Abstract. Over the past several decades, we have made many efforts to understand Human-Computer Interaction (HCI). But beyond HCI, we need a better understanding of Human-Culture Interaction not just for taking part in the cultural context, but also for developing the interactive experience of users. Therefore we propose a general framework for cultural product experience that applies to the mental models of designer and user and which can be experienced in Human-Culture Interaction. Then, based on the interactive experience of users with an aboriginal cultural object, the Linnak (a twin drinking cup), a modern Linnak was proposed to demonstrate how to design a successful cultural product using the human-culture interaction framework. The intended purpose of this paper is to provide a framework for examining the way designers interact across cultures and the interactive experience of users in the design process.
Artificial Intelligence (AI) is becoming more popular in various fields, including the area of art creation. Advances in AI technology bring new opportunities and challenges in the creation, experience, and appreciation of art. The neural style transfer (NST) realizes the intelligent conversion of any artistic style using neural networks. However, the artistic style is the product of cognition that involving from visual to feel. The purpose of this paper is to study factors affecting audience cognitive difference and preference on artistic style transfer. Those factors are discussed to investigate the application of the AI generator model in art creation. Therefore, based on the artist’s encoding attributes (color, stroke, texture) and the audience’s decoding cognitive levels (technical, semantic, effectiveness), this study proposed a framework to evaluate artistic style transfer in the perspective of cognition. Thirty-one subjects with a background in art, aesthetics, and design were recruited to participate in the experiment. The experimental process consists of four style groups, including Fauvism, Expressionism, Cubism, and Renaissance. According to the finding in this study, participants can still recognize different artistic styles after transferred by neural networks. Besides, the features of texture and stroke are more impact on the perception of fitness than color. The audience may prefer the samples with high cognition in the semantic and effectiveness levels. The above indicates that through AI automated routine work, the cognition of the audience to artistic style still can be kept and transferred.
This study aims to discuss the adaptive challenge, and bridge the gap between theory and practice in design education. From now on, navigating design communities through the new era is a significant issue facing global competition and pluralistic society. First, this study reviews the essential evolution of design theories in the past few decades on man-machine system design, user-centered design, and user experience design. Second, based on three case studies of the REACH toothbrushes, an IEF wearable computer, and a LINNAK twin-cup, the research findings are offered to witness the advancement and transformation from hi-tech to hi-touch. Furthermore, this study summarizes three paradigms to interpret the adaptive evolution in design education. Finally, the authors propose three directions for the advancement of the creative industry and design education. The contributions of this study are to (1) clarify the interrelations between the theory and practice of design via the three foci of the human factors, human actors, and cultural aspects; (2) demonstrate the transformation of the archetypal model of user–tool–task employing illustrative paradigms; (3) identify the evolution of design education with contextual stages in the past decades; and (4) propose orientated perspectives for the personnel and institutes of the design industry and design education.
Taiwan’s indigenous communities have an abundance of unique cultures. Their service industries with local and foreign cultures have opened up distinct opportunities for sustainable development. Despite the enormous potential of aboriginal communities, particular attention should be given to ecology and sustainability. The traditional emphasis on craftsmanship and design is shifting to a new focus on the service industries and experimental design, which is not limited to the design of tangible products. Design concepts are now being applied to service industries that span several fields and are also being used to come up with systematic solutions for real-life problems. However, in the service industry, design experience must be used when introducing design concepts. The problem is how to shift from “High-tech” to “High-touch”, for the aborigines are used to designing products at the usability level. This research proposes a model of experience design for use in aboriginal culture revitalization. Three different cases show how to apply the framework from experience design to local revitalization. Results show that the model can integrate the principles of sustainability into service industries and that it needs to be verified in future studies.
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