Thank you to negative team but I disagree with your opinion and still strongly believe that mathematics should be include in (BC) animation programme. Why I told like this? It is because that mathematics subject is very important aspecially in industry. For example, is need to calculation of the cost during the production film animation. after that, mathematics also important in setting the price for the services of an animator. Finally, to be a succesfull animator mathematics is need to relate with this animation programme because when animator know about mathematics it will be easily for them to production of an animation.

     The choosen animation for this aesthetics evaluation is “Sang Kancil Dengan Monyet”. In mine subjective opinion from this animation, four criteria has been set based on SUBJECTIVISM, i.e:

     The first criteria  is refered to the monkey was pretended in hunger and needed  food. When we watch the animation, I think audiences will be more carefully and fell afraid to believe somebody immediately  when he in this situation like in this animation, monkey was lying the mousedeer and tortoise for get some food with say he not eaten and in hunger. This animation also want to tell about deception like this and it is happened since former.

     Second criteria is refered to reciprocation  was acquire by monkey was eat chilli because lying the mousedeer and tortoise. It is mean all of  bad deed have a reciprocation either now or late. The animation is give educate audiences  for not doing something like monkey in this animation.

     The third criteria is tell the situation of audiences was looked this animation will become a good fell like happy and always smile until end this animation because  the animation is have  humour element. Maybe, this is a usual animation if we compare wiith anothers animation but message in this animation is very clear and  easy to understand by all level of audiences either kids,tenagers or older and should be able to born a good feeling for all audiences was watching this animation.

     Last criteria is tell about instruction will get for audiences when watchthis animation. the instruction in this animation was very usefull for audiences because this animation also tell about the situation in the world now was full with deception.

     Deferred from  my friend in emotivism criteria, his opinion is  audience should be touched with the friendship between the character instantly after watching the animation. I know, his refer to mousedeer and tortoise was helped the monkey. But for me, I not accept with this opinion, because it is a normal reflection from others  friends when he look his friend was in adversity. Automaticly he must helped his friend. So, I think it is a normal and cannot be proud about this like “ touced with friendship”  but we must proud about his element nature is helped not think it is friend or enemy.

     Don A. Norman to be known as a critic of unusable things but now, he says, he has changed. He has transformed himself into an advocate for pleasurable, enjoyable products. Beauty is good, says Norman. Successful products should a pleasure to use, and convey a positive sense of self, of accomplishment, and pride of ownership.  He a professor of computer science and cofounder of a consulting firm that promotes human-centered products, extends the range of his earlier work, The Design of Everyday Things, to include the role emotion plays in consumer purchases. According to Norman, human decision making is dependent on both conscious cognition and affect.

     This combination is why, for example, a beautiful set of old mechanical drawing instruments greatly appealed to Norman and a colleague: they evoked emotion, even though they both knew the tools were not practical to use, human reaction to design exists on three levels is appearance, behavioral and reflective. The reflective dimension is what the product evokes in the user in terms of self-image or individual satisfaction. Norman's analysis of the design elements in products such as automobiles, watches and computers will pique the interest of many readers, not just those in the design or technology fields. He explores how music and sound both contribute negatively or positively to the design of electronic equipment, like the ring of a cell phone or beeps. Norman's theories about how robots will interact with humans and the important jobs they will perform are intriguing, but weigh down an already complex text.

     To some extent, this book seems an effective rebuttal to what I will call the cognitive conceit, the primacy of cognitive processing. Cognition has commonly been pitted against emotion, by lay people and academics. That is, the intellect has been assumed to be capable of dominating emotion in a mature adult, with emotional displays being immature. In this view, emotions are just a distraction to be overcome. It seems to me that most psychology books make a token bow to instincts, reflexes, and the like, but then quickly rush on and assume that the combination of the environment and the intellect can trump heredity. However, in the past decade, modern cognitive science research has demonstrated that cognition and affective processing truly are interwoven and inseparable, and that in many respects the affective reaction establishes priorities. Everything has a cognitive component, to assign meaning, and an affective component, to assign value. Therefore, the manifestation of the two in behavior means that good product design must accomodate the integration of affective, behavioral, and cognitive reactions.

     Norman opens  the book with a discussion of three teapots he owns. He doesn’t use them, but he loves how each tells a story. One is impossible to use, one is a classy glassy Michael Graves design and one is unusual. He says when we like the look of an object; we’re more willing to overlook its design flaws as opposed to using something with no flaws and an ugly design. Then, He explaining what the three levels of design are, and how these levels affect both the audience and the designer. Visceral design is about appearance, the senses, and beauty. Behavioral design is about performance, function, and pleasure and effectiveness of use. Reflective design is about rationalization and intellect, the cognitive realization of a product, and how the product relates to the individual. Emotions are a necessary part of cognition they change the way we think, and serve as constant guides to appropriate behavior, steering us away from the bad and towards the good.Learning about these levels of emotion not only informs me of one of the sneakiest ways that the processed food industry exploits consumers that the emotional side of design may be more critical to a product’s success than its practical elements. It also informs me how to use these principles to design ethically for consumers so that they may be empowered to make more educated decisions. At the visceral level is about how food presentation affects consumption. Next, the behavioral level is how the food tastes, satisfies hunger, and immediate pleasures an individual feels while eating it. Then, the reflective level is  tell how knowledge and interest of health and nutrition affects people’s decision to eat something or not.

     As a conclusion, Donald A. Noman offers intriguing examples in the book to show how objects evoke emotions. The book loses its way in the last part when the author delves in the world of robots. While it talks about the possibility of robots having emotions, it tells nothing about products and human behavior. Except for this part, the book was a quick and fascinating read. Those who want to understand how design influences purchases will enjoy the book because many of its concepts apply to business situations related to selling and designing products.