Children\u27s Aesthetic Perception: A Developmental Study of Judgements and Attitudes Concerning the Drawings and Paintings of Children

Though children\u27s aesthetic sensitivity has been explored quite extensively in recent years, studies of this subject have been confined to children\u27s response to adult art. In this study two sets of stimulus materials were devised, which enabled the examiner to elicit children\u27s responses to their own artistic productions, as well as those of other children of similar age. The subjects in this first study were kindergarten children, 5-6 years old, who were interviewed individually about their own artistic productions and the media they employed in creating them. The second study extended the age range to include students from kindergarten through second grade, ages 5-8, and employed a set of stimulus materials representing the art work of children 5-9 years of age. Subjects were interviewed individually by the examiner and questions were devised to elicit response to a variety of aesthetic considerations. Students in both groups showed evidence of aesthetic sensitivity in their preferences, in critical comments and in their awareness of the developmental nature of art. Children in the first study, which employed both production and perception tasks, displayed greater enthusiasm as well as greater sensitivity to aesthetic elements. Both studies identified a strong cognitive-developmental component in aesthetic responding, evident not only in children\u27s changing views and responses, but in their awareness of skills and abilities. Children gave evidence of reflection, interest, and a dialogue between production and perception. The studies confirm the presence of, and the developmental nature of aesthetic awareness in young children

Graphic Legibility Enhancement using Simplification Guidelines

This study explores an approach to app icon legibility enhancement. Four areas of research are included: (1) design process; (2) the trend of logo/app icon redesign; (3) graphic legibility and (4) graphic simplification. It presents the results of five experiments designed to capture and compare design principles. Firstly, the result categorised the characteristics of simple shape. Secondly, the agreement of simplification judgement was summarised based on the average score of participants. Thirdly, the impact of each simplification criterion was compared and represented as a ratio; a measurement template and simplification guidelines were also generated at this stage. Fourthly, how this design principle (simplification guidelines) can be applied in practical use by student designers was examined. Finally, the legibility enhancement test was proved by the results of reaction time and accuracy improvement. The findings of this study determined the impact of simplification criteria with regard to: component, open-closed, weight, form, symmetry, angles and straight-curved respectively. After identifying these design principles (simplification guidelines), graphic designers, user interface designers and other users will be enabled to design a more legible logo/app icon design required for display on small devices

Problems of communication and perception = Труды по психологии. Проблемы общения и восприятия

• P. Tulviste. On the origins of theoretic syllogistic reasoning in culture and in the child • P. Tulviste, A.Lapp. Could Margaret Mead's methods reveal animism in Manus children? A partial replication study in an European culture • T. Bасhmann. Cognitive contours: Overview and a preliminary theory • T. Bаchmann. Visual search and selective adaptation • J. Allik, M. Tepp. Spontaneous movement perception: Precision of the temporal discrimination depends on spatial separation. • M. Rauk, A. Luuk. Perceived visual direction of the brief test-flashes on the horizontal scale. • V.I. Кushpil, J. Allik, Yu.V. Alekseev, E.K. Veselоva, L.F. Petгоva, V.P. Smirnоv. Regularities of visual search in complex field • J. Valsiner, A. Tamm. Mother-infant interaction: A longitudinal study of behavioural interrelations • J. Valsiner, I. Tago, V. Lооlaid, K. Hauk. Maternal subjective culture: An experimental study of the post-partum cognitive phenomena • M. Kоtik. A method of diagnostics of a person's attitude towards an alarming event • П. Тульвисте. Опроисхождении теоретического силлогистического мышления в культуре и у ребенка (Резюме ) • П. Тульенсте, А. Лапп. Могли ли методики Маргарет Мид обнаружить анимистическое мышление у Мануских детей? Частичное повторное • Т. Бахман. Когнитивные контуры: Обзор и предварительная теория. (Резше) • Т. Бахман. Зрительный поиск и селективная адаптация. (Резюме) • D. Аялик, М. Тепп. Спонтанное восприятие движения: Точность временного различения зависит от пространственной удаленности. (Резюме) • М. Раук, А. Луук. Воспринятое направление кратковременных тестовых вспышек на горизонтальной шкале. (Резюме) • В. И. Кушпиль, Ю.К. Аллик, Ю.В. Алексеев, Е.К. Веселова , Л.Ф. Петрова, В.П. Смирнов. Закономерности зрительного поиска на слож • Я. Вальсинер, А. Тамм. Взаимодействие матери и ребенка: Лонгитудинальное исследование взаимосвязей в поведении. (Резюме ) • Я. Вальсинер, И. Таго, В. Лоолайд, К. Xаук . Материнская субъективная культура- Экспериментальное изучение послеродовых когнит (Резюме) • М. Котик. Метод диагностики отношения человека тревожной ситуации. (Резюме) • Contents. Содержаниеhttp://tartu.ester.ee/record=b1222889~S1*es

The Consensual Assessment Technique as a measure of creativity in children\u27s musical compositions motivated by visual and verbal stimuli

ABSTRACT The purposes of this study were: 1) To compare the relationship between the degrees of creativity shown in musical compositions of third grade students (N=163) when they were exposed to either a visual or verbal stimulus, and 2) to examine inter-judge reliability for creativity ratings using the Consensual Assessment Technique (CAT) with instrumental group compositions. Throughout a nine-week teaching unit, all subjects participated in regular music classes where they learned compositional techniques and concepts. They worked in small cooperative learning groups of 3 to 6 students throughout the unit to compose several “mini” compositions and two large-scale compositions. For the last composition, four classes received a verbal stimulus and the other four received a visual artwork stimulus. Performances of these 34 compositions were videotaped and judged on 13 dimensions by three elementary music teachers using the CAT. Even though both stimuli were successful compositional motivators for their respective groups, the subtle differences in stimuli types over a short period of time as in this study were not influential enough to affect the creativity scores of student compositions. No significant differences were found between the two groups for any of the dimensions. Reliability scores were calculated, and ranged from .48 to .83 with coefficients on 11 of the 13 dimensions resulting in significant (p\u3c.05) agreements among the three judges. This assessment technique was found to be successful when used with small group instrumental music compositions of third grade students

A procedure for systematically describing teacher-student verbal and nonverbal interaction in the teaching of choreography

It was the purpose of this study to develop and examine the feasibility of a procedure to systematically describe teacher-student verbal and nonverbal interaction in the teaching of choreography. A multidimensional category system was constructed based upon two major ideas: (1) the theoretical considerations of the components of the choreographic process, and {2) the unity of man as it relates to dance. The category system, with 34 categories, had four major divisions: Cognitive, Affective, Kinetic-kinesthetic, and Technical. The Cognitive division had eight categories that identified behaviors with knowledge and facts as their focus; The Affective division, with 10 categories, identified behaviors of feelings, attitudes, and opinions; The Kinetic-kinesthetic division had 13 categories and identified specific choreographic behaviors; and The Technical division had three categories and served as an aid in coding class organization and technical details. Four means of identification were common to all four divisions: teacher, student, verbal, and nonverbal

Vividness, Consciousness, and Mental Imagery

Today in many studies, mental images are still either treated as conscious by definition, or as empirical operations implicit to completing some type of task, such as the measurement of reaction time in mental rotation, an underlying mental image is assumed, but there is no direct determination of whether it is conscious or not. The vividness of mental images is a potentially helpful construct which may be suitable, as it may correspond to consciousness or aspects of the consciousness of images. In this context, a complicating factor seems to be the surprising variety in what is meant by the term vividness or how it is used or theorized. To fill some of the gaps, the goal of the present Special Issue is to create a publication outlet where authors can fully explore through sound research the missing theoretical and empirical links between vividness, consciousness and mental imagery across disciplines, neuroscience, psychology, philosophy, cognitive science, to mention the most obvious ones, as well as transdisciplinary methodological (single, combined, or multiple) approaches

The segmentation of visual form

The argument of this work is that, despite the massive body of literature that has accumulated in the decades since the discovery of 'gestalt' as the ruling principle of perception, little genuine progress in solving the problem posed by the visual perception of form has been made. This state of affairs is attributed, moreover, to a fundementally inadequate formulation of this problem. It is not enough merely to revise this or that theory, or this or that experimental design, if the argument is correct; rather, it is necessary to revise the formulation of the form problem upon which theory and experimental design rest. Thus, the reformulation suggested is that (a) form is the unit which segments space, and consequently that (b) the problem posed by this unit is essentially that of its segmentation/formation of space, rather than that of its recognition/conservation through change in space; the former is the primary, the latter the secondary, (psycho-physical) problem posed by the visual perception of form. This work also contains a segmentation (spatial/holistic) theory of form, and five experiments designed to test this theory against current recognition (dimensional/analytic) theories of form (for example, see Corcoran, 1971); these experiments are all concerned with different facets of the role played by contour in visual perception, and they provide some evidence for the former, and against the latter, type of theory. It should be pointed out that both in the main body of the text, and in an appendix, it is argued that segmentation is primarily two-dimensional rather than three-dimensional: two-dimensional 'figure'form is primary over three-dimensional 'object' form in perceptual development, and indeed, the latter is constructed from the former. (This hypothesis is part of a more general point of view about cognition, namely that there is an a priori spatial system which is used to process perceptual input, and establish in it the spatial structure of perceptual experience, but one whose conceptual implications and properties become available for symbolisation and thinking when it is freed from the task of perceptual processing by being lifted out of perception into a visual form of representation which Bruner terms 'ikonic' (See Bruner et al., 1966).)<p

Engineering Data Compendium. Human Perception and Performance, Volume 1

The concept underlying the Engineering Data Compendium was the product an R and D program (Integrated Perceptual Information for Designers project) aimed at facilitating the application of basic research findings in human performance to the design of military crew systems. The principal objective was to develop a workable strategy for: (1) identifying and distilling information of potential value to system design from existing research literature, and (2) presenting this technical information in a way that would aid its accessibility, interpretability, and applicability by system designers. The present four volumes of the Engineering Data Compendium represent the first implementation of this strategy. This is Volume 1, which contains sections on Visual Acquisition of Information, Auditory Acquisition of Information, and Acquisition of Information by Other Senses

A cross-cultural study of susceptibility to the Müller-Lyer and Ponzo illusions

In order to investigate certain anomalies evident in the literature, the performances of three Xhosa groups (rural dwellers, urban dwellers, and undergraduates) of varying degrees of acculturation and a White undergraduate group, each group consisting of 30 subjects, were measured on tests of mode of field approach and susceptibility to the Müller- Lyer and Ponzo illusions. In addition, the effect of the introduction of a mental set, which facilitated the perception of perspective in the Ponzo figure, on susceptibility to the illusion was ascertained. Mode of field approach was measured by a portable version of the Rod-and-Frame Test. Susceptibility to the Müller-Lyer illusion was measured by a conventional movable- slide, subject-adjustable device, while a piece of apparatus which also worked on the movable slide principle and was subject-adjustable was developed to measure susceptibility to the Ponzo illusion. The set to facilitate the perception of perspective in the Ponzo figure was introduced by having subjects match the length of Ponzo contrast lines embodied in a photograph and a line-drawing of a bridge, both of these pictures having strong perspective cues. The subjects were required to perform the tasks in prescribed order. Standardised English or Xhosa instructions were ensured by the use of "programmed" worksheets for each task. Prior to each experimental task, the more unacculturated subjects performed comprehension checks to ensure that they understood the concepts of equal length and verticality. The results of the study suggested that: (i) When groups of differing acculturation levels are tested, there may be a pronounced negative association of field dependence with susceptibility to the Müller-Lyer and Ponzo illusions. In general, the more unacculturated the subject, the more field dependent and the less susceptible to illusions he was. However, there was no evidence which either strongly supported or refuted the relationship between these attributes at the intra-group level. (ii) There is no intra- group association between susceptibility to the Müller-Lyer and to the Ponzo illusions. This would indicate that they are not necessarily generated by similar inference habits or by similar contour properties. (iii) The introduction of a "perspective set" increases susceptibility to the Ponzo illusion only among acculturated subjects, who have well-developed pictorial depth perception skills and who habitually infer depth in inverted - V configurations. (iv) There is a significant association between acculturation and field independence. The unacculturated subjects, presumably because they lack the skills of visual analysis which are engendered by Western culture, were more field dependent than the acculturated subjects. (v) Provided that their degrees of acculturation are more-or-less equivalent, as were those of the two undergraduate groups, there are no differences in mode of field approach or susceptibility to the Müller-Lyer and Ponzo illusion among Xhosa and White subjects. Summary, p. 112

Uncovering the myth of learning to read Chinese characters: phonetic, semantic, and orthographic strategies used by Chinese as foreign language learners

Oral Session - 6A: Lexical modeling: no. 6A.3Chinese is considered to be one of the most challenging orthographies to be learned by non-native speakers, in particular, the character. Chinese character is the basic reading unit that converges sound, form and meaning. The predominant type of Chinese character is semantic-phonetic compound that is composed of phonetic and semantic radicals, giving the clues of the sound and meaning, respectively. Over the last two decades, psycholinguistic research has made significant progress in specifying the roles of phonetic and semantic radicals in character processing among native Chinese speakers …postprin