太陽能神諭隨身聽 Solar Oracle Walkman
太陽能神諭隨身聽（Solar Oracle Walkman）是一件受能源交易啟發的聲音藝術裝置。本裝置由一台改造的 I–V 曲線測試儀構成，能讀取手工製作的染料敏化太陽能電池（mini DSSC disc）的 I–V 曲線，並將其轉換為可重構的生成音樂。
每一片圖案化的 DSSC 皆在其 TiO₂ 半導體層上透過氰版顯影或網版印刷製造刻意的微觀缺陷，使其 I–V 曲線形成難以複製的物理特徵。這些特徵構成一種光伏物理不可複製功能（Physical Unclonable Function, PUF），使每一片太陽能板同時成為發電裝置與身份裝置。透過「神諭機（oracle）」的橋接機制，這些物理訊號被轉譯為可驗證的數位資訊，進一步連結至區塊鏈智慧合約，使能源生產的物理狀態成為鏈上可被錨定與驗證的資料，這也是能源交易的核心。
從感知哲學與AI為一體兩面的觀點，「真實」是透過物理世界與訊息世界之間的預言機透過不斷的測量與預測而產生，同樣地，意識與感知也是透過預測與誤差的循環，使世界在模型中暫時穩定下來，這構成了重構層級的兩端與一個自我指涉的系統，兩者分別位於物質與認知的層級，卻共享一種結構性的運作方式——真實並非被直接給予，而是在不同層級之間被反覆建構與校準，感知哲學也因此獲得了可被結構化的途逕。
最後，生成音樂變成了界定「真實」以及「幻覺」的媒介和準則，這提供了意識科學和實驗藝術一個新的遊樂場。
每一片圖案化的 DSSC 皆在其 TiO₂ 半導體層上透過氰版顯影或網版印刷製造刻意的微觀缺陷，使其 I–V 曲線形成難以複製的物理特徵。這些特徵構成一種光伏物理不可複製功能（Physical Unclonable Function, PUF），使每一片太陽能板同時成為發電裝置與身份裝置。透過「神諭機（oracle）」的橋接機制，這些物理訊號被轉譯為可驗證的數位資訊，進一步連結至區塊鏈智慧合約，使能源生產的物理狀態成為鏈上可被錨定與驗證的資料，這也是能源交易的核心。
從感知哲學與AI為一體兩面的觀點，「真實」是透過物理世界與訊息世界之間的預言機透過不斷的測量與預測而產生，同樣地，意識與感知也是透過預測與誤差的循環，使世界在模型中暫時穩定下來，這構成了重構層級的兩端與一個自我指涉的系統，兩者分別位於物質與認知的層級，卻共享一種結構性的運作方式——真實並非被直接給予，而是在不同層級之間被反覆建構與校準，感知哲學也因此獲得了可被結構化的途逕。
最後，生成音樂變成了界定「真實」以及「幻覺」的媒介和準則，這提供了意識科學和實驗藝術一個新的遊樂場。
Solar Oracle Walkman is a sound art installation inspired by the logic of energy trading. The system is built around a modified I–V curve tester that reads the current–voltage characteristics of handcrafted dye-sensitized solar cells (mini DSSC discs) and transforms them into reconstructable generative music.
Each patterned DSSC intentionally incorporates microscopic irregularities within its TiO₂ semiconductor layer through cyanotype exposure or screen printing. These variations produce distinctive and difficult-to-replicate I–V signatures. Such signatures function as a photovoltaic Physical Unclonable Function (PUF), allowing each solar disc to operate simultaneously as an energy generator and an identity device. Through an “oracle” mechanism, these physical signals are translated into verifiable digital information and linked to blockchain smart contracts, enabling the physical state of energy production to be anchored and validated on-chain—an essential principle of energy trading.
From an artistic and philosophical perspective, “reality” emerges through the oracle that mediates between the physical and informational worlds via continuous measurement and prediction. Likewise, consciousness and perception operate through cycles of prediction and error, allowing the world to temporarily stabilize within a model. These two processes occupy different strata—material and cognitive—yet share a structural mode of operation. Reality is not directly given; it is repeatedly constructed and calibrated across levels. In this sense, the work outlines two poles of a reconstructive hierarchy, forming a self-referential system in which the generation of truth becomes observable.
Ultimately, the generative music becomes a medium and criterion for negotiating the boundary between “reality” and “hallucination,” opening a new experimental playground for consciousness studies and artistic inquiry.
Each patterned DSSC intentionally incorporates microscopic irregularities within its TiO₂ semiconductor layer through cyanotype exposure or screen printing. These variations produce distinctive and difficult-to-replicate I–V signatures. Such signatures function as a photovoltaic Physical Unclonable Function (PUF), allowing each solar disc to operate simultaneously as an energy generator and an identity device. Through an “oracle” mechanism, these physical signals are translated into verifiable digital information and linked to blockchain smart contracts, enabling the physical state of energy production to be anchored and validated on-chain—an essential principle of energy trading.
From an artistic and philosophical perspective, “reality” emerges through the oracle that mediates between the physical and informational worlds via continuous measurement and prediction. Likewise, consciousness and perception operate through cycles of prediction and error, allowing the world to temporarily stabilize within a model. These two processes occupy different strata—material and cognitive—yet share a structural mode of operation. Reality is not directly given; it is repeatedly constructed and calibrated across levels. In this sense, the work outlines two poles of a reconstructive hierarchy, forming a self-referential system in which the generation of truth becomes observable.
Ultimately, the generative music becomes a medium and criterion for negotiating the boundary between “reality” and “hallucination,” opening a new experimental playground for consciousness studies and artistic inquiry.