The book is an example of how I can involve different people as much as possible in the design process, turning the design into an interactive process. I interact with the audience, and we are all designers of this book. Participation is necessary to complete the experience and generate meaning — and this dynamic situation contributes to the existence and quality of perceptual ergonomics.    I chose the cover of a 1960 Form magazine as my raw material (see cover). That is a poster containing a lot of daily objects. Because of the age, the content does not have many items related to science and technology; I split all the content into small pieces of material to provide to the participants. Since the original poster is not very specific to the depiction of each item, everyone's understanding of each item will be different, which is why I chose this poster, improving the space to create.Participants are asked two identical questions before they participate: how do you understand the term "perceptual ergonomics"; moreover, why you did you collage like this? 
    In the process of collage, the method is not limited, and the number of choices is not limited — the process only needs participants to express as completely as possible the words they want to express. In this process, I hope to improve everyone's participation in a design project. When we work together, we can create a whole new way of designing. The increase in participation also improves people's perceived ergonomic satisfaction in the design.

这本书是一个示例,说明了我如何在设计过程中尽可能多地让不同的人参与进来,从而将设计变成一个交互式过程。我与读者互动,我们都是本书的设计师。参与是完成体验并产生意义的必要条件-这种动态的情况有助于感知性人体工程学的存在和质量。我选择了1960年《 Form》杂志的封面作为我的原材料。那是一张包含很多日常物品的海报。由于年代久远,内容中没有太多与科学技术有关的项目;我将所有内容分解为小块材料,以提供给参与者。由于原始海报不是很具体地描述每个项目,因此每个人对每个项目的理解都会有所不同。在拼贴过程中,方法不受限制,选择次数也不受限制-该过程仅要求参与者尽可能完整地表达他们想要表达的想法。在此过程中,我希望能够提高每个人对设计项目的参与。当我们一起工作时,我们可以创建一种全新的设计方式。参与度的增加也提高了人们对设计的人体工程学满意度。