講座題目：
CREATE: Classroom Reinvention with Emerging AI and Technology for Education

內容介紹：
Building an EMI (English as a Medium of Instruction) classroom is much like designing a new product: it starts with top-down specifications, but its success depends on how well it serves the real users—students. In Taiwan’s higher education, EMI is rapidly expanding, yet, as with any user experience (UX) design, the real challenge lies in bridging the gap between policy (the blueprint) and classroom reality (the user environment). As an educator, I play both the designer and the user tester—implementing EMI while continuously refining the experience based on student feedback.

This is where WRITE: Writing Reinforcement through Intelligence Technology in English comes in. Just as designers integrate smart tools to improve functionality without replacing creativity, my research explores how AI can enhance EMI without diminishing the role of human instruction. By incorporating tools like QuillBot, Grammarly, and CoGrader, I aim to streamline the learning process by providing students with instant feedback and personalized support. Great design balances automation and human insight; effective learning thrives on co-creation—through one-on-one consultations, tailored feedback, and meaningful interaction. AI may assist the process, but it is the human connection that truly empowers students to write, think, and communicate with confidence.

Just as good design is an iterative process, so is the evolution of EMI instruction. In this talk, I will share how my research tests and refines the integration of AI tools in real classroom environments, ensuring they function as enhancements rather than replacements. By balancing automation with human insight, I aim to create a learning experience where students can engage meaningfully with content, develop their voices, and tackle the challenges of EMI with confidence. Through this lens, I will explore how AI and instructional design can work together to make EMI both effective and adaptable for the next generation of learners.

講者：
國立臺南藝術大學聲響科技研究所 林經堯 助理教授

講座題目：
沈浸式科技藝術：多感官體驗的新紀元

內容介紹：
沈浸式科技藝術體驗突破物理空間的侷限，創造出感官與認知層面的多維互動空間。藝術家透過整合視覺、聽覺、觸覺及嗅覺等元素，構建富有層次的敘事環境，引導觀眾主動探索、深度反思並與作品建立緊密連結。這類體驗不僅激發多重感官反應，更能引起強烈的情感共鳴和深刻的認知思考。
全球藝術機構積極開拓科技藝術的創新領域，產出的作品模糊了藝術、科技、設計與表演的傳統界限，為觀眾帶來前所未有的文化體驗。虛擬實境（VR）、擴增實境（AR）與混合實境（MR）等技術已從實驗性質的創新逐漸發展為主流表現媒介，徹底改變藝術創作的方法論與欣賞模式。
在聲音領域，沈浸式體驗建立於先進的空間音訊技術基礎之上，包括環繞聲系統、雙耳錄音技術、波場合成的音訊處理。這些專業技術使聲音設計師與藝術創作者能夠精確控制聲音在三維空間中的定位與動態變化，讓體驗者清晰感知聲音來源的方向、距離及移動軌跡，創造出身臨其境的真實感受。此類技術革新推動了體驗方式的根本轉變，使觀眾從傳統的被動接收者蛻變為體驗中的積極參與者，大幅提升沈浸感與臨場感。
隨著人工智慧技術的迅速發展，個人化沈浸式體驗正展現出巨大潛力。未來的智慧系統將能夠實時分析使用者的行為模式、個人偏好甚至生理反應，動態調整內容參數與呈現方式，為每位體驗者打造高度客製化的沈浸體驗，開創感官藝術的嶄新時代。

講者：
崑山科技大學旅遊事業管理系 葉乃慧 專任專技助理教授

講座題目：
Innovative Interdisciplinary Teaching and
Service Design in an Aging Society: Strengthening International Collaboration and
Industry Engagement

內容介紹：
In today’s rapidly evolving society, higher education institutions face increasing challenges in cultivating students with interdisciplinary knowledge, practical problem-solving abilities, and global perspectives. My research and teaching integrate innovative educational practices, interdisciplinary approaches, and service design methodologies to develop practical solutions for aging communities.Recognizing limitations in traditional theoretical teaching, my educational philosophy emphasizes experiential methods such as problem-based learning, design thinking, and service-learning. These approaches actively engage students in real-world contexts, fostering innovation, critical thinking and adaptability, providing students with a holistic perspective on tackling contemporary challenges.My research specifically applies service design principles to improve elderly experiences across healthcare, tourism, and community services. By employing user-centered design, I collaborate closely with industry partners, allowing students to participate in hands-on projects. This direct engagement bridges academia and industry, resulting in inclusive, sustainable solutions that enhance elderly well-being and social inclusion.As global challenges require global solutions, fostering international collaboration is an important component of my research and teaching. I have actively participated in cross-border research projects, academic exchanges, and international partnerships aimed at developing cross-cultural insights into education and service innovation. By combining innovative education, cross-disciplinary design and global collaboration, my research and teaching initiatives align with the mission of preparing students to become adaptive, creative, and internationally competent professionals.

講者：
臺灣AI卓越中心Taiwan AICoE   莊偉銘  研究學者

講座題目：
Beyond Human-Centered Design: Speculative Approaches for Interdisciplinary Innovation in the Internet of ‘Everything’

內容介紹：
With the rapid evolution of technology and society, conventional human-centered approaches are becoming increasingly inadequate for addressing the complex relationships between human and non-human entities. As the Internet of ‘Everything’ continues to emerge, its interconnected systems must be critically explored and reimagined through interdisciplinary collaboration.

My research investigates speculative approaches and AI-assisted creativity support to foster cross-disciplinary engagement, spark critical debates, and communicate techno-social innovation across fields.

In this talk, I will present my prior work on developing designerly tools and speculative methods that bridge cross-domain knowledge and creative practice to support interdisciplinary collaboration. Drawing from my experience leading projects with interdisciplinary professionals at the NTU IoX Center and industry partners such as Intel and TaiwanAICoE, I will demonstrate how speculative approaches—such as AI-assisted design cards, speculative narratives, and soundscape fiction—can serve as provocations for envisioning the future of AI and the Internet of ‘Everything.’

I will also outline my future research agenda, which integrates post-phenomenology as a theoretical foundation into speculative thinking, engaging interdisciplinary students and scholars in rethinking the future of IoT. By adopting a non-anthropocentric perspective—our world is co-constructed by both humans and non-humans—my research aims to propose critical and alternative approaches for designing human-nonhuman relationships.

Ultimately, this talk illustrates how speculative thinking and AI-assisted creativity can serve as both a dialectical and provocative approach to interdisciplinary collaboration and innovation. By embracing a non-anthropocentric perspective and speculative methodologies, my research aims to contribute to the evolving transdisciplinary IoT research at NTU D-School.

講者：
中央研究院資訊科學研究所音樂與文化科技實驗室 黃郁芬  研究學者

講座題目：
AI、文化與聲音：創新研究與教學

內容介紹：
在數位技術快速發展的時代，人工智慧（AI）不僅影響著文化產業，也正重塑文化與聲音的研究方式。本次演講將探討AI如何應用於文化產業、聲景（soundscape）與人機互動（HCI）等研究領域，並如何透過跨領域整合，推動文化與科技的創新發展。演講將涵蓋三大核心議題：AI與文化產業、AI與聲景分析，以及人機互動（Human-AI Interaction）。我們將探討如何利用AI技術解析人類的身體動作、分析聲音模式，並理解文化語境，以及探索AI對文化產業的影響，包括數據驅動的文化研究、串流媒體與創作者經濟、文化永續發展等關鍵議題。

講者：
國立政治大學創新與創造力研究中心  李宗興   研究學者

講座題目：
為跨越做好準備：即興、科技藝術與跨域教學

內容介紹：
作為舞蹈學者，我關心的一直是身體技術。本次演講將嘗試將「即興」理論化開始，以接觸即興、科技藝術作品及跨域教學為例，探討是什麼樣的身體技術，以及其所形塑的心智(mindset)，讓身體得以隨時對外界難以捉模的持續變化做出反應。傅柯晚期的主體概念「自我技術」(technology of the self)，提出自我 (self) 應該創造的、發明的，而非同一的、本質的，這樣的理論將自我的概念轉為生存美學：自我應該也是像藝術品一樣被創作出來的。從傅科的自我美學化，我將從美國非暴力抗爭運動談起，探討其訓練如何讓抗議者冷靜地面對衝突，再到接觸即興和科技藝術的轉換，身體如何因應，最後探討「即興」理論化應用在教學的可能。

講座題目：
具身性創造力與創新: 遷徙、科技、物質與教學法

內容介紹：
具身性概念打破笛卡爾式身心二元論，關注屬於身體的知覺、運動、情感甚至生理解構等面相，如何形塑了人對於世界的理解，強調思考不僅是心智層面的運作，更是身體與環境互動的內在動態聯繫，也是「動作中的思考」。具身性概念為心智哲學、人文研究、心理學、認知科學乃至人工智慧與機器人學，打開了新的研究方向。我將從具身性概念出發，介紹它如何幫助人們重新思考創造力與創新的定義與可能。為進一步說明身體如何形塑了創造力與創新的開展，我將以自身過往參與和正在進行的研究、實踐與教學為例，討論跨國遷徙與跨越虛實的身體經驗如何影響藝術創造力與創新，更可能進一步轉化人思考自身與環境的關係；物質的可供性 (affordance) 如何形塑了「現代的」身體技巧與美學；以及我如何以具身的表演教學法，引領參與者重新理解創造力，也重新理解自身過往的生命經驗與身分認同。

講座題目：
以設計探未來：推動科技與人文共生的互動實踐

內容介紹：
本次演講將說明我如何以互動設計的「透過設計做研究」（Research through Design, RtD）認識論與方法論，促進科技創新與人文關懷的融合，並推動人機共生的未來構想。我應用大語言模型（LLMs）與物聯網（IoT）等當代科技素材，探討如何通過設計實驗啟發新知識、激發反思，並拓展跨領域合作的可能性。近期研究包括「Soundscape Fiction」、「PhenoProbe」及「IoXFun Speculative Kit」，這些實踐透過多感官的互動體驗深化設計的反思性與推測性。「Soundscape Fiction」以沉浸式聲景引導使用者探索未來場景，並省思科技在日常生活中的角色；「PhenoProbe」則透過文化元素促進長者參與氣候變遷的討論，展現設計在促進社會對話中的潛力。「IoXFun Speculative Kit」聚焦於IoT技術與設計思維的整合，與在地自造者社群合作，將複雜學術科技轉化為具體的虛構物件，使參與者能批判性地思考科技應用的社會影響。於近未來，我計畫在台大創新設計學院擴展這些研究實踐與課程，推動以人文關懷為核心（humanity-centered）的跨科際合作，並進一步實驗非以人為中心（more-than-human）的可能設計，期盼透過設計促進另類的跨域學習互動與豐富的研究社群發展。

講座題目：
創新教育的發展與實踐：教學科技的有效性與個別化

內容介紹：
本次演講旨在探討教育科技於創新教育中的有效性，並透過四篇研究結果提供理論與實證依據。首先，以後設分析為基礎，系統性評估不同教育科技在教學中的應用成效，並分析可能的潛在調節變項。
接著，探討創新技術應用於教育的機遇與挑戰。AI的發展對教育領域產生了深遠影響，然而在特定領域中，AI所能協助的範疇仍相當有限。因此，融入創新技術於教育的過程中應以教學理論與策略作為設計的核心依據，將創新技術視為支持教學的方法。為此，提出了一種以機器學習演算法作為預測學生數學學習成就的系統架構，同時提出兩種個別化回饋策略：動態個別化回饋（DPF）與自主選擇個別化回饋（SSPF）。著重於比較在上述系統架構下，兩種回饋策略在國小學生數學學習成就、認知負荷、回饋感受及錯誤概念修正方面的差異，旨在提供更為有效的教學策略，解決數學教育中常見的學習困難。
最後，展望未來研究方向，在教學策略中進一步結合教育科技，並探討其在多元學習場景中的適應性與可行性，期望為學生提供更具成效與適性的學習經驗，推動教育創新與跨領域實踐。

講座題目：
音樂AI：跨領域視角與創新應用

內容介紹：
人工智慧（AI）技術近年來已迅速融入我們的生活，從手機語音助理Siri到ChatGPT等生成模型，AI不僅改變了我們的日常互動，也深刻影響各領域的發展。在音樂領域，AI展現出從音樂生成到分析的強大潛力，為音樂理論、音樂創作以及文化理解帶來新契機。這場演講將聚焦於音樂AI的發展、學術價值、產業應用及未來潛力，首先，介紹音樂AI的基本概念及發展脈絡，並討論音樂AI與其他種類AI的異同。接著，深入分析音樂AI在學術與產業中的應用，包括音樂生成、音樂分析、音樂編輯、音樂串流與多媒體應用等現況。最後，展望音樂AI的未來走向，著重於跨模態（cross-modal）研究，即整合文字、聲音、圖片等資料，透過數據驅動（data-driven）的方法，建立跨學科的分析框架，將人文藝術（如音樂學、音樂分析）、社會科學（如音樂心理學）與資訊科學（如AI模型技術）的相關議題互相聯繫，擴展音樂AI在學術研究與文化產業中的應用。

講座題目：
Curating Indigenous Relational Space and Performance Towards Collaborative Construction of Interdisciplinary Arts in Education Through AI-integrated EMI

內容介紹：
Bunun tu dadangian (Indigenous relational space in Bunun language of Indigenous Taiwanese, meaning the place, location, site of cultural ceremony or the spirituality of space in the community) has contributed to the establishment of trans-Indigenous relational art by offering what Native American (Chickasaw Nation) scholar Chadwick Allen contextualizes as ‘Indigenous relational art in the broader field of tans-Indigenous cultural practice’ that assert[s] ‘centering the Indigenous [to] become a new standard’ (2012: 12, 18). Visualizing sovereignty in an Indigenous sense is similarly connected to land/dalah. In Bunun context, the phrase maluskun mas dalah (return to the land) can be defined as absolute sovereignty. The concept of ‘Indigenous criticism of Indigenous art’ refers to the practice of critically analyzing and interpreting Indigenous art from within the Indigenous community, which is crucial for understanding and preserving the cultural significance of the art. It begins with the knowledge that I am part of a community. Initiating my teaching experience, a large part of the learning outcomes aspired to cultivate the inclusion of arts learning in classroom management and naturalize the idea of creating a culturally resonant space where I, as an artist-teacher, and students have been partnering with the artists and/or cultural institutions to incorporate the arts into the art-expanded curriculum.

This talk will explore the concepts of Indigenous relational space, performance, and performative Indigeneity towards the collaborative construction of interdisciplinary arts in education through the AI-integrated EMI course design. This practice-based research begins with the overarching question: How does an Indigenous curator-cum-educator articulate the relational space, performance, and its curatorial approach used to negotiate a trans-cultural and trans-contextual dialogue of performative power and knowledge linked to specific counter-narratives of Indigenous curatorial practice, pedagogic praxis and art education in Taiwan and beyond? This talk is divided into three parts. First, I will elaborate on two distinctive Indigenous relational practices – Rukai Nation sculptor Eleng Luluan’s installation art and my own performative curatorial practice as a Bunun Nation curator working at an Indigenous public cemetery. Secondly, I will demonstrate how the relational practices of Indigenous performance were activated across the event of Performative Encounter(s) in my curation entitled Dispossessions: Performative Encounter(s) of Taiwanese Indigenous Contemporary Art (Goldsmiths, 2018) by reviewing the Northern Sápmi (Norway) artist Marita Isobel Solberg’s Chemical Chords. Finally, I will assemble the production of exhibition-making in relation to performative art (merged with the flexibility of huge immersive installations and the effect of spatial-locomotive-sensory activities) through two EMI modules, Practical Skills for Curatorial Work and Art Practice and Spaces of Practice for Arts & Learning. This research outcome fosters insightful critical engagement, collaborative creation, and positioning as transformative agents towards participatory learning engagement on Indigenous works of art within community-based concepts. It internally transforms the institution’s interpretive banalities and hegemonic discourses.