Debate Recording

Heloo…ok …first of all…my name is Mohd Hasri Hasyimie bin Mohd Arshad…im the second speaker…firstly thank you  to affirmative team…im not disagree….ohh no no…im disagree with your point..ok…alright…my point is..our team hmmm… computer graphics is better than drawing skills….because…why I said like that???........because….ok..First…….firstly……alright…ok…u see ehh…computer graphics can easy to learnt..easy to learnt…what??how???ok.. like say..hmmmmm…like example…like our Boss ..Dr,Tan..he not  perfectly drawing…but…he can ..but no no…he he he expect in graphics..in graphics…in animation..example video My Pet & The Durian…ok,…hmm..and then..and then…ok..why I said computer graphic is better than drawing skill??…because…ok..because………hmmm…ok…ok ok…sorry…..alright..computer graphics,,we can learnt in software like Illustrator,photoshop ok..and also Flash…..alright..and then..if we do the drawing..if we do the mistake…ok..we are….we always..…aaa..we can’t…we can ‘t do it again…we have…aaa…no no…then then…hmmmm…aaaa…different to computer graphic,,we can edit  and we can trace the artwork easily..ok…so,,for my conclusion is we have to choose computer graphic is better than drawing skill….

critique challenge (Advertisement)

In this critique challenge, I already choose 2 advertisements to share with you all. First commercial is (Independence Day 2007, Sampan) and secondly is (Independence Day 2008, Aiman ). These commercial are produced by PETRONAS. These commercial was directed by the late Yasmin Ahmad. We should applaud her achievement because these were the best commercial ever….. One criterion has been set based on relativism.
Based on these commercials, I have looked there have their own criterion. From criterion references, the criteria is about the culture of  community a place. First commercial (sampan), show to spectators that some communities in a place not appreciate various subsidies and assistance given. But it will still not be able to stand on its own and independent. While the second commercial (Aiman) show that the child always ask his father for his desire. Then, father (abah) always allegorical to his son because their families whatever capacity with other family. Eg: father said, “kalau lah pokok cempedak abah tuh berdaun emas,jangan katakan kereta kayu, kereta kebal pun abah  boleh beli”……..
From the norm references assessment, the culture of the first commercial and second commercial are different. This is because when someone want achive their desire,they have to work hard and be patient. These show when (second commercial ) Aiman  always ask his father for his desire but abah  always allegorical. But Aiman never give up ,he is very creative and hard working for build his own pedal car compared to second commercial (Sampan) when that man, boat manufacturer(pakcik) is lazy. He always give reason that he can not afford to make the boat more. He just dependent on subsidies only.
So, the audience should be able to remember full of the video (Aiman) after a long time as compared to (Sampan). This is because they use several Principles of Advertising in above advertisement that is Use Humor: Use a Metaphor,Give Off a Feeling, Stand Out and Be Memorable,Not Make audience think too much,and Clever and Creative.
We cannot use subjectivism because the doctrine that knowledge is merely subjective and that there is no external or objective truth. Besides,objectivism quite not suitable in making aesthetic evaluation because it is only belief in certain things,especially moral truths,exist independently of human knowledge or perception of them. The tendency to emphasize what is external to or independent of the mind. Then,for the criteria of emotivism,it is also not suitable in making aesthetic evaluation because it is an  ethical theory which regards ethical and value judgements as expressions of feeling or attitude and prescriptions of action, rather than assertions or reports of anything.Moral judgments do not function as statements of fact but rather as expressions of the speaker’s or writer’s feelings and the emotions are essentially physical in nature, and bodily changes come before, and cause, emotional changes.
As a conclusion, the criteria of relativism is most suitable in making aesthetic evaluation better than other criteria. There are subjectivism,objectivism, emotivism.

memory challenge

emotional design

Attractive Things Work Better.
The Japenese found the attractive ones were perceived to be easierto use. Tractinsky was suspicious. Maybe the experiment had flaws. Or perhaps the result could be true of Japenese, but certainly not of Israelis. “Clearly”, said Tractinsky, “ aesthetic preferences are culturally dependent.” Moreover, he continued, “Japenese culture is kown for its aesthetic tradition,” but Israelis are action- oriented-they don’t care about beauty.
In the early 1900s, Herbert Read, who wrote numerous books on art and aesthetics, started, “it requires a somewhat mystical theory of aesthetics to find any necessary connection between beauty and function,” and that belief is still comman today. The interaction of affect, behaviour, and cognition, but Tractinsky’s results botheredme- I couldn’t explain them. Emotion, we now know, change the way the human mind solves problems- emotional system change how the cognitive system operates. So, if aesthetic would change our emotional state, that would explain the mystery. Until recently, emotion was an ill- explored part of human psychology. Some people thought it an evolutionary leftover from our animal origins. Most thought  of emotions as a problem to be overcome by rational, logical thinking. And most of the research focused upon negative emotions such as stress, fear, anxiety, and anger. Then the human being the most emotional of all. Moreover, emotions play a crictical role in daily lives, helping assess situations as good or bad, safe or dangerous. Positive emotions are as important as negative one- positive emotions are crictical to learning, curiosity, and creative thought, and today research is turning toward this dimension. The psychologist Alice Isen and her colleagues have shown that being happy broadens the thought processes and facilitates creative thinking. When you feel good, Isen discovered, you are better at brainstorming, at examining multiple alternatives.
When people are anxious they tend to narrow their thought processes, concentrating upon aspects directly relevant to a problem. This is a useful strategy in escaping from danger, but not in thinking of imaginative new approaches to a problem. Isen’s result show that when people are relaxed and happy, their thought processes expand, becoming more creative, more imaginative. These and related finding suggest the role of aesthetics in product design: attractive things make people feel good, which in turn make them think more creatively. With most products,  if the first thing you try fails to produce the desired result, the most natural response is to try again, only with the more effort. In today’s world, doing the same operation over again is very unlikely to yield better results. The correct response is to look for alternative solutions. The tendency to repeat the same operation over again is especially likely for those who are anxious or tense. Then, theyget even more tense, more anxious, and increase their concentration upon those troublesome details. In the words, happy people are most effective in finding alternative solutions and, as a result, are tolerant of minor difficulties. Herbert Read thought we would need a mystical theory to connect beauty and function. Affect, emotion, and cognition have also evolved to interact with and complement one another.
Human beings are, of course, the most complex of all animals, with accordingly complex brain structures. But we are also have powerful brain  mechanisms for accomplishing things, for creating, and acting. And finally,unique  among animals, we have anguages and art, humor and music. There are three different levels of the brain: the automatic, prewired layer, called the visceral level; the part that contains the brain processes that control everyday behaviour, known as the behavioural level; and the contemplative part of the brain, or the reflective level. At the highest evolutionary level of development, the human brain can think abiout its own operations. This is the home of reflection, of conscious thought, of the learning of new concepts and generalizations about the world.­­ The result is that everything you do has both a cognitive and an affective component- cognitive to assign meaning, affective to assign value.
Positive affect arouses curiosity, engages creativity, and makes the brain into an effective learning organism. With positive affect, you are more likely to see the forest than the trees, to prefer the big picture and not to concentrate upon details. On the other hand, when you are sad or anxious, feeling negative affect, you are more likely to see the trees before the forest, the details before the big picture.
Then, emotions, moods, traits, and personality are all aspects of the different ways in which people’s mind work, especially along the affective, emotional domain. Emotions change behavior over a relatively short term, for they are responsive to the immediate events. The behavioural and reflective levels, however, are very sensitive to experiences, training, and education. Cultural views have huge impact here:what one culture finds appealing, another may not. So what is the designer to do? In part, that is the theme of the rest of the book. But the challenges should be thought of as opportunities. Designers will never lack for things to do, for new approaches to explore.
The design requirements for each level deffer widely. The visceral level is pre- consciousness, pre-consciousness, pre-thought. This is where appearance matters and first impressions are formed. Visceral design s about the initial impact of a product, about its appearance, touch, and feel. The behavioural level is about use, about experience with a product. But experience itself has many facets, function, performance, and usability. Then, performance is about how well the product does those desired functions-if the performance is inadequate, the product fails. At the lower visceral and behavioural levels, there is only affect, but without interpretation or consciousness. Interpretation, understanding, and reasoning come from the reflective level. Then, the three levels, the reflective one is the most vulnerable to variability through culture, experience, education, and individual differences. This level can also override the others. Hence, one person’s liking for otherwise distasteful or frightening visceral experiences that might repel others. Reflective design,is about long term relations, about the feelings of satisfaction produced by owning, displaying, and using a product.
Get three levels of design,each of that –visceral, behavioural, and reflective, plays its part in shaping your experience. Each is an important as the others, buut each requires a different approach by the designer. Visceral  design is what nature does. We are exquisitely tuned to receive powerful emotional signals from the environment that get interpreted automatically at the visceral level. Then, behavioural design is all about use. Apperance doesn’t really matter. Rationale doesn’t matter. Performance does. This is the aspect of design that practitioners in the usability community focus upon. The first step in good behavioral design is to understand just how people use a product. Lastly reflective lecvel operations often determine a person’s overall impression of a product. The overall impact of a product through reflection in retrospective memory and reassessment.

Esthetic Education

The Letters of  "Esthetic Education," which were wrote by J.C Friedrich Von Schiller is a philosophic basis for his doctrine of art, and indicates clearly and persuasively his view of the relationship of beauty in human life. It is also a philosophical enquiry into the source of art and beauty. The enquiry consists of five letters to the reader, describing how human freedom related to art and beauty.
In Schiller's aesthetic philosophy, human nature consists of two sections of being: that which persists, and that which changes. The human self (or Person) is that which persists, and its determining Condition is that which changes. The self and its Condition are distinct in finite being, but are unified in Absolute Being.
Schiller says that the unchanging self is not determined by time, but that time is determined by the unchanging self. Time is a Condition for contingent becoming, and for all contingent being. Every human being is situated in a particular situation. The pure Intelligence within the Person is everlasting, but the Condition in which the Person finds himself or herself is determined by time. Thus, the success of a Person is determined by time which leads to the awareness of theirown eternal self.
Schiller asserts that finite being is mostly related to causes or conditions, but not many people aware that the necessity of a person is determine through itself. Human beings, as finite beings, must thus confront not only the task of trying to bring the necessity within themselves to reality, but also to bring the reality outside of themselves. These two important and challenging tasks are determined by opposing forces in human nature. The sensual drive is toward physical reality, the rational drive is toward formal reality.
Schiller also asserts that Person and Condition are mostly related to two realms of being. The more autonomy or self-determining activity is transferred to the Person, the less that the Person is subject to changing forces in the world. Thus, the more that the Person is trying to changing forces in the world, the less autonomy or self-determining activity is that person will be. Aesthetic activity is derived from a unity of Person and Condition, in that there must be a reality belonging to the Person if he or she has self-determining activity, and there must also be a reality belonging to the world if the Person must be situated in a Condition.
According to Schiller, aesthetic education can produce an increased level of awareness or receptivity to the world. It also can produce an increased intensity in the determining activity of the intellect. The aesthetic impulse, or "play drive," can thus combine passive and active forces, which can produce a unity of feeling and reason.
If intensity is transferred from the active function of the intellect to the passive function of sensation, then the receptive faculty of sensation may predominate over the determining activity of the intellect. If intensity is transferred from the passive function of sensation to the active function of the intellect, then the determining activity of the intellect may predominate over the receptive faculty of sensation. Thus, the aesthetic ideal is achieved by an interaction of passive and active forces, producing a balance between feeling and reason.
While the sensual drive exerts a physical constraint, the rational drive exerts a moral constraint. While the exclusion of freedom from the function of the sensual drive implies physical necessity, the exclusion of passivity from the function of the rational drive implies moral necessity.
The goal of the man’s material drive is a physical reality, while the goal of the rational drive is a formal reality. The aesthetic ideal of beauty is thus defined by a unity of physical and formal reality.
Schiller asserts that beauty is an aesthetic unity of thought and feeling, of contemplation and sensation, of reason and intuition, of activity and passivity, of form and matter. The attainment of this unity enables human nature to be realized and fulfilled. Beauty (or aesthetic unity) may lead to truth (or logical unity). However, when truth is perceived, feeling may follow thought, or thought may follow feeling.3When beauty is perceived, thought is unified with feeling.
According to Schiller, freedom is attained by a person when allow both sensual and rational drives, to be fully expressed. This is must be made without being constrained by them. Culture does not give us freedom as it cannot be develop. But time can change this to differentiate which is more necessity and can lead us to the knowledge that we need. We must be fully conscious of our own self in order to differentiate the unnatural and mere nature of the equilibrium of evil which set to bound on it.