Download the file here.


function colorChange(myColor:Number, myObject:MovieClip ) {
var colorTransform:ColorTransform = new ColorTransform();
colorTransform.color = myColor;
myObject.transform.colorTransform = colorTransform;
}
myRoot.butt01_mc.addEventListener(MouseEvent.CLICK, color01);
function color01(param:MouseEvent):void {
colorChange(0x009999, mySquare_mc);
}
myRoot.butt02_mc.addEventListener(MouseEvent.CLICK, color02);
function color02(param:MouseEvent):void {
colorChange(0x999966, mySquare_mc);
}
myRoot.butt03_mc.addEventListener(MouseEvent.CLICK, color03);
function color03(param:MouseEvent):void {
colorChange(0x666666, mySquare_mc);
}


So the first code above is a function that has two parameters; myColor and myObject. The next sets of code are all event listeners that look for a click to take place on a given MC that is acting as a button with instance names of color01 through color03. Inside each of these event listeners are their dedicated functions with the single parameter MouseEvent. Finally inside those dedicated functions is the same function call colorChange, but in each case where it is being called it is sending a different argument for the first parameter, myColor. The second argument (mySquare_mc) has remained the same and so in each case the mySquare_mc will change colour. You could also have multiple movie clips and choose which to change by simply changing the argument to, say, mySquare02_mc.

Here is the example FLA file for download.

I’ll post an example to download soon.

Facts: You can divide facts into three types: divine, natural and man made. The first belong to theology, the second to philosophy and the others to actual history. All three are open to question.

…from An Unconscious Civilization¹
It’s the last line that I find most significant; its understood within the context of philosophy, but in the case of the others, they often appear sacrosanct (yes history, too).

Gleason’s three autonomies relate to the role of design in a post enlightenment era. He speaks of the three autonomies of art, science and morality (or politics) and envisions design as a forth autonomy that uses the others to inform a praxis through design (or at least that is how I interpreted it).

Fuyuki Kurasawa writes of three paradigms of social justice that are philosophical normativism, politico-legal institutionalism, and global civil society empiricism. According to Kurasawa, “although [this is not] a comprehensive review of the multiplicity of writings on global justice”, these “three key paradigms” figure strongly in the shaping of current global social justice practices.

Links between the two may be somewhat tenuous, but it seems a reasonable comparison that might spur other thoughts on this subject matter.

1. Politico-legal institutionalism corresponds to the autonomy of morality, in that it deals with systems of legal and political institutions “in order to increase democratic accountability and socio-economic fairness”.

2. Global civil society empiricism corresponds to the autonomy of science, in that it uses a structuralist approach to analyzing, measuring and quantifying data about the various actors in the field of social justice.

3. Philosophical normativism could be seen to correspond to the autonomy of the arts in that it exists in the domain of sociology and specifically the notions of a larger personal world view or umwelt and, as a result, “specify[s] universal moral principles, such as hospitality and egalitarian reciprocity”.

But where notions of design as a forth autonomy that utilises the knowledge of the autonomies of art, science and morality, Kurasawa writes of a concern that all these approaches (accepting the comparison) are fundamentally “top down” and neglect the fundamental “realities of participants involved in the social labour of global justice”.

This seems a particularly important consideration to address. It suggests that great care should be taken not to focus exclusively on the authoritative domains at the top, and remember to give due consideration to those in a more grassroots position. Which leads me to think of Paul Hawken’s writing on the movement of movements in Blessed Unrest and then, by extension, Wade Davis’ writing in Wayfinders, about the kind of Indigenous knowledge that is so often overlooked and yet so profoundly important to a diverse pluralistic global society. And then this leads me to meta-design, because as a systems model, it feels like a way that design thinking and, what Luz María Jiménez Narváez refers to as “designs own knowledge”, can enable these disparate groups, cultures and communities, without suffering from the imposition of some kind of western authoritarian design hegemony.

Kant writes, “Space is merely the form of all appearances of the outward senses, i.e., the subjective conditioning of sensibility, by which alone intuition of the outside world is possible for us.” (Uexküll qtd in Sebeok 194)

Kant’s view of space and time is that an organism cannot, through sense perception, be immediately aware of things as they really are because objects are altered by the very act of being apprehended. “The world of real objects is knowable only through reason, and solely by this act of symbolic cognition can some true propositions – thoughts about words, thoughts about thoughts, , in brief, signs about signs – be apprehended.”(Sebeok 194)

A 6 column grid: http://www.christopherhethrington.com/downloads/Grid_8.5×11_6c.indd.zip
A 12 column grid: http://www.christopherhethrington.com/downloads/Grid_8.5×11_12c.indd.zip

Visual hierarchy is the organization of visual elements into different levels of relative importance.
Through basic design principles (such as position, scale, value, and weight), the
communication designer emphasises one element over another so the viewer is visually
drawn first to the content which is most important…

For more download the PDF here:
http://www.christopherhethrington.com/downloads/visualHierarchy.pdf

Here is the link:
http://www.markboulton.co.uk/journal/comments/five-simple-steps-to-designing-grid-systems-preface

Note that this link is to the preface. You can follow the links below that one to move progressively through the rest of them (though the navigation to the next links could be a bit more intuitive, it works well enough).