The five dimensions of curiosity An Essay by Todd Kashdan www.psychologytoday.com Joyous Exploration. This is the prototype of curiosity—the recognition and desire to seek out new knowledge and information, and the subsequent joy of learning and growing. Deprivation Sensitivity. This dimension has a distinct emotional tone, with anxiety and tension being more prominent than joy—pondering abstract or complex ideas, trying to solve problems, and seeking to reduce gaps in knowledge. Stress Tolerance. This dimension is about the willingness to embrace the doubt, confusion, anxiety, and other forms of distress that arise from exploring new, unexpected, complex, mysterious, or obscure events. Social Curiosity. Wanting to know what other people are thinking and doing by observing, talking, or listening in to conversations. Thrill Seeking. The willingness to take physical, social, and financial risks to acquire varied, complex, and intense experiences. curiosity
Drawing as a means of thinking Two-dimensional plans or sections can be seen with sketches and more diagrammatic marks all on the same piece of paper in what appears a confusing jumble.’ These sound like Gordon’s ‘wonder plots’. The architects also use their drawings as a means of thinking ‘aloud’, or ‘talking to themselves’, as Gordon put it. For example, Lawson reports the architect Richard MacCormac as saying, ‘I use drawing as a process of criticism and discovery’; and the engineer-architect Santiago Calatrava as saying, ‘To start with you see the thing in your mind and it doesn’t exist on paper and then you start making simple sketches and organizing things and then you start doing layer after layer.... it is very much a dialogue.’ The common elements in these similar descriptions are the use of drawing not only as a means of externalising cognitive images but also of actively ‘thinking by drawing’, and of responding, layer after layer and view after view, to the design as it emerges in the drawings. These observations also confirm Schön’s observation of designing as a ‘reflective conversation’ between the designer and the emerging design. It is the reliance on drawing, and the preference for the immediacy of the interaction and feedback that manual drawing gives, that makes the architects, like Gordon Murray, unenthusiastic about CAD as a conceptual design tool. Nigel Cross & Anita Clayburn Cross, Winning by Design: The Methods of Gordon Murray Section-perspective drawingThe situation talks backWhen we make a model and realize it's rubbish drawing