The author mentions that robots have been confined to the realms of fiction, laboratories, exhibitions, and similar spaces. Speculative design, on the other hand, aims to break down this distance, offering a way to bring technology and the future into the current lives of people.

The author also points out that speculative design can intentionally evoke a sense of discomfort, which can stimulate the audience’s thinking. This is a technique worth exploring, as it has the potential to foster public engagement and dialogue. I relate this to my tendency to empathize with emotions like anger, which likely has corresponding psychological explanations. In my view, the ideas of discomfort and authenticity are the most inspiring aspects of my speculative project. The success of the “Audio Tooth Implant” case is attributed to its widespread dissemination and public response, further confirming the importance of public involvement. Additionally, it introduces the concept of communication, which is crucial in today’s fast-paced information age.

The author later discusses the relationship between speculative design and comedy, highlighting their shared characteristics. These include being 1.non-commercial, 2. focusing on the everyday and details, and 3. generally starting from a familiar perspective that gradually spirals out of control. This analogy makes the forms of speculative design more relatable and easier to understand.

However, in terms of definitions, I think this paper somewhat ambiguous (although this may not be the main focus). At times, it emphasizes technology and the future, but it also introduces ideas of parallel timelines and counter-histories. Currently, in mainstream content online, it seems that the concept of technology is becoming less prominent, while the idea of the future is consistently stressed. I believe the concept of the future may also require modification or redefinition. For instance, under the worldviews created by works like “The Man in the High Castle,” there is a potential for reflective design that can still be categorized as speculative design. Similar examples include the underwater cities and skyward metropolises presented in the “Bioshock” series. These settings feel very close in time, exuding a strong sense of science fiction. But do they need to be defined as the future?

The later sections on the definition of household products and robots, as well as related practices, can assist me in better understanding and implementing how to seamlessly integrate future products into everyday life. If I need to engage in the creation of speculative design content in the future, these insights will be valuable. Overall, this article will undoubtedly provide valuable assistance and serve as a point of reference for the practical guidence of my speculative design endeavors.