Cultural Aspect of Interaction Design beyond Human-Computer Interaction

Abstract

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.

Empirical Study of Communication of Audience Cognition of Environmental Awareness

“…When evaluating works, we must understand the communication between artists and audiences, not only in the social context, but also in the interactive experience between artists and audiences [26,27]. Lin et al [28] constructed a theoretical framework for product designers to communicate with users during the design process. For the cognitive evaluation of artwork, a corresponding research framework has been introduced to describe the emotional response of poems conveyed through paintings and the cognition of those visual scenes [29,30].…”

“…Based on previous studies [28,[32][33][34][35], a cross-cultural design research architecture was constructed by combining communication theory and mental models ( Figure 2). Cross-cultural research is based on science, art, and design.…”

“…Products are the realization of inner thoughts and expressions. When the designer's thoughts are consistent with the consumer's, they can be more easily conveyed [28,[36][37][38].…”

“…In the CHEER model, its properties were explored and identified as a framework for evaluating product design [32]. Norman [39] described three levels: designing intrinsic, behavioral, and design reflections and representing the esthetics, meaning, and emotion of the user experience [28,37]. These experiences can be used to evaluate product design and determine the three goals of product design: recognition (attracting), realization (accuracy), and reflection (affecting), as shown in Figure 2 [29,30].…”

Conceptual Framework and Case Study of China's Womanese scripts Used in Culture Product Design

“…Perhaps the best way to extend a unique culture, for example when we talk about the impressions of different culture garments, crafts, decorations, utensils, furniture, ornaments, packages, etc., is to promote it to users' daily lives through product usage (Lin, 2007(Lin, , 2009). The intersection of design and culture becomes a key issue making both local design and the global market worthy of further in-depth study (Lin, Lin & Shiao, 2009).…”