Eagle vision would mean 20/4 resolution, built-in magnifying glasses, and the ability to perceive an inconceivable array of colors.
<On top of sharp focus and a central magnifier, eagles, like all birds, also have superior color vision. They see colors as more vivid than we do, can discriminate between more shades, and can also see ultraviolet light — an ability that evolved to help them detect the UV-reflecting urine trails of small prey. But there’s no way to know what these extra colors, including ultraviolet, look like. “Suppose you wanted to describe the color of a tomato to someone who was born blind. You couldn’t do it. We can’t even guess what they’re subjective sensation of ultraviolet light is,” Hodos said. [Red-Green & Blue-Yellow: The Stunning Colors You Can’t See]>
Source: What If Humans Had Eagle Vision?
Monday, 14 Nov 2016
Dr James Moore
… It’s a lack of imaginative thinking that concerns us. It’s very difficult to go out on a limb and propose a really new way of thinking about something, or reimagining how we might live, there is so much pressure to conform which is making radical thought very difficult, at least in design.
Being educators, we’re always exploring ways of setting up conditions for free imagining, a place where extreme creative risk-taking is normal.
The biggest enemy is the idea of the ‘real’ being limited to only what is possible now, and the very narrow view of life, and what design can do that goes with it.
Anthony Dunne & Fiona Raby
This module allows you to take more radical entry points into your understanding of practice; taking project interest into new forms, or creating a critical design response frommore theorised, speculative, fictional or experimental catalysts.
In exploring this approach, debate around ‘designer as author’ becomes central to studying the discourse between maker and reader; how works are used and evolve; how you or your work disrupts or provokes.
Analysis of key theories and ideas form the starting point for this module, giving a strong emphasis to a ‘praxis’ based approach, ‘making in new ways’ and exploring broader arts orientated-methodologies.
The project in this final module of ‘deconstruction’ sees you submit a critical and contextual essay, structurally coupled to the practice based enquiry.
1. Deliberately re-phase process to enhance innovation in practice.
2. Identify new contextual insight and theory to support evolving practice.
PRAXIS IS THEORISED MAKING
3. Facilitate a review of practice methodology through experimental exposure to new media platforms and embrace risk as a fundamental character to design practice.
Within this module you will…
- Adopt a critical design perspective and apply broader arts practice methodologies.
- Undertake Critical and contextual essay writing, structurally coupled to your practice.
- Develop an authorial position and methodology in relation to design process & scenario modelling.
- Develop digital and analogue making skills.
Examples of data driven practices
Newsfeed haiku / Oliver williams
third deepest harbour in the world
Week 1. Research
Week 2. Propose
Design outcomes, development work & critical reflection [75%]
All development work, research and final outcomes should be presented on project boards.
Your DRJ for this period should also incorporate a video / concept demonstration of you electronic prototype.
2500 word essay [25%]
Your essay should reflect on the critical theoretical framework you adopted & explain how this inflected upon the design & development of your work.
i would be making a journal, notes by working on the idea all the time