2024年10月12日 星期六

week 7. fictional soundscape & sonic possible world

[Tutorial]
    Introducing ChatGPT as an AI tool for narrative making
    Using Text-to-Speech software to create narrative voices
    Making Layered sounds as fictional soundscape
   


Ekkomaten—exploring the echo as a design fiction concept

Sonic Possible Worlds by salomé voegelin






BBC Radio Afternoon Drama - Forever Mankind



Moon graffiti by Near Future Lab (Counterfactual thought experiment)



The truth podcast: Moon Graffiti, 2011/2/11
http://www.thetruthpodcast.com/story/2015/10/15/moon-graffiti

Feature Lab:
  Near Future Lab
  Blog

非洲太空計畫


Once Upon a Future - IoX project
  Science fiction radio play by BBC






Frozen in Time: Radio Sci Fi Drama



SCIFI Channel: DUST




Confabulation/Speculation/Reminiscence ?

中文科幻廣播劇:
https://www.youtube.com/watch?v=V1TUcVGSLWg




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

possible worlds interactive short film: Possibilia

2024年10月5日 星期六

week 6. speculative aesthetics sharing & narrative workshop

I. speculative aesthetics sharing (1.5 hr)

 EX3 學生報告 (2024/10/7): 

speculative aesthetics around the life world:
請觀察生活周遭, 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。

Deadline: 2024/10/7

上傳至雲端硬碟,並印出兩張與同學交換。

Sharing Activity:
0. 全班分組 (每組3-5人)
1.  將自己的兩張照片分別與不同的同學交換
2.  各自針對拿到的照片,進行"推測特質" 標註 (使用便利貼)
3.  組內討論與分享照片心得
4.  以組為單位,歸納 至少20 個 "推測特質"
  參考過去成果:
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,
unknown purpose
useless design
strange ritual
serious equipment for unknown tasks
formal spatial arrangement for unknown activities
deserted space for a specific task

 5. 每組推薦2~3張 照片,分享報告給全班同學,並分享歸納的"推測特質"

II. 敘事練習 (1.5 hr)

EX4: (10/7 week 6 in-class workshop, upload deadline 10/14)
1. 選定一段科幻小說(代表未來可能世界,摘錄做成幾張牌卡例如"神經幻術士")、一段懷舊小說(代表過去可能世界,摘錄做成幾張牌卡例如"天橋上的魔術師")、一段日常生活紀錄(代表現在真實世界,錄音逐字稿摘錄片段)
2. 依照[時間架構句型總表.pptx]的時空模型,創作至少五種敘事,並畫出時空敘事架構圖。

workshop activity
0. 全班分組 (每組3-5人)
1. 簡單分享 "未來文本" 牌卡,"過去文本" 牌卡
2. 每人選定一段自己的日常錄音紀錄文,並選出五種時空敘事模式
3. 可以使用自己或組員的 牌卡 來組合敘事
4. 可使用 chatGPT 生成符合要求的敘事
5. 每位同學分享一段自己最有感覺的敘事。

2024年9月28日 星期六

week 5. entangled narratives with possible worlds (EX4)(Project1)

1. what is "narrative" in science fiction?
2. what is "entangled narrative" within possible worlds and actual world
3. What is "counterfactual narratives" ?
[reading]: 可能世界理論.pdf  part III
[reading]: 敘事學與時間架構.pdf
[reading]: 時間架構句型總表.pptx

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



DEMO:
 Embodied soundscape of sonic possible worlds

敘事練習 
EX4: (10/7 week 6 in-class workshop, upload deadline 10/14)
1. 選定一段科幻小說(代表未來可能世界,摘錄做成幾張牌卡例如"神經幻術士")、一段懷舊小說(代表過去可能世界,摘錄做成幾張牌卡例如"天橋上的魔術師")、一段日常生活紀錄(代表現在真實世界,錄音逐字稿摘錄片段)
2. 依照[時間架構句型總表.pptx]的時空模型,創作至少五種敘事,並畫出時空敘事架構圖。

Project 1 Soundscape Fiction: (Deadline 10/21)
AI 輔助敘事
1. 使EX1日常錄音與時空架構
2. 與 ChatGPT 共同完成敘事
3. 兩人一組,為對方完成3種錄音,為自己完成2種錄音

[ChatGPT] 關鍵字,敘事引導,範例介紹,(next week 姵伶助教)



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.

2024年9月22日 星期日

week 4. aesthetics of speculation (EX3)

 Introduction to Aesthetics

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


學生報告分享 (9/30):
用一張照片(拍攝或AI 生成均可),詮釋"神經喚術士"第一、二章的一個情境,(可以搭配書中句子)




EX3 學生報告 (2024/10/7):
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。

Deadline: 2024/10/7

上傳至雲端硬碟,並印出兩張與同學交換。

  
  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 (殘忍的) 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 (條款) 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.





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,
unknown purpose
useless design
strange ritual
serious equipment for unknown tasks
formal spatial arrangement for unknown activities
deserted space for a specific task

...
Constructively identify at least 20 qualities by concluding classmates' sharing.


Example :


國家歌劇院的試作模型

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,"


2024年9月2日 星期一

week 3. sonic possible world

II-2. 電玩遊戲的可能世界

虛擬再中心化(virtual recentering)(Looy, 2005)

Looy認為Ryan的虛構再中心化,與電玩遊戲有些異同之處。當讀者沉浸在閱讀中,會接受敘事者所建構的世界為文本現實世界,因此,「我」就再中心化於該世界,而虛構再中心化預設了三個現實世界中心:以真實的現實世界(AW)為中心、以文本投射的世界為中心(TAW)、以文本為參照的世界為中心(TRW,包含文本所指涉的一切事物,以及文本沒提到但讀者所腦補出來的)

*虛擬再中心化,比較不是一個語言的過程,而是基本感知,甚至體感的過程,一種不需要由語言來決定的過程:玩家自願的懸置懷疑(suspend disbelief)並且被傳送到一個虛擬世界。

*虛擬再中心化最大的不同在於,不像虛構再中心化朝向固定的世界,透過靜態不變的句子、字詞,開啟相同的世界,而是每次遊玩都創造一個獨特的可能世界

小說世界中的事件,保持相同,即使重讀,文字也是固定,但在遊戲中,任何一次事件都是獨一無二的,同時,在遊戲中嘗試巨量的變化可能性以及想知道遊戲環境反應的極限,是遊戲重要的核心樂趣。

*Looy提倡以認知機制(cognitive mechanism)作為再中心化的基礎,來涵蓋虛擬的再中心化,而非以文本閱讀的方式作為基礎。

Ryan所描述的最小偏離原則(讀者將現實世界中所知道的一切投射到文字世界),在虛擬世界中,有類似的現象,甚至更顯而易見。玩家一進到虛擬世界,會先假設所有的事物符合她在實體世界中的法則,然後在互動過程中,漸漸修正對虛擬世界的了解。然而Ryan的虛構溝通的「參照性/指示性解離」(referential divorce),分清講者/聽者與代替講者/聽者,在虛擬世界中,則有不同的現象。

虛擬再中心化時,關於第一人稱的代名詞,玩家極端容易受到最小偏差理論的影響,而將自己的「我」代入於互動過程。例如,玩家以虛擬替身(avatar)進入洞穴,在經驗上,玩家通常會描述是「我」進入了洞穴,而非「我的替身」進入洞穴,但在文本世界中,則較難有如此影響,甚至以第一人稱主角寫成的小說,讀者的「指示性解離」依然相當明確。

延伸虛構溝通模型的聽者/代替聽者,電玩遊戲同樣可以定義出現實世界玩家和代替玩家,然而,講者/代替講者在虛擬世界中就無法對應,遊戲可以有虛擬的語音引導,但本質上不需要,而且虛擬世界可以直接體驗,無須語言介入。因此,虛擬世界的重心從講者轉到玩家,追究其原因,是虛構溝通模型主要用來描述文字可能世界中講者與聽者的互動,其假裝扮演(make believe)的過程,是一種靜態的語言扮演(verbal play),不足以描述數位媒體的互動式的遊玩與扮演。雖然遊戲設計者與遊戲世界中的講者的解離情況更明顯,但顯然電腦遊戲的虛擬再中心化,遠遠超過虛構的、單向的「溝通」,其互動性將「中心化」推向認知(cognitive)與感知(perceptual)的層面。



II-3. 推測設計中的可能世界

Wakkary等人(2015)在處理推測設計的理論時,提出物質推測(material speculation),主張設計師提出反事實設計物(counterfactual artifacts)於我們的日常生活,讓此互動設計物的使用經驗引發討論,並沿此展開各種「可能世界」的想像。因此,Wakkary等人(2015)主張重新檢視可能世界的文學理論(literary theory of possible worlds),做為推測設計的一項項重要的理論基礎。然而,Wakkary對推測設計物件的態度,仍然站在現實世界的使用者經驗現象探討,對於Ryan所提出的虛構敘事溝通模型、以及Markussen等人的多重世界敘事者模型,並未深入。

Wakkary雖然提倡引進可能世界理論之文學理論,並建構一個環繞在設計物周圍的推測氛圍,但很明顯的,可能世界理論中最重要的敘事學模型,並未被重視,本研究認為,這是設計師呈現設計物與作家呈現文學作品間的本質差異。如前面所述,轉譯作家依文本敘事模型形成可能世界,到設計師依「產品設計敘事模型」形成可能世界,是值得努力的方向,同時也是目前Wakkary並未深入的重要議題。


II-4. 聲音的可能世界(sonic possible worlds)

Voegelin 2013首先提出,用可能世界理論來理解聲音藝術,特點是以聲波的「如果(if…then…)來分析聲音所提出的可能性,而非將其限制在單一的事實,並且可以作為聲景、聲音藝術、音樂等等的理論和分析。Voegelin將聲音可能世界,置放在現象學式的生活世界(life-worlds),亦即,聽者是現象學式地居住(inhabiting)在可能世界,強調以感知(perception)的優位性來探索真相(Voegelin, 2013, 2014)

Voegelin 評論克里普克(Kripke)的現實是絕對的,是我們生活的世界,用以衡量其他世界的可性或不可能性。而Lewis的看法是:每個世界都是某人的現實,現實並不是絕對的,而是一個觀點。Lewis的可能世界更適合聲音的可能世界,亦即,實存和意義,是透過居中的(centered)主體(聽者)生活於世界中所產生的,是居者與感知,所形成的,而非抽象與系統化的概念。

相對於文本世界的「語意式閱讀」(semantic reading)Voegelin強調聲波世界的「語意式居住」(semantic inhabiting)

語意式閱讀總是發生在一定距離之外,不牽涉到讀者也無法與讀者發生交互作用,而語意式居住則是令人投入的、生產性參與的,連結到生活世界的現象學居住。所謂生活世界,必須透過現象學式的主體居住於其中而存在,亦即,世界是透過人的存在於其中而存在,另一方面,所謂的主體,必須透過經驗到自身存在於世界中,而成為現象學式的主體,以此兩方面的時間與交互的湧現,而現實化(actualize)、顯化世界。

世界存在的方式,即是我們感知到它存在的方式,也只是這世界存在的多種方式之一,而其他的世界,則可視為非現實的可能性(non-actualized possibilities),亦即,居住者決定了世界是否為現實或可能

Voegelin提出聲響環境、音樂、聲音藝術可被經驗為「聲音的現實世界」或「聲音的可能世界」,我們透過聆聽而居住於其語意的實質(semantic substance),並從這個中心位置分析現象學式的交互作用。並且根據聽者與世界的時間關係,湧現出不同的聲波歷史(sonic history)、不同的聲波現在(sonic presence)

Voegelin定義了聲音再中心化:將聲音作品當作世界來居住,並且在過程中現實化(actualize)它。如同遊戲世界的虛擬再中心化(virtual recentering),使用感官素材而非語言,聲音可能世界合併了「語義可能世界」與「現象學的生活世界」,暗示「可能生活世界理論」的潛力。

文本敘事學以講者/聽者模型建構世界,遊戲世界主要用視覺(或具象的3D模型)以及互動機制建構世界,然而聲音作品建構世界的方式,則非常不同,本質上非常現象學式,Voegelin稱之為聲波事物化過程(sonic thinging):在聲音世界中,事物(things)是以持續發聲,配合聽者持續聆聽的過程中,持續湧現成事物本身,而非如同遊戲世界中的具象物件,或文本中的命名、描述等方式形成物件。這種聲波的未完成性,一個聲音依賴下一刻聲音而持續構成物件的印象,使得聲波事物(sonic things),幾乎等同於聲波事物化(sonic thinging):聲波物件永遠是現在進行式的,聆聽即是參與事物化的過程。換言之,作為再中心化的聽者,我們將聲音作品建構成一個可能世界,同時,透過理解和參與聲波事物化過程,我們居住於此可能世界。


Voegelin認為聲音可能世界與聽者,很自然地呈現了現象學上的交互性(reciprocity):在聲波環境中,「我」存在,同時透過我成為其中一部分,聲波環境存在。聽者如此成為聲波主體(sonic subject):透過將聲音作品當作一個世界來居住,「我」創造對聲音作品的感覺,和對自我的感覺。此種將作品當作一個世界而進行「現象學-語意學式」居住,並非將聲波生活世界視為假的,也不是低於現實世界的,而是一個新的現實世界。

week 2. possible world theory (EX2)

中文計劃書資料: 可能世界簡介和聲音可能世界
1. 基本理論 
    (1)虛構的再中心化 (fictional recentering): 
        Ryan 認為,將自己定位於虛構文本所指示的世界,並視之為現實世界的現象,
        稱為「虛構的再中心化」(fictional recentering)。
        劉易斯對真實世界(AW),採取的是指示性、參照式(referential)的立場,
        所謂現實(actual)即是「我」「敘事者」所指示的(indexical)世界,所參照到的世界。
        如此,所謂現實 (actual), 即是存在於「我」說話時所處的世界。

    (2) 可達性 (accessibility):
          根據克里普克的觀點,可能性(possibility)與可達性(accessibility)是同義的:
           如果一個世界對於我們的真實世界系統來說是可達的(accessible),
           那麼這個世界就是可能世界。

           Ryan (1991)提出文本現實世界(TAW)的九種類型的可達性:
                (1) 特徵一致性(identity of properties)
                (2) 配置一致性(identity of inventory)
                (3) 配置相容性(compatibility of inventory)
                (4) 年代相容性(chronological compatibility)
                (5) 物理相容性(physical compatibility)
                (6) 分類學相容性(taxonomic compatibility)
                (7) 邏輯相容性(logic compatibility)
                (8) 分析相容性(analytical compatibility)
                (9) 語言相容性(linguistic compatibility)
                
                討論: 
                    「真實非虛構文本」、「寫實小說」必須九項皆成立,
                    「歷史虛構小說」則(1)(2)不成立,其餘成立,
                       而「科幻小說」則通常(2)(4)(6)可以不成立

        (3) 敘事模型:
               「參照性/指示性解離」(referential divorce):
                    現實世界的「我」與重置(relocated)於文字世界中的「我」,
                    是開展可能世界敘事模型的基礎。
                       "虛構敘事溝通模型第一版,圖取自 (Ryan, 1991)"

            代替講者在可能世界中的敘事,可分兩種,
            一是非個人客觀敘事(通常是第三人稱),另一個是個人主觀敘事(通常是第一人稱)。
            聽者都必須假裝進入此可能世界聆聽代替講者的陳述。

            Design Referential World: 
            現實世界(AW)中的推測設計師D,
            扮演在可能世界中的代替設計者(substitute designer)D’,
            而現實世界的使用者,則扮演可能世界中的代替使用者U’,
            同時D’為U’的問題,提出設計物d。

            聽者(觀眾)並不進行扮演可能世界中的聽者,
            而是被邀請(主動或被動認同)成為該世界中的一員:

            虛構敘事溝通模型第二版,圖取自 (Ryan, 1991)

三條虛構的規則(fictional rules):
(1) 講者S 希望聽者H 假裝:敘事是「代替講者S’」說給「代替聽者H’」聽的。
(2) 講者S 希望聽者H 假設:「代替講者S’」與講者S 沒有對應關係。
(3) 講者S 希望聽者H 扮演:事實是發生在「文本所指涉世界」TRW 中。
虛構敘事溝通模型第三版,圖取自 (Ryan, 1991)

2.  推測設計研究文獻中的可能世界 (See the following quotes)
3.  Sonic possible world (討論如何延伸)



"Possible World" in speculative design literature:

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


EX2: 可能世界考古學(9/16)
1. 選定一個過去的時代、歷史事件、設計風格、生活型態、老物件...
     (eg. 1980 台北中華商場、1950年代九份、民國初年上海,柯達底片時期相機、打字機,...)
2. 生成 counterfactual artifacts, 充滿 speculative aesthetics 品質
3. 使用AI圖像生成工具 (例如,Midjourney, StableDiffusion)



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