2017年4月18日 星期二

EX3_B10234039_張秉真





EX3_B10234011_張芸爾


1.手槍 (越南仿製華特PPK南美複製版)
「......但好歹是把手槍,還有九發彈藥......
   槍的握把是亮紅色塑膠,上面浮雕著龍,黑暗中可供拇指撫摸。」( p.29 / line 13)








2. 刺青 (三菱基因科技)
「......他讓路給一名黑西裝上班族,瞧見那男子的右手背上,刺青出三菱基因科技的商標。
 ......三菱基因一定層級以上的員工,都植入先進的微處理器,監測血液中變異基因值。」
( p.19 / last line)








3. 巴西興奮劑
「......凱斯用雙倍義式濃縮咖啡將今晚第一顆藥丸沖入體內。
    扁平粉紅色八角形,向隆旗下女孩買來的強效版巴西興奮劑。」( p.15 / line 12)







反事實物件: (越南仿製華特PPK南美複製版)
「......白卵石,一叢綠竹,黑碎石黎成平緩波浪。
    一具大型金屬螃蟹模樣的園丁,正在修竹。」( p.41 / line 3)

2017年4月17日 星期一

week 9. narrative from future

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/









https://www.youtube.com/watch?v=kH_jm9_wm8I  (觸不到的戀人) 

  how about 你的名字? draw the narrative diagram.



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.


2017年4月11日 星期二

week 8. design poem

Science Poem Manifesto by OK DO
Design notes on a lonely drone

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.
5. Take lots of photographs and upload to the blog.



Deadlines:April, 26, 2017.

2017年3月28日 星期二

EX2_B10334002_劉兆偉

https://www.flickr.com/photos/144441563@N08/albums/72157680224234940

week 6. speculative aesthetics

1. speculative photo sharing


Questions:
What are the possible qualities of speculative aesthetics?  for example:
out-of-place,
out-of-time,
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.


2. 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 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,"