In recent years, art creation using artificial intelligence (AI) has started to become a mainstream phenomenon. One of the latest applications of AI is to generate visual artwork from natural language descriptions where anyone can interact with it to create thousands of artistic images with minimal effort, which provokes the questions: what is the essence of artistic creation, and who can create art in this era? Considering that, in this study, the theoretical communication framework was adopted to investigate the difference in the interaction with the text-to-image system between artists and nonartists. In this experiment, ten artists and ten nonartists were invited to co-create with Midjourney. Their actions and reflections were recorded, and two sets of generated images were collected for the visual question-answering task, with a painting created by the artist as a reference sample. A total of forty-two subjects with artistic backgrounds participated in the evaluated experiment. The results indicated differences between the two groups in their creation actions and their attitude toward AI, while the technology blurred the difference in the perception of the results caused by the creator’s artistic experience. In addition, attention should be paid to communication on the effectiveness level for a better perception of the artistic value.

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.

Two surfactants, namely, dodecanoylglycinate and dodecanoylsarcosinate, differing only in a methyl group vs. a hydrogen atom on the amide nitrogen, have been studied with respect to solution behavior and adsorption at the air–water, oil-water and calcium carbonate-water interfaces. It was found that the ability of the glycinate surfactant of forming intermolecular hydrogen bonds via the amide group leads to tighter molecular packing, which greatly influenced the behavior at interfaces. Based on this molecular observation, potential applications were considered and emulsification, foaming and wetting tests were carried out. It could be concluded from this work that a minor change in the structure of a surfactant molecule can be very significant for technological systems and processes.

Employing cultural ergonomics concepts to product innovation for cultural education and sustainable development is the target of this study. Atayal culture is famous for its weaving craft and art. The Atayal tribe of Taiwanese aborigines weave on the Atayal loom. Traditional culture is disappearing rapidly due to colonial history and modernization. The Atayal people consider the weaving loom a cultural object when used as a weaving device. This study attempts to transform the ancient Atayal loom into a teaching device and extend Atayal weaving from execution in daily living to cultural experience and cultural heritage development. This study first explores and identifies the meaning of cultural objects and extracts their cultural features. Then, employing cultural ergonomics, a weaving box is redesigned from an ancient part of the loom into a modern weaving box. Finally, the new weaving device is evaluated and discussed. This case study examines a paradigm of how designers interact with cultural heritage and transform cultural objects into new instructional aids. Through cultural product design, it provides an intertwined experience in theoretical and practical approaches to accomplishing the development of cultural sustainability.

The rapid urbanization of the world has brought significant environmental, social, and economic challenges to human society. To build a sustainable county, there are many limiting factors, such as the environment, financial resources, and population. Based on this, the purpose of this study is to investigate how countries can empower their development through a sustainable design path for parks with the participation of all. The core of public participation in co-construction lies in the interactive relationship between the government, society, citizens, and many other groups. That is, “co-construction, co-governance, and sharing” is the basic content of the new pattern of social governance from the perspective of the park city; at its core is joint participation, division of labor, and cooperation. Using qualitative research methods, Kaiyuan, a county in Yunnan Province, was selected as a case study, focusing on the Phoenix Ecological Park and Happiness Lawn; citizens and managers were interviewed to explore paths for sustainable design in the counties. The contribution of this study is a research model of sustainable design for county parks with the participation of all the people. The study found that public participation should consider multiple co-constructions and formulate a sound sustainable design path from three dimensions: counties, managers, and citizens. Combined with the local characteristics of counties, the government has called on enterprises, organizations, and citizens to participate together in improving the quality of life and happiness of county residents. The results can be further verified in other counties.