2026年4月26日 星期日

week 10. material speculation

A letter from an alumni recalling this course ten years before. (show thanks and respects)
What if we receive a letter from a student ten years later to remember the class now?

1. students present EX5 (AI-generative Images with EX4 stories)

other Neuromancer related objects and scenarios:





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



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?
  3. What is pragmatist speculation?
  4. What is formal speculation v.s. material speculation?


Final Project: (proposal 5/4)
Design Fiction with AI 
 
team-work or individual 
At least 3 ideas and the possible forms of design fiction for final project 

物質推測:作為批判性探究的真實人造物》(Material Speculation: Actual Artifacts for Critical Inquiry)主要建立在物質推測(Material Speculation)這一核心理論架構上,並整合了文學、哲學與設計研究的多項理論。以下是論文中的主要理論及其概念解釋與引用:

1. 物質推測 (Material Speculation)

  •  這是作者提出的核心框架,主張利用實際存在於日常生活(而非僅存在於故事或畫廊)且具備功能的人造物,作為引發批判性思考與探究的現場。它強調透過與物件的「共存」與「生活體驗」來產生知識。
    • 利用日常生活中實際且具備場域性的設計人造物,作為批判性探究的地點。
    • We propose a complementary concept – material speculation – that utilizes actual and situated design artifacts in the everyday as a site of critical inquiry.

2. 可能世界理論 (Possible Worlds Theory)

  • 該理論認為現實是由我們所能想像的一切組成的,包含「現實世界」(Actual World)與多個「可能世界」(Possible Worlds)。在設計中,人造物可以被視為連接這兩個世界的橋樑。
  • 專有名詞:指標性 (Indexical)。指「現實」一詞僅代表居住者所處的世界,每個世界都有其內部邏輯。

    • 可能世界理論依賴於這樣一個理想,即現實是由我們所能想像的一切組成的,它由「現實世界」和所有「可能世界」組成。
    • Possible worlds theory relies upon the ideal that reality is comprised of all that we can imagine and that it is composed of the “actual world” and all “possible worlds”.

3. 反事實與反事實人造物 (Counterfactuals & Counterfactual Artifacts)

  • 「反事實」是指與現實世界邏輯相矛盾的命題(如:若某事沒發生)。作者將此概念物質化為「反事實人造物」,即在現實中運作但邏輯上卻屬於另一個世界的物件。它們被視為「產生可能世界的機器」。

    • 反事實是可能世界理論的核心。憑藉著與一個世界相矛盾的特性……它們引發並開啟了另一個可能世界。
    • Counterfactuals are central to the theory of possible worlds. By virtue of contradicting one world... they elicit and open up another possible world.

4. 最小偏離原則 (Principle of Minimal Departure)

  • 由 Marie-Laure Ryan 提出。指人們在面對虛構或可能世界時,除非被明確告知某處不同,否則會自動假設該世界與現實世界儘量一致。這讓設計師能精準設定「偏離點」來引發特定反思。

    • 萊恩在她提出的最小偏離原則中提到了這種潛力,她主張在虛構的情況下,讀者會建構一個儘可能符合其現實世界的可能世界。
    • Ryan referred to this potential in her principle of minimal departure in which she argues that in the case of fiction a reader construes a possible world to conform as much as possible to his or her actual world.

5. 本體論視角 (Ontological Perspective)

  • 當人們遇到反事實人造物時,會被迫採取新的視角去推理:「這個物件存在的條件是什麼?」。這種推理會從物件本身延伸到其背後的社會、政治、道德與基礎設施條件。

    •  一個真實的反事實人造物不僅開啟了對物件本身的推測,也開啟了對其存在條件的推測……包括系統、基礎設施、行為、意識形態、政治、經濟和道德層面。
    • An actual counterfactual artifact not only opens up speculation on the artifact but on its conditions as well... including the systemic, infrastructural, behavioral, ideological, political, economic, and moral.

6. 生活體驗與長期共存 (Lived Experience & Cohabitation)

  • 物質推測強調探究必須發生在真實的居家生活中。透過長時間的共存(Cohabitation),使用者能產生比單純智力反思更深層、更多樣的可能性。

    •  對於新生成的可能性之深度與品質而言,物質推測必須是一種生活體驗,而不僅僅是智力上的反思。
    •  It is important for the depth and quality of the emergent possibilities that material speculations be a lived experience rather than simply an intellectual reflection.

7. 物件知識 (Thing Knowledge)

  • 引用自 Davis Baird。認為人造物本身可以承載知識,在我們能夠用語言理論化或推理之前,知識就已經體現在物件的物質形式中。

    • 物件知識——人造物在我們有能力透過語言進行理論化或推理之前,就能夠體現並承載知識。
    • thing knowledge—artifacts can embody and carry knowledge prior to our ability to theorize or reason through language.


Final Project: (proposal 5/4)
Design Fiction with AI 
 
team-work or individual 
At least 3 ideas and the possible forms of design fiction for final project 

2026年4月19日 星期日

week 9. design fiction

1. students present Project 1 (soundscape fiction)
2. What is Design Fiction?
    What is Prop?
    What is Diegetic Prototype?




Core77 2022 Speculative Design

The Solution Printer: Magic Realist Design Fiction


Discussion:
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

https://tei.acm.org/2017/sdc.php











EX:
觀察生活周遭, 拍照片表達對照的概念
   例如:
   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....




Reference:

Design fictions an introduction and provisional taxonomy

by Derek Hales

Neuromancer
Part I : Chiba City Blues

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

神經喚術士
第一部: 千葉市藍調

"港口上空是電視的顏色,電視調至死頻的顏色。"


https://www.youtube.com/watch?v=b1kJI-UvYwQ
https://www.youtube.com/watch?v=NNVbrHjX-xs








2026年4月11日 星期六

week 8. soundscape fiction project demo (EX5)

0. EX4 敘事練習 demo 

1.  AI aided soundscape fiction demo (延後到 week 9)


EX5 (AI-generative Images with EX4 stories) deadline 4/27, 2026

1. Choose one story in your EX4

2. generate several images to illustrate your stories

3. summarize your method (including texts, texts-to-image, prompts, structure, style,...) 


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


Related Lab Projects:
Once Upon a Future - IoX project (2018)
  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

2026年3月28日 星期六

week 6. speculative aesthetics sharing & narrative workshop

I. speculative aesthetics sharing (1.5 hr)

 EX3 學生報告 : 

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: 2026/3/30

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: (3/30 week 6 in-class workshop, upload deadline 4/13)
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,創作至少三種敘事,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。

week 5. entangled narratives with possible worlds (EX4)

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: (3/30 week 6 in-class workshop, upload deadline week 8, 4/13)
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"神經喚術士")、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,創作至少三種敘事,並畫出時空敘事架構圖。

hint:  搜尋"神經喚術士"、"千葉市藍調"


Project 1 Soundscape Fiction: (Deadline week 9, 4/20)
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1種錄音,為自己完成1種錄音

[ChatGPT] 關鍵字,敘事引導



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.

2026年3月14日 星期六

week 4. aesthetics of speculation (EX3)

EX2 presentation
 
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 (3/23):(放假順延 至 3/30)
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 (2026/3/30):
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: 2026/3/30

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,"