Intangible cultural heritage tourism has become a hot topic in academia and industry. As a vital tourism resource, intangible cultural heritage can activate the in-depth experience of tourists for local culture to enhance the attraction and competitive advantage of national or regional tourism. From the perspective of culture, design is used to realize a kind of life taste and form a lifestyle through cultural creativity and industry, with applications in different fields to create a human lifestyle through innovative design. This study proposed a framework exploring form and ritual and discusses the aesthetic economy from form (Hi-tech) to ritual (Hi-touch) through case studies. There were three cases that analyzed how to improve local tourism development through the interaction between form and ritual. The results show that this model can integrate sustainable development into intangible cultural heritage tourism and can be further verified in other countries and regions.

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.

The rapid expansion of the cultural industry and the escalating demand for innovation have led to a growing attention on the sustainable development of cultural and creative parks. This study aims to provide a comprehensive review and prospectus of the literature on the sustainable development of these parks using CiteSpace knowledge mapping. We analyzed 662 publications from 2012 to 2023 in the Web of Science database using bibliometric methods, such as descriptive statistical analysis, network analysis, and co-citation analysis. Our findings indicate that research hotspots in the sustainable development of cultural and creative parks focus on cultural ecosystems, environmental conservation, cultural landscapes, creative tourism, park management, and urban renewal. Three primary research themes emerged: ecological service systems, assessment models, and multidimensional value. We propose five future prospects: (1) diversifying sustainable development strategies; (2) coordinating development with urban, regional, and global sustainable development goals; (3) enhancing interdisciplinary research; (4) deepening stakeholder participation; and (5) improving the evaluation index system for sustainable development. This study offers a systematic guiding framework for constructing multidimensional value for the sustainable development of cultural and creative parks, providing valuable insights for future theoretical and practical research.

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.

This study explores how audiences responded to perceiving and distinguishing the paintings created by AI or human artists. The stimuli were six paintings which were completed by AI and human artists. A total of 750 subjects participated to identify which ones were completed by human artists or by AI. Results revealed that most participants could correctly distinguish between paintings made by AI or human artists and that accuracy was higher for those who used “intuition” as the criterion for judgment. The participants preferred the paintings created by human artists. Furthermore, there were big differences in the perception of the denotation and connotation of paintings between audiences of different backgrounds. The reasons for this will be analyzed in subsequent research.

The purpose of this research is to: (1) clarify the scope and connotation of the OPOP (One Product/Project/Performance, One Paper) model comprehensively; (2) show its application in design and creative teaching; (3) introduce this model to more people. First, the author reviews the design doctoral education system and its shortcomings and analyzes the similarities and differences between “Ph.D. of Design” and “Master of Design”; second, the researcher discusses the DIKW (Data, Information, Knowledge, Wisdom) pyramid, cognition and communication theory separately. The author also interviewed the two teachers who created the OPOP model to clarify its core meaning and goals. Finally, the author invited students who participated in an OPOP forum to fill out a questionnaire in order to analyze and understand their responses and suggestions. The OPOP model allows participants to realize that “creativity” and “interpretation” are equally important and to gradually learn to use academic papers to transform personal “tips” and “experience” into “knowledge” that can be imparted. The author hopes that the OPOP model and the general frameworks mentioned in this study can inspire all readers, enabling them to continuously explore the connotation and further possibilities of OPOP in light of the actual situation.