A more forceful critique emphasized that my interpretations reflect my very Western, science -- and business-based education and background. Thus, as Francois Nsenga explained in a long, thoughtful note, because of my\and context of up-bringing, education, professional practice, and socialization, together with the resultant mindset, all these cultural factors do not predispose\\reality of concern.\Those who come from very different cultural backgrounds see the phenomena quite differently. This critique ended by pointing out that \detrimental effects caused by 'homogenization' of artifacts, neither at the individual level, nor at levels of regions and of the entire planet.\cultural diversity should be compared with the loss of biological diversity.
一个更有力的批评强调，我的解释反映了我的西方，科学和基于商业的教育和背景。因此，正如Francois Nsenga在一个长期周到的说明中解释的那样，由于我的地位和语境的上升，教育，专业实践和社会化，以及由此产生的心态，所有这些文化因素都不会使我理解“关注的文化现实”。那些来自不同文化背景的人看到的现象完全不同。这个批评的结尾是指出“没有人知道，在个人层面，在地区层面和整个地球层面上，人工制品的‘同质化’造成的潜在有害和有害影响的确切数量和程度。”换句话说，文化多样性的丧失应与生物多样性的丧失相比较。
Conclusion 总结
I submit that my argument for the lack of cultural diversity in both mass-produced products and the education of industrial designers is accurate, but it can lead to two different interpretations.
我认为我对批量生产产品和对工业设计师的教育中缺乏文化多样性的论点是准确的，但它可以导致两种不同的解释。
One is that standardization of many aspects of life across the different cultures of the world is valuable. It brings all the peoples of the earth together, enabling better interaction ， communications and understanding. This is the traditional Western, technological view of the role of technology, industrialization, and the future.
一个是在世界的不同文化的生活的许多方面的标准化是有价值的。它使地球上所有的人民团结在一起，使得更好的互动，沟通和理解。这是传统的西方，技术的角色，技术，工业化和未来。
A second interpretation is that the homogenization is disturbing. It diminishes the richness of life, the importance of historical roots, ritual and custom. Cultural diversity is a powerful, positive influence and we ， as responsible designers, should pay much attention to how people behave in their environments ， supporting the richness of cultural diversity. It is not the product that is important ： It is how it is used, in context.
第二个解释是均匀化是令人不安的。它减少了生命的丰富性，历史根源的重要性，仪式和习俗。文化多样性是一个强大的，积极的影响，我们作为负责任的
设计师，应该注意人们在自己的环境中如何行为，支持文化多样性的丰富性。它不是产品是重要的：它是如何使用，在上下文。
Design education may be the same across the world because many design professors are trained in the same few universities across the world. They all belong to what one might call \design-education establishment\of people who share similar design philosophies, heavily influenced by western traditions of mass-production and the requirements of large, multinational firms. This is especially true at the PhD level, given the limited number of institutions offering PhDs in design.
世界各地的设计教育可能是一样的，因为许多设计教授都在世界上相同的几所大学接受培训。它们都属于人们所谓的“设计教育机构”，他们拥有类似的设计哲学，受西方大规模生产传统和大型跨国公司的要求的影响。在博士阶段尤其如此，鉴于提供设计博士的机构数量有限。
It is important to distinguish mass-produced, industrial design from crafts .Crafts reflect centuries or millennia of customs and behavior, and as a result, items produced by craftspeople are apt to be close fits to the demands of the culture. But the subtitle of the marvelous book by Ranjan and Ranjan of the National Institute of Design in Ahmedabad, India, Crafts of India: Handmade in India, indicates the reason for this distinction. The critical word is \Handmade crafts reflect the needs of the people for whom they are crafted. Mass-produced products are intended for use by millions of people around the world.
将大量生产的工业设计与工艺品区分开是很重要的。工艺品反映了几个世纪或几千年的习俗和行为，因此，工匠们生产的物品很容易与文化的需求紧密相连。但是，印度艾哈迈达巴德国家设计研究所的Ranjan和Ranjan的精彩图书的副标题，印度的手工艺品：手工制作在印度，表明了这种区别的原因。关键词是“手工制作”。手工制作的工艺品反映了他们所制作的人们的需要。批量生产的产品旨在供全世界数百万人使用。提出修改建议
But just because design training is similar across the world does not mean that the results should be the same. After all, modern design education emphasizes the need to design for the needs of people. Students are increasingly being trained in observational skills, design research methods, and rapid prototyping and refinement. These could be considered to be refinements on the informal ways by which people have refined craft products over the millennia. These methods should enhance sensitivity to cultural variations and people's needs.
但只是因为设计培训在全世界是类似的并不意味着结果应该是一样的。毕竟，现代设计教育强调需要为人们的需要进行设计。学生越来越多地接受观察技能，设计研究方法，快速原型设计和精细化培训。这些可以被认为是对人们在几千年内精制工艺品的非正式方式的改进。这些方法应该增强对文化差异和人们需求的敏感性。
Note that the arguments of this essay are specifically relevant to industrial and
interaction designers. So even is one to accept that the impact of culture upon mass-produced products is minimal, other areas of design are apt to be far more sensitive to culture .Because social interaction is still the major source of cultural variation, I would expect service design to vary considerably from culture to culture .As social networks pervade the communication and Internet space, they too will vary with culture. Other areas of design will have their own special sensitivities to culture.
请注意，本文的论点与工业和交互设计师特别相关。因此，即使是人们接受文化对大规模生产产品的影响也是最小的，其他设计领域对文化的敏感度也会更高。因为社会互动仍然是文化差异的主要来源，我期望服务设计从文化到文化的差别很大。随着社交网络渗透了通信和互联网空间，它们也随文化而变化。其他设计领域将有自己对文化的特殊敏感性。
Finally, how much of this argument derives from my own cultural biases? I've been educated in the West with a technical and scientific education. I've been a faculty member of major research universities in departments of psychology and cognitive science, electrical engineering and computer science, and industrial design. My experiences in business include positions as senior executive at large, multinational consumer electronic companies. Would someone with a very different background and education have reached the same conclusions?
最后，这个论点有多少来自我自己的文化偏见？我在西方接受过技术和科学教育。我是心理学和认知科学，电气工程和计算机科学以及工业设计部门的主要研究型大学的教师。我在商业方面的经验包括担任高级行政总裁，跨国消费电子公司。有不同背景和教育的人是否得出相同的结论？
I conclude with the same question with which I started: How much should culture matter for product design?
我结束与我开始同样的问题：文化应该多少产品设计的重要？