific American. May, 40-51.

2018年9月18日 星期二

week 2. possible world theory

1. The universe of possible worlds is constantly expanding and diversifying
thanks to the incessant world-constructing activity of human minds and
hands. Literary fiction is probably the most active experimental

laboratory of the world-constructing enterprise. p. 69, SE


2. 
As Lubomír Doležel writes in Heterocosmica: Fiction and Possible Worlds,

“Our actual world is surrounded by an infinity of other possible worlds.” p. 70, SE

3. Make-believe theory, make-believe play

4. 
Although rarely discussed in design beyond the construction of
brand worlds and corporate future technology videos, there is a rich
body of theoretical work in other fields dealing with the idea of fictional
worlds. Probably the most abstract discussion is in philosophy where
differences between the many shades of real, fictional, possible, actual,
unreal, and imaginary are teased out. In social and political science the
focus is on modeling reality; in literary theory it is on the semantics of
the real and nonreal; in fine art, make-believe theory and fiction; in
game design, literal world creation; and even in science there are many
rich strands of discourse around fictionalism, useful fictions, model
organisms, and multiverses. For us, the key distinction is between
actual and fictional. Actual is part of the world we occupy whereas
fictional is not. p. 70, SE

5.
Speculating is based on imagination, the ability to literally (如實地) imagine

other worlds and alternatives.

6.
Possible worlds is a philosophical concept developed in the
latter twentieth century by the analytical school, including
philosophers Saul Kripke and David Lewis [34, 48] and
was later adopted by literary theorists [cf. 38, 22, 45].
Philosophically, possible worlds is an approach to the
problem of counterfactual statements in modal logic. For
example, Kripke asks what is the truth condition of the
statement that Sherlock Holmes “does not exist, but in other
states of affairs he would have existed” [31]; or this
counterfactual statement by Ryan [48], “if a couple hundred
more Florida voters had voted for Gore in 2000, the Iraq
war would not have happened.” In modal logic, the
question is how is each of these counterfactual statements
interpreted to be true or false. The philosopher David Lewis
who bridged analytical philosophy to literary theory [32]
offered the position that propositions like counterfactual
statements can be seen to be either true or false dependent
on in which worlds the statement is true and which worlds

the statement is false [34]. p. 100, MS



7.
A counterfactual is a virtual or
tangible artifact or system in design and HCI rather than
statement or text. Hence we refer to it as a counterfactual
artifact. The notion of an actual counterfactual is a
departure from Lewis’ criterion that possible worlds have
no spatial or temporal connections to the actual world—
they are remote. Yet, here we view this departure more
advantageously than negatively. p. 101, MS

8. There is a productive and creative space at the boundary

between the actual and possible worlds, or the real and the
fictional. There are many examples from fiction in literary
texts, theatre or film where authors intentionally blur the
distinction between actual and possible worlds for its
creative possibilities. p. 101, MS

9. 
In these cases, interactivity is the
counterfactual action that crosses the divide: fictional
characters are not supposed to interact with actual people or
in the actual world. In material speculation, it is making the
counterfactual into an actual artifact that crosses the divide
between the actual and possible worlds since, as we
discussed earlier (see Possible worlds theory),
counterfactuals are not supposed to exist in the same time
or place as the actual world. p. 101, MS

10.
In material speculation we can see the counterfactual
artifact as embodied propositions similar to propositions in
counterfactual statements in analytical philosophy. It is
helpful to think of the counterfactual artifacts as being
if…then statements as we discussed earlier (see Possible
worlds theory). In this sense, the counterfactual artifacts
trigger possible world reasoning that extends beyond them.
In other words, the possible world or fictional account is
not embodied fully in the counterfactual artifact rather it is
generated by interactors in the encounter or experience of
the counterfactual artifact. It is not a limitation that the
counterfactual artifact is of our actual world, rather it is this
very actuality that provokes or catalyzes speculation by
being at the boundary of the actual and the possible. p. 101, MS


EX1: (2018/10/3)
每個同學選讀愛因斯坦的夢一書的其中一個夢。
描述時間在此可能世界中的運作方式。
以可能主義者的實在論 (posssiblist realism) 的觀點,何謂可能主義者? 此者的觀點和立場為何? 其"實在"指的是甚麼?
以真實主義者的再現論(actualist representationism)的觀點,何謂真實主義者? 此者的觀點和立場為何? 其"再現"指的是甚麼?
(上傳至 Google drive, 請見臉書社團)



參考書目:
1. (SE) Speculative Everything
Dunne & Raby, 2013
2.