Debate

Assalamualaikum and good afternoon to Dr. Tan. Our team extremely disagree with their team's line,that mathematics subject should be excluded in Bachelor of...ape tu...Bachelor of design in animation programme. My name is Muhammad Hairul Anuar bin Aziz. This, Muhamad Nazrizam bin Mat Nawi. He will speak about count frame by frame. Muhamad Sanazi, he will speak about..emm..computer skills, and Mohamad Norazlan will talks about conclusion. Definition. For me, definition of mathematics is a calculation or plan that have..that some..that everybody have using it in daily life. Oh, i disagree. Why. Because mathematics..mathematics does not important in animation. Definition..mathematics tu..A calculation or plan that everybody have using it in daily life, not in animation. Definition of animation, for me, animation is a fantasy or idea from someone or a group that have been visualize in video or movie. He said that mathematics are important in create an animation, without mathematics, animation will look weird right. For me, creative and innovative is important to create an animation. Thats all. Thank you.

For critique challenge assessment, the chosen animation for this aesthetic evaluation is ‘FOR THE BIRDS’ from PIXAR STUDIO. One criterion has been set based on objectivism, i.e, audience should laugh out loud after watching this animation from the beginning until the end of the video.

Firstly, in this animation, we can see that the group of little birds hanging on the cable wire and have some little fight. Then, after they see other bird ( a big bird), little fight that they had before turn to a cheering condition because they all laugh at that big bird. Then, when that big bird come close to them, they all mad and want to bring down that big bird. After that big bird had fall, they all flew away to sky and then fall down without a single of fur. Then, that big bird laugh loudly after saw they all naked (don’t have a single of fur). The moral here, what we do, we got it back.

After see this animation, audience should laugh out loud because this animation is so funny. Audience will still laugh if they all remember this animation eventhough they had watch this animation long time ago. The character of this animation was adorable and funny. They got a funny face to make audience laugh eventhough this animation does not have a scrip. The plot was structured and this make the audience easy to understand the storyline of this animation.

As a conclusion, the characters and storyline that this animation had will make audience laugh out loud from the beginning of the story until the end. Audience will enjoyed watching this animation and worth it. Besides that, audience can get the moral of this animation and can practice it in daily life.

Memories challenge

Analysis of Emotional Design-Why We Love Or Hate Everyday Things

Chapter 1

        Aesthetic preferences are culturally dependent.It required a somewhat mystical theory of aesthetic to find any necessary connection between beauty and function.Emotions we now know,change the way the human mind solve problem-the emotional system changes how the cognitive system operates.Emotion was ill-explored part of human psychology.Emotions play a critical role in daily lives.Emotions aid in decision making.Positive emotions are as important as negative ones-positive emotions are critical to learning,curiosity,and creative thought.Attractive things make people feel good,which in turn makes them think more creatively.Cognition and affect,understanding and evaluation-together they form a powerful team.Focus refers to ability to concentrate,without distraction,and then to go deeper and deeper into the topic until some resolution is reached.Affective system acts to tense muscle in preparation for action and to alert the behavioral and reflective levels to stop and concentrate upon the problem.Design-and for the matter,most problem solving-requires creative thinking followed by the considerable period of concentrated,focus effort.Good brainstorming and unusual,creative thinking required the relaxed state induced by positive affect.Sound and tunnel vision can change invoking a positive affect to invoking a negative affect.Sound symbolism governs the development of a language.Emotions change behavior over a relatively short term.Moods are longer-lasting,measured perhaps in hours or days.Traits are very long-lasting,years or even a lifetime.Emotions,moods and traits are changeable.

Chapter 2

        The several levels of the cognitive and emotional system-visceral,behavioral,and reflective-at work,fighting among themselves.The behavioral levels is about use,about experience with a product.But experience itself has many facets:function,performance,and usability.A products function specifies what activities its supports,what it is meant to do-if the function are inadequate or of no interest,the product is of little value.Performance is about how well the product does those desired functions-if the performance is inadequate,the product fails.The reflective is the most vulnerable to variability through culture,experience,education,and individual differences.Time is one other distinction among the levels.A person's self-identity is located within the reflective level.Visceral design product appearence,behavioral design product the pleasure and effectiveness of use,and reflective design product self-image,personal satisfaction,memories.No single design will satisfy everyone.The distinction between the term needs and wants is a traditional way of describing the difference between what is truly necessary for a person's activities(needs) versus what person ask for(wants).Embarassment is an emotion that reflect one's sense of the appropriateness of behavior.Exploitative commercial objects are describes as kitsch,as are works that claim artistic value but are weak,cheap,or sentimental.Emotions reflects our personal experiences,associations,and memories.The design challenge is to keep the virtues while removing the barriers:make it easier to store,send,and share. 

Chapter 3

         Beyond graphic elements or even the design as a whole to forge an emotional link between consumer and brands.the beauty product comes first eventhough it is expensive.Visceral design is what nature does.We are exquisitely tuned to received powerful emotional signals from the environment that get interpreted automatically at the visceral level.The beauty one will be major attractive to others.The principles underlying visceral design are wired in,consistent across people and cultures.If we design according to these rules,our design will always be attractive,even if somewhat simple.Great designs can break the sophistication's rules and survive forever,but only a few are gifted enough to be great.At the visceral level,physical features-look,feel,and sound are dominate.Good behavioral design have four component that is function,understand ability,usability,and physical feel.In most behavioral design,.function comes first and foremost.Getting the function right would seem like the easiest of the criteria to meet,but in fact,it is tricky.The first step in good behavioral design is to understand just how people will use a product.There are two kinds of product development:enhancement and innovation.Enhancement meant to take some existing product or service and make it better.Innovation provides a completely new way of doing something that was not possible before. reflective design covers a lot of territory.It is all about self-image and the message a products sends to others.Reflective-level operation often determine a person's overall impression of a product.The overall impact of a product comes trough reflection-in retrospective memory and reassessment.

Analysis of Schiller’s First Letter -5th Letter

The Letter Upon The Aesthetic Education of Man, 1794 is about what Schiller felt about degeneration into violence and the failure of successive governments to put its ideal into practice. He wrote the Letter as a philosophical inquiry into what had gone wrong, and how to prevent such tragedies in the future. He also asserts that it is possible to elevate the moral character of a people. Schiller think that the better portion of happiness should not far remove from nobility of human nature. Schiller’s treatise On the Aesthetic Education of Man was largely ignored after the initial reactions to its publication. Up to the middle of the nineteenth century the letters were discussed mainly in terms of their political implications. One of the reasons for the sparse critical attention the letters received was that the public’s familiarity with Schiller’s poetic and dramatic works tended to obscure his aesthetic and philosophical writings. The work was seen as Schiller’s failed attempt to “combine Kantian principles with his own terminology, poetic language, and rhetoric.”. In the 1820s, in his lectures on aesthetics at the University of Berlin, Hegel sought to free Schiller’s discourse from the Kantian context in which his work had so far been discussed and compared unfavorably. Hegel went as far as to insist that Schiller had surmounted the limitations inherent in Kant’s Critique of Judgment, the most important one being the conception of the aesthetic as performing a merely regulative function in the union of nature and reason. In Hegel’s mind, Schiller had overcome Kantian dualism by getting rid of the Kantian “as if”: the idea that we are to approach nature as if it had a purposiveness of its own, even though in reality that purposiveness is ‘borrowed’ from, or imagined on analogy with, the purposiveness of our own reason. Hegel was not the only one to attempt to disengage Schiller’s work from its Kantian context. Around the same time, Wilhelm von Humboldt became the first commentator to argue that Schiller’s ideas are not merely reworking of Kant but originate in Schiller’s own work from the 1780s. More recently, critics have sought to demonstrate the continuity between Schiller and pre-Kantian German philosophy. Thus, Ernst Cassirer has traced Schiller’s notion of ‘ideal beauty’ back to Leibniz’s Theosophie des Julius, in which Leibniz considers art and nature as analogs of each other. Others ascribe a greater importance to Schiller’s friendship with Goethe than to his readings of Kant. According to this interpretation, Schiller was deeply affected by the consequences of the French Revolution and accepted Goethe’s belief that the poet ought to remain a stranger to his age, that art need not fulfill a moral function. Not everyone subscribed to Hegel’s opinion of Schiller. Hölderlin, among others, refused to credit Schiller with overcoming Kant’s notion of the aesthetic as a regulative idea. Schiller, he believed, failed to acknowledge the ontological or metaphysical status of the aesthetic . He did not remove Kant’s “as if” clause in his interpretation of aesthetic judgment. By stressing the idea of freedom, Schiller subordinated the aesthetic to the moral (like Kant before him) instead of understanding the aesthetic as a means to knowing being itself. These two views—Schiller the moralist, writing in the shadow of Kant, and, on the other hand, Schiller the aesthete. Schiller’s failure to provide a coherent analysis of the relationship between the beautiful and the sublime, can be attributed to his ambivalent relationship to Kant. The point on which there has been most disagreement is the extent to which Schiller merely repeated the Kantian gesture of subsuming the aesthetic under the moral (conceiving the aesthetic merely as a means to a higher end, the moral state) or he actually gave the aesthetic its due (regarding aesthetic education as an end in itself). The idea of the moral as the higher end of the development of aesthetic intuition was by no means new at the end of the eighteenth century. The notion of moral sensibility was prevalent in eighteenth century Germany as part of the more general concept of Sentiment (“Empfindsamkeit”), according to which “properly cultivated emotions are our most reliable moral guides.” The source of Schiller’s concept of nature as ideal should be sought namely in the rise of the sentimental attitude. The ambiguities in Schiller’s treatment of the aesthetic both as an end in itself and as a means to a higher moral end have been attributed to the social structure of eighteenth century Germany, particularly to the process of bourgeois emancipation: “The willingness to assume a guise of equality with the middle class on the part of the nobility was matched by a parallel tendency on the part of the Bürger to aspire to the ethical and cultural ideals of the courtier.” Thus the mixture of progressive and reactionary tendencies in Schiller’s aesthetic should be ascribed to the paradox that while the letters were addressed to a representative of the nobility (whose name was eventually suppressed upon the letters’ publication in Die Horen), and as liberal-minded as their addressee was, what Schiller was trying to do in the letters was precisely to transcend class distinctions in the public sphere. The ambiguity of the aesthetic is, therefore, at least partly due to the diplomatic strategy adopted by Schiller, a strategy “which walks a narrow line between the presentation of democratic ideals and the need to assure Augustenburg that he [Schiller] is not interested in inciting the public to revolutionary action.”