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Wistisen, Michele. "Can lessons designed with Gestalt laws of visual perception improve students' understanding of the phases of the moon?" Laramie, Wyo. : University of Wyoming, 2009. http://proquest.umi.com/pqdweb?did=1939351911&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Eraydin, Zeynep. "Building A Legible City: How Far Planning Is Successful In Ankara." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608221/index.pdf.
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Human environment perceptual relationships have significant effects on human psychology in urban spaces. The concepts of urban legibility and imageability concentrate on these relationships and define components to create livable places by organizing the physical structure. However, determining legibility components is not sufficient in order to define whether a place legible or not.
This thesis explores Gestalt laws of perception can be used to re-define the relationships among legibility components by setting some guidelines. The main aim of this thesis is to find out how far planning is successful in creating legible environments which is evaluated by legibility guidelines set. The thesis also aims to explore issues that make an environment more readable than others. To this end, Çayyolu district containing several sub-districts which are recently developed by plans are examined in a comparable way. The result of the analyses show that the concepts of legibility and imageability are underestimated in planning practices in Ç
ayyolu which is based on two-dimensional subdivisions of lands and three dimensional determination of bulks of structures. In other words, the Ç
ayyolu district does not provide a legible environment and a whole structure for observers that their psychological needs should be met.
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Dhande, Sheel Sanjay 1979. "A computational model to connect gestalt perception and natural language." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/61139.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.Includes bibliographical references (p. 79-82).
We present a computational model that connects gestalt visual perception and language. The model grounds the meaning of natural language words and phrases in terms of the perceptual properties of visually salient groups. We focus on the semantics of a class of words that we call conceptual aggregates e.g., pair, group, stuff, which inherently refer to groups of objects. The model provides an explanation for how the semantics of these natural language terms interact with gestalt processes in order to connect referring expressions to visual groups. Our computational model can be divided into two stages. The first stage performs grouping on visual scenes. It takes a visual scene segmented into block objects as input, and creates a space of possible salient groups arising from the scene. This stage also assigns a saliency score to each group. In the second stage, visual grounding, the space of salient groups, which is the output of the previous stage, is taken as input along with a linguistic scene description. The visual grounding stage comes up with the best match between a linguistic description and a set of objects. Parameters of the model are trained on the basis of observed data from a linguistic description and visual selection task. The proposed model has been implemented in the form of a program that takes as input a synthetic visual scene and linguistic description, and as output identifies likely groups of objects within the scene that correspond to the description. We present an evaluation of the performance of the model on a visual referent identification task. This model may be applied in natural language understanding and generation systems that utilize visual context such as scene description systems for the visually impaired and functionally illiterate.
by Sheel Sanjay Dhande.
S.M.
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Chang, Dempsey H., and n/a. "A Gestalt-Taxonomy for Designing Multimodal Information Displays." University of Canberra. Arts & Design, 2007. http://erl.canberra.edu.au./public/adt-AUC20081203.123314.
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The theory of Gestalt was proposed in the nineteenth century to explain and predict the way that people perceptually group visual elements, and it has been used to develop guidelines for designing visual computer interfaces. In this thesis we seek to extend the use of Gestalt principles to the design of haptic and visual-haptic displays.
The thesis begins with a survey of Gestalt research into visual, auditory and haptic perception. From this survey the five most commonly found principles are identified as figure-ground, continuation, closure, similarity and proximity. This thesis examines the proposition that these five principles can be applied to the design of haptic interfaces.
Four experiments investigate whether Gestalt principles of figure-ground, continuation, closure, similarity and proximity are applicable in the same way when people group elements either through their visual (by colour) or haptic (by texture) sense. The results indicate significant correspondence between visual and haptic grouping. A set of haptic design guidelines for haptic displays are developed from the experiments. This allows us to use the Gestalt principles to organise a Gestalt-Taxonomy of specific guidelines for designing haptic displays. The Gestalt-Taxonomy has been used to develop new haptic design guidelines for information displays.
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Ali, Nadia. "The interactive effect of Gestalt laws of perceptual organisation and task demands on graph comprehension." Thesis, University of Huddersfield, 2011. http://eprints.hud.ac.uk/id/eprint/11452/.
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I describe a series of seven experiments investigating how undergraduate students' comprehension of 2x2 `interaction' bar and line graphs widely used to present data from two-way factorial research designs is affected by both the graph format and the nature of the interaction with them. The first four experiments investigate how different Gestalt principles of perceptual organization operate in the two graph formats and demonstrate the effects of these principles (both positive and negative) on graph comprehension. In particular, Gestalt principles are shown to hinder significantly students’ comprehension of data presented in line graphs compared to bar graphs and that the patterns of errors displayed by students are systematic. The analysis also informs the development of two modified line graphs, one of which improves data interpretation significantly to the level of the bar graphs. The final three experiments investigate more deeply how the processes involved in different types of interaction with graphs affect users’ comprehension of the data depicted. In the first four experiments, participants attempted to understand the graphs while thinking aloud. However, a subsequent study (Experiment 5) demonstrated that writing an interpretation produced significantly higher levels of comprehension for line graphs than when thinking aloud. The final two experiments sought to identify the cause of this difference by isolating demands specific to the verbal protocol condition. The results of this research show that (a) in certain circumstances the Gestalt principles of perceptual organization that operate in different graph formats can significantly affect the interpretation of data depicted in them but that (b) these effects can be attenuated by the nature of the interaction. The implications of this research are that identifying an appropriate method of interaction as well as ensuring appropriate display design ensures that the majority of users will be able to interpret these graphs appropriately and so recommendations can be made for graph use in educational settings.
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Hassan, Mohamed Sayed. "Cassirer and structuralism of perception : an application of group theory to Gestalt psychology." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/2535/.
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Ernst Cassirer's task was to set up an account of perception as objective judgement. We can trace Cassirer's view of perception through three different accounts each of which aimed to give an answer of how perceptual judgements can be possible. These three accounts started from (1900-1923) where he presented his view depending on Functional- Relational analysis of perceptual experience. The second account started from (1923-1933) where he presented his view of perception depending on symbolic analysis of perceptual experience, and finally the third account started from (1933-1945) where the analysis of perceptual phenomena has been made depending on his apprehension of Group Theory. The main target of Cassirer in the third account was to show that there is similarity between geometry and perception with respect to the ways both of these two disciplines build up their objects. Having the same logical base, Cassirer claimed that there is similarity between geometrical determination of the object and perceptual determination of the experienced object. For Cassirer, this similarity is what allows an application of "group theory" to perception. As a result of that claim, Cassirer shifted mathematical terms such as "invariance", "frame of reference" and "transformation" from the province of geometry and reused them in the field of perception for setting up what he called psychology of thought. This thesis discusses Cassirer's first two accounts and focuses on the third account by giving examples of how the mathematical concept of "group" can be used as an analogy to provide an intrinsic explanation of the nature of the objects and their characteristics one experiences during the perceptual situation. The explanations of the perceptual phenomena represented in the perceptual experience, as given by Cassirer, based on Gestalt psychology, reflected this understanding. The ample examples created by the Gestalt psychologists and used by Cassirer indicated how both understood the object of perceptual experience as constructed and not as a thing or hic et nunc. I will show that in these three accounts, there are non-physical elements, which defined here as structural elements, involved in the perceptual experience. By the virtue of these non-physical elements, perceptual judgements are possible. Cassirer and the Gestalt psychologists emphasized that these structural elements are presupposed in every perceptual experience and this understanding will lead to the claim that both Cassirer and the Gestaltists presupposed the constructive unity of mind based on a transcendental analysis of the nature of mind and its cognitive processes.
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Rennig, Johannes [Verfasser], and Hans-Otto [Akademischer Betreuer] Karnath. "Neuronal and behavioral mechanisms of Gestalt perception / Johannes Rennig ; Betreuer: Hans-Otto Karnath." Tübingen : Universitätsbibliothek Tübingen, 2015. http://d-nb.info/1163282979/34.
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HARRIS, BROOKE PRESTON. "UNION OF MIND AND BODY: A PHILOSOPHICAL APPROACH TO AUGMENT THE HUMAN SPATIAL EXPERIENCE." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053447001.
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LUEHMANN, NORA. "COLOR AND SPACE IN ARCHITECTURE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147807308.
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Fox, Charles. "An entagled Bayesian gestalt : Mean-field, Monte- Carlo and Quantum Inference in Hierarchical Perception." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489442.
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Scene perception is the general task of constructing an interpretation of low-level sense data in terms of high-level objects, whose e number is not known in advance. This task is examined from a Bayesian perspective. Simple examples from musical Machine Listening are provided, but this thesis is intended as a general view of scene perception.
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Abraços, Gabriela Borges. "Aproximações entre Mario Pedrosa e Gestalt: crítica e estética da forma." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-21122012-112413/.
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A dissertação visa alçar uma reflexão sobre a produção e contribuição crítica de Mário Pedrosa para a arte brasileira, como também identificar alguns de seus paradigmas artísticos que colaboraram para a consolidação de um arcabouço teórico para História da Arte Moderna, tanto no plano nacional, quanto internacional. Objetiva-se delinear a relação entre o que Pedrosa absorveu sobre as teorias gestálticas e exemplos de como ele as aplicou na tessitura de seu discurso crítico. Ao sedimentar o foco de análise no envolvimento do crítico brasileiro com o tema da psicologia da forma, propõe-se ressaltar as implicações estéticas de seu estudo pioneiro Da natureza Afetiva da Forma na Obra de Arte. Pretende-se, ainda, identificar a intersecção entre a psicologia da forma e a crítica de arte de Mário Pedrosa, propondo a influência destas teorias nos textos sobre a obra do artista americano Alexander Calder, artista considerado pelo crítico, como o emblema da estética abstrata construtiva. Busca-se verificar como as teses da psicologia da forma ofereceram ao crítico, subsídios conceituais para uma nova relação com as premissas constitutivas e cognitivas da estética abstrata.The thesis aims at reflecting on the critical production and contribution of Mário Pedrosa to Brazilian art, as well as identifying some artistic paradigms, which contributed to the consolidation of a theoretical framework for the History of Modern Art, both at the national and international levels. The purpose here is to outline the relationship between what Pedrosa absorbed about Gestalt-based theories and examples of how he applied them in constructing his critical discourse. By focusing the analysis on the Brazilian critics engagement in the subject of the psychology of forms we propose to emphasize the aesthetic implications of his groundbreaking study Da natureza Afetiva da Forma na Obra de Arte (On the affective nature of forms in the work of art). We also intend to identify the intersection between the psychology of forms and Mario Pedrosas art criticism, pointing the influence of these theories on texts about American artist Alexander Calder, considered by the critic the symbol of constructive abstract aesthetics. We sought to verify how psychology theses on forms offered the critic conceptual material for a new relationship with the constitutive and cognitive premises of abstract aesthetics.
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BODART, AARON MICHAEL. "ECLECTIC ARCHITECTURE." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053375336.
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Subri, Nur Sabrina. "Investigating visual integration in autism using contour integration tasks." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/investigating-visual-integration-in-autism-using-contour-integration-tasks(34abbf94-bc4d-43a8-aafa-43c0cd763c74).html.
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Autism is a neurodevelopmental disorder characterized by difficulties in social interaction, communications and unusual repetitive behaviours. Studies have documented superior performance in autism in visuo-spatial tasks suggesting perceptual differences in this group. This has been suggested to result from enhanced processing of local details and reduced integration of global information. Contour integration tasks are one way of studying visual integration where participants have to detect a contour made of discrete elements (usually Gabor patches) against a background of noise. However, contour integration studies in autism have yielded mixed findings which possibly due to the closed shapes and longer stimulus duration used in these studies. Recently, Jachim et al (2015) compared contour detection using open and closed contours at a shorter duration reported reduced closure in the autistic group. Closed shapes are generally easier to detect than open shapes, termed the closure effect which is thought to result from more involvement of top-down input. Therefore, the main aim of this thesis was to further explore visual integration in autism using contour integration tasks, to understand the reasons for these variations in autism and neurotypicals. We presented six contour integration experiments using open (eg: lines) and closed (eg: square) contours. The first two experiments explored the influence of autistic traits in the general population and attentional feedback on contour integration in neurotypicals using a dual-task which interferes with processes concurrently using attention. The autistic traits showed a weak effect on contour integration, and the dual task produced a non-significant reduction to closure, that requires further exploration with larger participant numbers. The next two experiments investigated the influence of stimulus duration on contour integration in both groups to test the suggestion of slower global processing in autism. Results showed no effect of durations on closure in both groups, and that reduced closure in the autistic group did not resolved with longer durations. The final two experiments explored the relationship between closure and symmetry in both groups; another process that is thought to involve global processing and received input from similar areas that process closure. The control group showed better symmetry detection with closed contour, suggesting closure benefits symmetry detection. Despite comparable performance to the control group with the closed contour, the autistic group showed better thresholds with the open contour leading to lesser benefit of closure in symmetry detection. In summary, we reported possible variations in contour integration in general population. Additionally, results suggested that the autistic group processed contour integration and symmetry using different mechanisms. This converging evidence is suggestive of enhanced perception at low-level processing in autism, in support of Enhanced Perceptual Functioning Theory (EPF).
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Kennedy, Desmond Joseph. "Healing perception : the application of the philosophy of Maurice Merleau-Ponty to the theoretical structures of Gestalt Psychotherapy." Thesis, University of Derby, 2002. http://hdl.handle.net/10545/314237.
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This is the first time such an extensive application has been attempted. The thesis argues that Gestalt therapy as a modality of perception, can best come to a recognition of itself in the Phenomenology oj Perception. That Gestalt therapy requires such a support is apparent right from its flawed foundation in the writings of Paul Goodman. Its weak philosophical foundation has diverted its development away from the lived body, impoverished its view of phenomenology, constrained its language so that the articulation of its theoretical structures lacks depth, left it vulnerable to the distortions of post-modem constructivism, rendered unclear the domain proper to it as a psychotherapy, and bequeathed to those who would work to construct a consistent, organic and cohesive theoretical structure, an impossible task. The epistemological foundation of the theoretical structures of Gestalt therapy is to be found in what Merleau-Ponty calls 'primordial contact' or belief. This is that timeless pre-conceptual 'moment', when, without theme or image, a world begins to form itself about me. In this 'moment' I experience myself as 'given' to me in my body. This primordial experience of givenness is henceforth the ever-present anchorage of all subsequent experience. It is this which authenticates the therapist's immediacy to his/her client which constitutes the dialogue between them as healing. The argument in the thesis hinges upon the congeniality between Gestalt therapy and Merleau-Ponty's philosophy: they are both experiential, radically holistic and centred upon the lived body. They both claim to transcend the subject/object, mind/body dualism and view the human being in his/her embodiment as the Gestalt, actualizing being-in-theworld. The thesis demonstrates how, with the application of four key concepts from Merleau-Ponty's philosophy to the theoretical structures of Gestalt therapy-intentionality, anonymity, transcendence and intersubjectivity - there emerge new horizons of understanding for such Gestalt therapy concepts as field theory, immediacy, holism, personal relationship and the body as a carrier of our history. Such an application also reveals to us the 'phenomenal field' as the domain of operation proper to a therapy of bodily presence, awareness and exploration. The thesis concludes that the development of Gestalt therapy theory lies in a more profound development of its phenomenology along the lines of the analysis made by Merleau-Ponty in the Phenomenology of Perception. Such a direction will at once correct its list towards scientism, and the penchant for involvement in distracting philosophical debates. The thesis also points up the need for development at the training level of skills in reflection upon the experiential learning of the Gestalt therapy concepts, the paramount importance of relationship between trainers and trainees based upon an exacting personal authenticity and transparency.
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Davidson, Kelly Patricia. "On unifying the laws of sensation : an empirical investigation of predictions arising from Norwich's theory of perception." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29594.
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The present thesis constitutes an empirical investigation of the prediction of Norwich's Entropy Theory of Perception that the positive exponent of the magnitude estimation power function and the negative exponents of equations relating the Weber fraction and simple reaction time to stimulus intensity should, since they can all be derived from the theory's Fundamental Equation, be numerically the same.
A pilot study consisting of magnitude estimation and reaction time experiments (using pure tone auditory stimuli of varying intensities at five frequencies), and a "main" study comprised of magnitude estimation, reaction time, and Weber fraction experiments are described.
The results, while offering possible confirmation of the prediction, remain somewhat tentative, owing to the persistently problematic technique of curve fitting upon which determination of the reaction time and Weber fraction exponents rests.
The theory, in leading one to even attempt to compare such previously unrelated measures as magnitude estimation and reaction time with Weber fractions, has yielded, theoretical issues aside, some worthwhile empirical results: I have obtained measures on three different psychophysical tasks from the same subjects over (effectively) the same stimulus range for each of those subjects; and, moreover have, I believe for the first time, explicitly noted that the Weber fraction displays the same decrease in exponent with increasing frequency, followed by an upturn at the highest frequencies, that characterizes both the equal loudness curves and the reaction time curves a la Chocholle. Suggestions are made regarding supplementary curve fitting methods by which to analyze these data, as well as for future research in the psychophysiological realm which, in addition to expanding the scope of the prediction that is being tested, may provide some much needed insight into the numerical values of the multiplicative and additive constants that occur in the equations under consideration in this thesis.Arts, Faculty of
Psychology, Department of
Graduate
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Smith, Justin Samuel Ewald. ""The Sword and the Law" : Elizabethan soldiers' perception and practice of the laws of armed conflict, 1569-1587." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8552/.
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This thesis argues that contemporary views of the laws of arms among soldiers, and of the laws of war by legal theorists, influenced particular military campaigns and individual actions in a variety of armed conflicts. Elizabeth I’s officer corps were careful to act in wars so that their actions would be seen as honourable by outside observers in the belief that such actions would add to their personal glory. Their individual and corporate perception of the laws of war directly affected military practices. However, the Elizabethan military establishment was engaged in conflicts that did not conform to contemporary views of just war. Catholic popes funded military expeditions against England and its dominion of Ireland, where the leaders were granted commissions to wage holy war not just war. The suppression of armed rebellions in Ireland employed numerous soldiers, and much of the machinery of state was supported by the English military. Holy war and counterinsurgency operations had no parallels in just war theory. The laws of war provided an important new context for re-evaluating military practices. Although legal discourse was predominantly ordered towards fighting regular wars, with careful reading of contemporary sources, there are important indicators that illuminate contemporary justifications for some of the more brutal military actions associated with the English military establishment, particularly in Ireland. By re-examining the discourse on the laws of war, the thesis finds that soldiers took seriously the customs of war and through them, it reassesses the motivations and mentalities of commissioned officers. This discourse was then used as a basis by which the conduct of soldiers can be understood and contextualised within English political and ethical structures.
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Lind, Erik. "The Rhythm of Expression : Merleau-Ponty's Phenomenology of Form." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39091.
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The intent of this essay is to shed light on the relevance and meaning of the concept of ”form” in Merleau-Ponty’s phenomenology. Drawing on his early texts as well as on the published notes of his first course held at the Collège de France, we argue that the notion of form essentially carries two meanings in the thought of the philosopher. One epistemological, stating that the perceived always assumes the figure-ground structure (signifying a figurative dimension of form). Another ontological according to which form designates the originary manifestation of the world in the event of expression (signifying a genetic dimension of form). Finally, we argue that the interplay of these two dimension of form lead Merleau-Ponty to an intuitive understanding of rhythm as the sensible manifestation of form, suggesting a potentially fruitful encounter, converging upon this notion, with the thought of Henri Maldiney.
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Sjödin, Åsa. "The whole is “other” than the sum of its parts : An investigation of synesthesia and perception through a patchwork." Thesis, Konstfack, Textil, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7233.
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Some people experience music as colourful patterns or feel it as a physical touch, they have synesthesia. A neurological condition in which a stimulus of one sense automatically and involuntarily triggers a sensation in another sense. This shows that perception is not normative. The aim of this work is to try to develop an understanding of this phenomenon by using textile dyeing and patchwork as a tool for my investigation of it. Another aim is to raise awareness and try to see if it is possible for a non synesthete to experience something similar to the complex intersensory connections as those with synesthesia have. The sum of all perceptions of a human, after it has been processed by their own mind, can result in something that is not just the sum of each individual perception, but something that can at the end be quite different from what might be expected. This motivated the title, and furthermore leads naturally into the Gestalt theory of perception, which is used as the major theoretical framework for this paper.
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Viseshsin, Jongruja Mai. "The multiple dimensions of graphic design /." Online version of thesis, 1992. http://hdl.handle.net/1850/11629.
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Keller, Rodrigo dos Santos. "Educar para observar : uma proposta metodológica para educação visual." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/16318.
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Este trabalho, de natureza interdisciplinar, tem suas raízes firmadas nas Ciências Cognitivas, mais especificamente nos estudos sobre a Percepção Visual e a teoria da Gestalt, identificando a Inteligência Visual, como um importante processo cognitivo na formação do individuo. A partir daí, os ramos desta investigação colocam em pauta uma análise de como lidamos com a ampla utilização de imagens, cada vez mais instantâneas e digitais, o que nos leva a repensar e reestruturar conhecimentos e ações em relação à educação visual. Partindo da afirmação, de que, atualmente estamos vivenciando uma época onde o uso de imagens - seja em qualquer área e com qualquer pretensão - está cada vez mais forte e com o aporte veloz das novas tecnologias, esta tese, concatena a teoria da Gestalt da percepção dos objetos, com o instrumento da fotografia. Esta última, justamente por ser nesta nova era da comunicação visual, um dos meios tecnológicos mais utilizados. Adotando a técnica de estudo de caso, este trabalho através do projeto "Meu Ponto de Vista", traz uma proposta metodológica para educação visual no quarto ciclo do ensino fundamental, e aponta os requisitos e indicadores encontrados no desenvolvimento da investigação.This multidisciplinary research is based on Cognitive Sciences concepts related to Visual Perception area, and the Gestalt theory. The main point addressed by the thesis identifies visual intelligence as an important education process component. This thesis shows how we can use images to restructure our knowledge and actions using visual education . Nowadays, the use of images is part of our ordinary life. The Gestalt theory can help us to better explain how photography aids us to percept our environment, due the fact that this is the era of visual communication par excellence. We adopted case study to conduct our thesis validation. An environment named "Meu ponto de vista" ("My point of view") was created to support our methodological proposal. Experiments were running with fourth grade elementary school students.
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Vakalopoulos, Georgios. "De l'espace phénoménologique de la perception à la topologie du lien : l'inconscient phénoménologique et le narcissisme esthésiologique chez Merleau-Ponty." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC332.
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Il s’agit dans cette thèse d’un parcours à travers la pensée de Merleau-Ponty afin de mettre en avant la nécessité de l’intervention du lien de l’intérieur topologique des corps de Chair, la nécessité d'une pensée s'adressant à la psychanalyse, à la topologie, à la psychologie, afin de donner une autre ouverture sémantique à l’inconscient, à travers la passivité-activité et la fondation en phénoménologie. Le chiasme, la réversibilité, l’empiètement, l’intercorporéité, l’interschématisme, l’enchevêtrement du désir et du sentir est l’élan pour désigner le narcissisme esthésiologique du corps à l’espace, le mouvement de son institution, sa corrélation et sa formation continue dans l’espace vécu.De l'espace des puzzles chez Husserl à l'espace vide et combinatoire de la Gestalt théorie, on passera à la courbure de l'espace par l'intervention de l'inachevé du regard afin d'arriver à l'espace enveloppé-enveloppant, à l’intervention de la topologie pour désigner les relations de l’intérieur des corps de Chair chez Merleau-Ponty. Par la suite, l’analyse de l’espace intermédiaire de la conscience-inconscient nous amène à l’espace onirique qui transparaît à l’espace de l’objectivité, et démontre l’intervention de l’imaginaire, du symbolique, du désir et de l’inconscient lors de l’apparaîtreThis thesis is about a transversal approach of Merleau-Ponty’s analysis, and aims at determining the need for intervention of topological interrelation within bodies of Flesh, the need to insert a psychoanalytical, topological, psychological approach, in order to give another dimension to the unconscious in combination with the role of passivity-activity and foundation in phenomenology. Chiasm, reversibility, encroachment, intercorporality, interschematism, chiasm of desire and sense are significant to define the esthesiological narcissism of the body in space, the movement of its institution, its correlation and continuing formation in the lived space.From Husserl's space of puzzles to the empty and combinatorial space of the Gestalt theory, we proceed to the curvature of space by intervention of the uncompleted gaze in order to reach the space of enveloped-enveloping, the topology where the internal relations within Merleau-Ponty's body of Flesh are described. Thereafter, the analysis of the intermediary space of consciousness-unconscious leads us to the oniric space which shows through the space of objectivity, and reveals the intervention of the imaginary, the symbolic, the desire and the unconscious in appearance
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Foultier, Anna Petronella. "Recasting Objective Thought : The Venture of Expression in Merleau-Ponty’s Philosophy." Doctoral thesis, Stockholms universitet, Filosofiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-113278.
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This thesis is about meaning, expression and language in Merleau-Ponty’s philosophy, and their role in the phenomenological project as a whole. For Merleau-Ponty, expression is the taking up of a meaning given either in perception or in already acquired forms of expression, thereby repeating, transforming or congealing meaning into gestures, utterances, artworks, ideas or theories. Contrary to the predominant view in the literature, the relation of expression to meaning, and in particular the problem of expressing new meanings, was of fundamental importance to Merleau-Ponty from the very beginning, in that it was intrinsically related to the overcoming of what he termed “objective thought”. Admittedly, there is an evolution of his philosophy in this respect: from the early stance where the recasting of certain basic categories is taken as pivotal for the development of a new form of thinking, with arguments drawn also from various empirical and social sciences, to what appears to be an effort at an all-pervading reformulation of philosophical language during his last years. But the remoulding of categories was never for Merleau-Ponty a matter simply of finding a few, better adapted concepts, but from the outset an endeavour to think philosophical arguments through to a point where they reveal their inherent inconsistencies. Recasting philosophical expression is thus a risky enterprise, and this is a point I explore further in Essay 1, that focuses especially upon creative expression in painting and to some extent in literature. In Essay 2 I discuss the notion of Gestalt and how it serves this general project, whereas Essay 3 deals with verbal language, on the basis of Merleau-Ponty’s reading of Saussure’s linguistics. Essay 4 examines bodily expression from the point of view of feminist phenomenology and in particular Judith Butler’s early reading of Merleau-Ponty, and finally Essay 5 discusses expression in the art of dance.At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 4: Accepted. Paper 5: Accepted.
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Rosemann, Stephanie Heike [Verfasser], Manfred [Akademischer Betreuer] [Gutachter] Fahle, and Manfred [Gutachter] Herrmann. "Dysfunctions of visual and auditory Gestalt perception (amusia) after stroke : Behavioral correlates and functional magnetic resonance imaging / Stephanie Heike Rosemann. Betreuer: Manfred Fahle. Gutachter: Manfred Fahle ; Manfred Herrmann." Bremen : Staats- und Universitätsbibliothek Bremen, 2016. http://d-nb.info/1100603972/34.
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Léon, Benjamin. "Les plasticités du cadre : Andy Warhol et le cinéma expérimental américain." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA084.
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En tant que préalable à l’appréciation d’une forme, le cadre demeure une question centrale en esthétique de l’image. Où débute une forme, où s’achève-t-elle ? Si le cadre délimite l’image en y circonscrivant un espace au regard, il peut jouer de ses plasticités et renverser ce présupposé en son contraire : la tendance all-over de l’expressionnisme abstrait montre bien des exemples où le cadre se défait dans une ouverture qui rend l’espace à son indétermination, fut-elle fixée à l’avant de notre regard. Le point de départ de cette recherche vient du concept établi par Meyer Schapiro du cadre comme « véhicule matériel » où il y fait distinction entre l’image-objet (absence de limites de surface et visibilité du support) et l’image-signe (limite de surface liée à la représentation). Faisant état de cette différence fondamentale, nous proposons un travail interdisciplinaire – le cinéma expérimental et sa relation avec les autres arts – où l’œuvre d’Andy Warhol servira de fil conducteur. A partir d’une première occurrence appelée cadre-surface, il semble important de revenir sur certains malentendus concernant le Pop art tant sur le plan historique, philosophique, qu’esthétique en proposant le concept de « ready-made illusionniste ». Dans un deuxième temps, le cadre-perception sera l’occasion d’affiner notre travail en revenant sur la position du spectateur face aux images à travers le concept de « Pensée visuelle » développé par Rudolf Arnheim. On verra de quelle façon le cinéma expérimental à tendance structurelle et matérialiste (Michael Snow, Paul Sharits, Peter Gidal) se nourrit de la relation figure-fond établit par la psychologie de la forme (gestalt). Par là, comment le film ouvre aux possibles phénoménologiques d’un autre rapport à l’image ? Enfin, la dernière partie situera le cadre à sa propre destitution physique dans un chemin qui va du cadre-écran au cadre-performance. Devant cette typologie quelque peu taxinomique, nous souhaitons moins y penser un cloisonnement entre les différents types de cadre qu’y trouver force circulaire afin de répondre à l’hypothèse suivante : en quoi la matérialité des premiers films de Warhol nous engage progressivement dans une réflexion ambiguë parce qu’ambivalente autour d’une image spectrale et dématérialisée ?As a prerequisite to the assessment of a form, the framework remains a central issue in the aesthetics of the image. Where does a form begin, where does it end? If the frame defines the image circumscribing there a space for the eye to see, it can play of its plasticity and overturn this assumption into its opposite: the all-over pattern of abstract expressionism shows examples where the frame opens up to an undetermined space, whether it might have been fixed or not before we set eyes on it. The starting point for this research comes from the concept established by Meyer Schapiro of the frame as a "material vehicle" where he makes a distinction between the image-object (no surface boundaries and visibility of support) and the image-sign (surface boundary associated with the representation). Stating this fundamental difference, we propose an interdisciplinary work - experimental cinema and its relationship to the other arts - where Andy Warhol’s work will serve as a guideline. From a first occurrence called frame-surface, it seems important to revisit some misunderstandings about Pop art, historically, philosophically, and aesthetically, by proposing the concept of "ready-made illusionist". Secondly, the frame-perception will be an opportunity to refine our work by returning to the position of the viewer facing images through the concept of "visual thinking" developed by Rudolf Arnheim. We'll see how experimental film with structural and materialistic tendency (Michael Snow, Paul Sharits, Peter Gidal) feeds on the figre-ground organization established by the psychology of form (Gestalt). Then, how does the film open to the phenomenological possibilities of another connection to the image? The last part will place the frame over its own physical removal on a path that goes from frame-screen to frame-performance. Given this typology somewhat taxonomic, we wish to think of it less as a division between different types of frame than to find circular strength in it, in order to meet the following hypothesis: how does the materiality of early Warhol films progressively engage us in an ambiguous, since ambivalent, reflection around a spectral and dematerialized image?
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Okongwu, Onyeka. "Perception of sex discrimination and sexual harassment among bank employees in Nigeria : a comparative study of the Nigerian and the British employee protection laws." Thesis, De Montfort University, 2017. http://hdl.handle.net/2086/14947.
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This study examines the level of sex discrimination and sexual harassment of female workers in Nigeria to understand the pervasiveness of the problem in the Nigerian context. An empirical investigation was conducted using the Nigerian banking sector as the case study. The United Kingdom sex discrimination and sexual harassment laws were analysed to ascertain if the laws have been effective in addressing the problems in the United Kingdom and test their applicability in Nigeria. The results of the study showed that the perception of the level of sex discrimination and sexual harassment in Nigeria is not very high. However, this low level of perception could be due to the impact of social factors such as culture, religion and patriarchy. With regards to the impact of these social factors, key recommendations were made to educate citizens and make them aware of the ills and effect of sex discrimination and sexual harassment of women in societies and for the government to enact new laws to protect the female gender.
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Warden, James. "Senses, Perception, and Video Gaming: Design of a College for Video Game Design and Production." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1116113863.
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Poom, Leo. "Binding Three Kinds of Vision." Doctoral thesis, Uppsala University, Department of Psychology, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-3319.
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Pictorial cues, together with motion and stereoscopic depth fields, can be used for perception and constitute ‘three kinds’ of vision. Edges in images are important features and can be created in either of these attributes. Are local edge and global shape detection processes attribute-specific? Three visual phenomena, believed to be due to low-level visual processes, were used as probes to address these issues. (1) Tilt illusions (misperceived orientation of a bar caused by an inducing grating) were used to investigate possible binding of edges across attributes. Double dissociation of tilt repulsion illusions (obtained with small orientation differences between inducer and bar) and attraction illusions (obtained with large orientation differences) suggest different mechanisms for their origins. Repulsion effects are believed to be due to processes in striate cortex and attraction because of higher level processing. The double dissociation was reproduced irrespective of the attributes used to create the inducing grating and the test-bar, suggesting that the detection and binding of edges across attributes take place in striate cortex. (2) Luminance-based illusory contour perception is another phenomenon believed to be mediated by processes in early visual cortical areas. Illusory contours can be cued by other attributes as well. Detection facilitation of a near-threshold luminous line occurred when it was superimposed on illusory contours irrespective of the attributes used as inducers. The result suggests attribute-independent activation of edge detectors, responding to real as well as illusory contours. (3) The performance in detecting snake-like shapes composed of aligned oriented elements embedded in randomly oriented noise elements was similar irrespective of the attributes used to create the elements. Performance when the attributes alternated along the path was superior to that predicted with an independent channel model. These results are discussed in terms of binding across attributes by feed-forward activation of orientation selective attribute-invariant cells (conjunction cells) in early stages of processing and contextual modulation and binding across visual space mediated by lateral and/or feedback signals from higher areas (dynamic binding).
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Malmström, Mona. "Hur en tunn väv kan skapa mening i en outsäglig tomhet." Thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104622.
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Syftet med uppsatsen har varit att undersöka hur mening kan skapas utifrån en upplevelse av den amerikanska konstnären Robert Irwins verk, Scrim Veil – Black Rectangle – Natural Light, Whitney Museum of American Art, New York, när det uppfördes på Whitney Museum 2013. Åtta recensioner bildar underlag för undersökningen där de partier som på något sätt hanterar hur recensenterna skapar mening av verket valts ut för närläsning. Metoden som använts för textselektion utgår från Mieke Bals koncept som Bal förklarar som ett alternativ till metod i sin bok Travelling Concepts. Uppsatsen tar teoretiskt spjärn mot Ludwig Wittgensteins begrepp språkspel och duckrabbit, (aspektväxling) som de beskrivits i Filosofiska undersökningar, publicerad 1953, samt gestalten som bildar figur-grund, en inom gestaltpsykologin utvecklad perceptionsteori. Uppsatsen visar på att mening har skapats av verket genom att det framträder, det förvandlar sig till en händelse, något som Rudolf Arnheim beskriver som An event in space, i sin bok Art and Visual Perception – A Psychology of the Creative Eye från 1954. Uppsatsen visar också på hur förförståelse genom bild eller text med stor sannolikhet påverkar upplevelsen av ett verk. Samtidigt är det svårt att avgöra om denna förståelse, med hänseende till uppsatsens material, är något som skapats innan verket upplevts eller är något som recensenten tagit till sig och adderat i samband med att recensionen skrivits. Två recensioner tenderar att ställa sig i vägen för det verk som de är tänkta att beskriva.
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Aboussioud, Rachid. "Dynamique de la persistance identitaire : complémentarité graphique et numérique dans l'autoportrait du XXIe siècle." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010561.
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La Dynamique de la Persistance Identitaire se veut, à travers l'autoportrait plastique, une analyse des notions du moi et du surmoi. L'autoportrait soulève pour la majorité des artistes, des plus anciens aux plus novateurs, la question de l'identité à travers l'apparence, le caractère, mais aussi des origines sociales et culturelles et son exacerbation amène à un narcissisme qui fut le moteur de l'activité de nombreux maîtres parmi les plus illustres. Se remémorer certaines périodes de la vie, des souvenirs heureux ou malheureux de situations vécues, conduit à l'introspection, où le temps est une notion majeure artistique et nécessaire à la structuration psychologique d'un individu. De nombreux artistes se sont penchés sur leur image en employant de nombreuses techniques plastiques traditionnelles et, depuis peu, expérimentales (expériences tridimensionnelles). Ces représentations, à l'aide des nouveaux outils informatiques accessibles à tous, sont désormais modifiables à volonté, apportant un choix illimité d'altérations réversibles en mode uniquement virtuel. Dans un travail initial (Evolution Identitaire) ce dessein interroge l'autoportrait de l'auteur à l'aide de dessins unicolores éclairés de rehauts de blancs ou chaque visage apparaît trait par trait pour constituer l'individu. La Dynamique de la Persistance Identitaire remet en question ces trente et un visages représentés le plus objectivement possible pour dévier de l'image réelle à l'image rêvée, par la technique du Makeover, très utilisé sur internet et donnant ainsi une possibilité de reconquête de l'identité, à la recherche d'une esthétique optimisée, adaptée au choix de l'artiste: deux cent dix-sept dessins, toutes réalisations confondues, sont ainsi conçus. Cet ensemble est diffusé à travers une exposition et une vidéo et il est adaptable à plusieurs espaces sous trois formes complémentaires :une double frise chronologique en parallèle d'autoportraits format A4 sur un papier légèrement teinté où sont confrontées représentations objectives et subjectives des formes suivant les critères des lois de la Gestalt. une vidéo projection ou les visages se dévoilent progressivement, donnant ainsi naissance à une technique dite "dessin évolutif', proche de l'animation, et donnant vie à l'individu avec le morphing en étape ultime qui dévoile avec fluidité un nouveau visage rectifié selon les désirs de l'auteur, une longue frise chronologique format A2 blanc où l'image vécue est couplée et confronté à l'image idéalisée, sur une même représentation, par deux couleurs différentes pour signifier les corrections accomplies. Cette recherche devrait être complétée, dans l'avenir, toujours avec pour moteur la recherche de réalisations d'autoportraits tridimensionnels, à l'aide de technologies pointues, telles anamorphoses et imprimante 3DDynamics of identity Persistence wants, through the plastic self-portrait, an analysis of the concepts of ego and superego. Self Portrait raises for the majority of artists, from the oldest to the most innovative, the question of identity through the appearance, character, but also social and cultural origins and exacerbation leads to a narcissism that was the engine the activity of man y of Art masters. Remember certain periods of life, happy or unhappy memories of life situations, leads to introspection, where time is a necessary artistic and psychological structuring an individual major concept. Many artists have focused on their image using many traditional engineering plastics and, more recently, experimental (three-dimensional experiments). These representations using new tools accessible to all are now modified at will, bringing unlimited choice reversible alterations only virtual mode. In initial work (Identity Evolution) this design questions the portrait of the author with one colored drawings illuminated highlights of each face appears white or line by line to form the individual. Dynamics of identity Persistence puts into these thirty questions and faces presented as objectively as possible to deviate from the actual image to the perfect picture, the technique Makeover, widely used on the Internet and giving an opportunity to reconquer identity, the search for an aesthetic optimized, adapted to the choice of the artist: two hundred and seventeen drawings, ail outputs combined, are well designed. This package is distributed through an exhibition and a video that is adaptable to many spaces in three complementary ways:-A double timeline of self-portraits in parallel on A4 paper with a lightly tinted face objective and subjective representations of forms depending on the requirements of Gestalt's laws. -A video projection where faces are gradually revealed, giving rise to " evolutionary drawing " , close to the animation technique, and giving life to the individual with the morphing ultimate step reveals a new face smoothly corrected according to the wishes of the author. -A long white frieze chronological format A2 where the image is coupled lived and confronted with the idealized image, on the same representation by two different colors to signify the completed corrections. This research should be completed in the future, always with engine research achievements of three-dimensional self-portraits, with pointed and such anamorphic 30 printer technologies
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Pettersson, Ulf. "Textmedierade virtuella världar : Narration, perception och kognition." Doctoral thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-29606.
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This thesis synthezises theories from intermedia studies, semiotics, Gestalt psychology, cognitive linguistics, cognitive psychology, cognitive poetics, reader response criticism, narratology and possible worlds-theories adjusted to literary studies. The aim is to provide a transdisciplinary explanatory model of the transaction between text and reader during the reading process resulting in the reader experiencing a mental, virtual world. Departing from Mitchells statement that all media are mixed media, this thesis points to Peirce’s tricotomies of different types of signs and to the relation between representamen (sign), object and interpretant, which states that the interpretant can be developed into a more complex sign, for example from a symbolic to an iconic sign. This is explained in cognitive science by the fact that our perceptions are multimodal. We can easily connect sounds and symbolic signs to images. Our brain is highly active in finding structures and patterns, matching them with structures already stored in memory. Cognitive semantics holds that such structures and schematic mental images form the basis for our understanding of concepts. In cognitive linguistics Lakoff and Johnsons theories of conceptual metaphors show that our bodily experiences are fundamental in thought and language, and that abstract thought is concretized by a metaphorical system grounded in our bodily, spatial experiences. Cognitive science has shown that we build situation models based on what the text describes. These mental models are simultaneously influenced by the reader’s personal world knowledge and earlier experiences. Reader response-theorists emphasize the number of gaps that a text leaves to the reader to fill in, using scripts. Eye tracking research reveals that people use mental imaging both when they are re-describing a previously seen picture and when their re-description is based purely on verbal information about a picture. Mental spaces are small conceptual packets constructed as we think and talk. A story is built up by a large number of such spaces and the viewpoint and focus changes constantly. There are numerous possible combinations and relations of mental spaces. For the reader it is important to separate them as well as to connect them. Mental spaces can also be blended. In their integration network model Fauconnier and Turner describe four types of blending, where the structures of the input spaces are blended in different ways. A similar act of separation and fusion is needed dealing with different diegetic levels and focalizations, the question of who tells and who sees in the text. Ryan uses possible worlds-theories from modal logic to describe fictional worlds as both possible and parallel worlds. While fictional worlds are comparable to possible worlds if seen as mental constructions created within our actual world, they must also be treated as parallel worlds, with their own actual, reference world from which their own logic stems. As readers we must recenter ourselves into this fictional world to be able to deal with states of affairs that are logically impossible in our own actual world. The principle of minimal departure states that during our recentering, we only make the adjustments necessary due to explicit statements in the text.
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Tremault, Éric. "Structure et sensation dans la psychologie de la forme, chez Maurice Merleau-Ponty et William James." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010553/document.
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Nous nous opposons dans cette thèse à la tentative de Maurice Merleau-Ponty pour réduire toute forme de "qualia" à des prédicats structuraux, tentative par laquelle nous comprenons l'ontologie de la « chair » qu'il nous semble mettre en place dès ses premiers travaux sur « l'expression ». Nous visons cependant à travers lui plus généralement toute théorie « structurale» de la sensation, désignant par là toute théorie qui soutient qu'on ne peut pas déterminer relationnellement un contenu de sensation sans le modifier intrinsèquement. La tâche est cependant rendue difficile par le grand nombre de faits empiriques que Merleau-Ponty convoque à l'appui de sa théorie structurale. En particulier, il s'appuie sur l'interprétation structurale de ces faits qui avait déjà été réalisée avant lui par Kurt Koffka au sein de la psychologie de la forme. Nous commençons donc par examiner cette interprétation et les faits sur lesquels elle repose, en montrant qu'ils ne peuvent paraître corroborer une théorie structurale que si l'on confond « abstraire » et « séparer réellement » une qualité de son contexte. Nous convoquons alors William James à l'appui de ces conclusions, en rappelant qu'il avait déjà montré contre les théories néo-hégéliennes de son époque l'illégitimité de leur prétention à se réclamer de faits psychologiques similaires, et qu'il avait soutenu contre eux une théorie de la connaissance par accointance que nous cherchons à reprendre à notre compte, pour esquisser une défense de l'introspection pure et simpleWe are trying here to object to Maurice Merleau-Ponty's attempt to reduce qua/ia to structural predicates, which is the way we understand his ontology of the "flesh", as he seems to us to develop it already in his first works on "expression". We are more generally objecting through him to any kind of "structural" theory concerning sensation, meaning by this any theory which claims that one cannot attribute a relation to a sensorial content without intrinsically altering it. Our task is complicated by the great number of empirical facts that Merleau-Ponty calls for to prove his structural theory. He notably finds great help in the structural interpretation Kurt Koffka had already laid down for these facts as a Gestalt psychologist. Consequently, we begin with the examination of this theory and of the facts that support it, showing that they cannot seem to corroborate a structural theory unless one confuses "abstraction" and "real separation" of a qua/e from its context. We then call for William James to support these conclusions, reminding that he had already showed the illegitimacy of the claim by the neo-Hegelian writers of his time to find empirical proof for their own structural theories in similar psychological data. He had also suggested a "knowledge by acquaintance" theory against those writers that we are trying to use in defense for introspection pure and simple
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Rinaldo, Katarina. "Bildkomposition - känsla eller regler? : En studie om medveten komposition i bilder är identifierbar hos betraktaren." Thesis, Högskolan i Skövde, Institutionen för kommunikation och information, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-5241.
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Går det att se om en bild är komponerad efter regler? Genom en semistrukturerad undersökning via enkät har jag tagit reda på hur bilder upplevs som är antingen medvetet komponerade efter regler, eller komponerade på känsla efter subjektiv estetik. Jag har utforskat vad det i så fall är i bilderna som fångat betraktaren och vad de tolkar som genomtänkt och medvetet komponerat. En fråga ha varit om fotointresserade personer har lättare för att urskilja de här två olika sätten att komponera en bild. Jag har undersökt vad det är i bilderna som tilltalar deltagarna och om reglerna avgör om en bild ska upplevas som bra och tilltalande eller om det finns något annat som har en större betydelse.
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Tosi, Brandi Elena. "Design de l’expérience sensible : une philosophie des sens pour le design et la création." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH102.
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Cette thèse interroge le dialogue théorique et pratique entre les sens et le design. En éclairant les échanges qui s’instaurent entre les sciences contemporaines de la perception et les nouvelles approches sensorielles du design, elle laisse apparaître un paradigme inédit de la création et de la cognition. Elle montre qu’un modèle de design sensible émerge sous l’impulsion de nouveaux modèles cognitivistes de la perception, qui vient transformer les domaines de la création. Les arts plastiques investissent les sens corporels, amplifiés par les technologies ; l’architecture remet en cause la tradition visiocentrée de l’espace, et s’ouvre une conception spatiale de type atmosphérique. À la frontière de ces mouvements, surgit un paradigme du design focalisé sur la relation tangible et multisensorielle entre l’homme et le monde de l’artificiel. Grâce à la réhabilitation des sens pragmatiques, les théories antidualistes de la perception, en conjonction avec les sciences cognitives et les technologies numériques, inspirent la conception d’artefacts orientés vers l’engagement corporel et les relations matérielles. L’obsolescence du modèle des cinq sens permet de revisiter scientifiquement des phénomènes comme les synesthésies, la plasticité perceptive et les correspondances sensorielles. Le dépassement de l’idée de sens entendus comme des organes récepteurs, conduit à considérer les aspects immatériels de la perception, tels que l’expressivité et l’intentionnalité attribuées aux choses. Dans ce contexte, cette thèse explore la manière dont la sensorialité redevient un sujet de recherche et de création. Entre philosophie, psychologie expérimentale et histoire de l’art et du design, elle interroge le modèle rationaliste du design et montre que l’émergence de ce nouveau paradigme est motivée par l’exigence de s’affranchir du modèle industriel guidé par la relation visuelle et fonctionnelle de la forme et des usages. Suivant un cheminement non nécessairement linéaire, la recherche se concentre sur les moments clés et les figures majeures du dialogue entre design moderne et théories des sens, et montre que ce dernier, engagé depuis la Renaissance, n’a cessé d’alimenter les relations entre perception et arts du disegnoThis thesis examines the theoretical and practical dialogue between design and the senses. Shedding light on the exchanges taking place between the contemporary sciences of perception and the new sensorial approaches of design, it reveals a new paradigm of creation and cognition. The thesis puts forward the emergence of a sensitive design model promoted by new cognitivist models of perception, transforming the domains of creation. Magnified by technology, contemporary arts are permeating the bodily senses; while architecture challenges the visually centered tradition of space, and an atmospheric conception of space opens up.Emerging at the marches of these movements is a paradigm of design focused on the tangible, multi-sensorial relationship between the human world and the artificial world. Anti-dualist theories of senses, coupled with cognitive sciences and digital technologies, conceive artifacts that are inclined towards material relationship and involvement of the body, made possible by the rehabilitation of pragmatic senses. Obsolescence of the five senses model allows the scientific rediscovery of several phenomena such as synesthesia, perceptive plasticity and sensorial interactions. Surpassing the notion of senses as mere receptive functions, leads us to examine the immaterial aspects of perception, such as expressiveness and intentionality attributed to things.In this context, this thesis explores how sensoriality becomes once again a subject for research and creation. Overlapping philosophy, experimental psychology, and the history of art and design, it questions the rationalist model of design; it also shows how the need for freedom from the industrial model, as lead by the visual and functional relationship between form and usage, brings about the emergence of a new paradigm.Following a not essentially linear path, the research focuses on key moments, along with the major features of a dialogue between modern design and theories of the senses ; this dialogue, initiated since the Renaissance, never stopped nourishing the relationships between perception and arts of the disegno
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Railing, Patricia Ann. "Kazimir Malévitch : le suprématisme comme sensation pure." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010565/document.
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Entre 1911 et 1920, Kazimir Malévitch découvre de nouvelles lois artistiques. Grâce à l' « Optique physiologique » d'Hermann von Helmholtz (1856-1866), il transforme les lois scientifiques des sensations optiques (couleur, lumière, mouvement) et celles des structures optiques de la vision en lois artistiques avec lesquelles il crée ses tableaux néo-primitivistes (1911-1912), proto-cubistes (1912-1913), futuristes (1912), cubistes (1913-1914) et suprématistes (1915-1920). Cette transformation des lois scientifiques de la vision en principes créatifs explique les innovations et l'évolution stylistique de Malévitch de 1911 à 1920. Ces découvertes sur les procédés créatifs de Malévitch sont totalement nouvelles, car ce travail est le premier à porter sur ce sujet. La présente thèse est composée de deux parties. La première présente en trois chapitres les lois de la perception sensorielle. Ell explique comment l'oeil voit la direction, la position, la taille et les dimensions dans le champ visuel. La seconde consiste également en trois chapitres, dans lesquels l'auteur analyse l'exploration par Malévitch de la sensation et de la perception sensorielle dans ses tableaux néo-primitivistes et proto-cubistes, de la perception sensorielle seule dans le cubisme et des sensations de couleur et de lumière pures dans le suprématisme. Tandis que la science révèle à l'artiste les vérités de la vision, les tableaux de Malévitch deviennent l'art de la vision optique. Ces recherches fournissent une contribution majeure pour la compréhension de l'oeuvre de Kazimir MalévitchBetween 1911 and 1920, Kazimir Malevitch was discovering new artistic laws with which to create. Relying on Hermann von Helmholtz's, « Treatise on Physiological Optics (1856-1866), scientific laws of optical sensations (colour, light and movement) and optical structures of seeing were transformed into artistic laws. With them Malevitch created his Neo-Primitivist paintings (1911-1912), Proto-Cubist paintings (1912-1913), Futurist paintings (1912), Cubist paintings (1913-1914), and Suprematist paintings (1915-1920). Adapting scientific laws of vision to creative laws of painting is what accounts for Malevitch's innovations and artistic development, 1911-1920.These are entirely new discoveries about malevitch's creative processes, a subject investigated here for the first time. Divided into two parts, the first part consists of three chapters on the science of optical sensations, the laws of light and colour, and the laws of sense perceptions : how the eye sees direction, position, size and dimensions in the visual field. The second part consists of three chapters analysing how Malevitch explored sensation and sense perception in the Neo-Primitive and Proto-Cubist paintings, sense perception in Cubism, and, in Suprematism, the pure sensations of colour and light. With science providing the truths of vision, Kazimir Malevitch's paintings became the art of the seeing eye, and this is a major new contribution to the understanding of the painting of Kazimir Malevitch
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Carroll, Mark J. "Physical Therapists' Perception of Risk of Violating Laws and Rules Governing the Practice of Physical Therapy and/or Their Personal Moral and Ethical Values When Failing to Provide Treatment for an Uninsured or Underinsured Patient." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1193091796.
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Kotze, Etna. "'n Spelterapieprogram vir die adolessente dogter wat seksueel misbruik is." Thesis, Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-12132006-145617.
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Franca, Carlos Alberto de Moraes. "Percepção ambiental da comunidade do distrito de Nagé, no município de Maragogipe, Bahia, sobre o Rio Paraguaçu." Universidade Catolica de Salvador, 2014. http://hdl.handle.net/123456730/334.
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A diminuição elevada da pesca e quase o desaparecimento das espécies aquáticas e avícolas do rio Paraguaçu, única fonte de sobrevivência da comunidade pesqueira de Nagé, distrito de Maragogipe Estado da Bahia fez com que esse estudo buscasse saber qual era a percepção da população local e em que grau estava esse impacto ecológico cujas pessoas se referiam como desaparecimento dos pescados. Com o intuito de avaliar a percepção ambiental sobre os aspectos da fauna aquática e avícola, buscou-se utilizar uma pesquisa onde foram entrevistados 50 moradores, cuja metodologia se deu través de um questionário com 76 questões, sobre as espécies, aquáticas dos peixes, moluscos e crustáceos e ainda as espécies mais comuns de aves que habitavam o local. As respostas eram transformada em números entre I a V e em sim ou não. A população pesquisada fora escolhida de forma aleatória, com uma única exigência: que fossem maiores de 35 anos e residissem em Nagé a mais de 25 anos. A resposta à pesquisa atesta a diminuição ou desaparecimento das espécies pesquisadas. Outro ponto pesquisado foi a percepção jurídica protetiva, o âmbito das Ações Constitucionais, Popular e Civil Pública, onde foi unânime a negativa. O resultado trazido pela pesquisa denota um dano ambiental considerável, como o desaparecimento e diminuição em grande escala das espécies pesquisadas. Este dano trouxe à luz da comunidade uma consciência mais firme sobre a importância em manter e fiscalizar a área de estudo preservada, numa simbiose com toda população local, alertando-os para a necessidade de medidas que protejam o seu meio de sobrevivência prioritário, podendo ainda encontrar respaldo, tanto no âmbito administrativo, quando se tratar de dever da Administração pública , quanto legal, quando se tratar de obrigação do Ministério Público e de Entidades protetoras do meio ambiente, quando se defrontarem com desrespeitos as leis ambientais.
The high reduction of fishing and near disappearance of aquatic and avian species the river Paraguaçu only source of livelihood of the fishing community of Nage, Maragogipe district Bahia made this study sought to know what the perception of the local population and what degree was this ecological impact which people refer to as disappearance of fish. In order to evaluate the environmental perception on aspects of aquatic and bird population, we attempted to use a survey where respondents were 50 residents, whose methodology is given means of a questionnaire with 76 questions about the species, aquatic fish, molluscs and crustaceans and still the most common bird species that lived there. The answers were converted into numbers from I to V, yes or no. The research population was chosen randomly, with one requirement: they were over 35 years old and residing in the Nage over 25 years. The answer to the research attests to the decrease or disappearance of the surveyed species. Another point studied was the protective legal perception, the scope of Constitutional Shares, Popular and Civil Public, which was unanimously negative. The result brought by research denotes a considerable environmental damage, such as the loss and reduction in scale of the surveyed species. This damage brought to light the community a stronger awareness of the importance of maintaining and monitoring the study area preserved in a symbiosis with all local people, alerting them to the need for action to protect your means of survival priority, and may find support, both at the administrative level, in the case of the duty of public administration, as cool, in the case of obligation of the prosecution and protective of the environment Entities, when confronted with disrespect environmental laws.
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Gavet, Yann. "Perception visuelle humaine, complétion des mosaïques et application à la reconstruction d'images de l'endothélium cornéen humain en microscopie optique spéculaire." Phd thesis, Ecole Nationale Supérieure des Mines de Saint-Etienne, 2008. http://tel.archives-ouvertes.fr/tel-00473725.
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L'endothélium cornéen humain constitue une mono-couche de cellules de formes relativement hexagonales et de surfaces régulières, situées à la face interne de la cornée. Ces cellules sont primordiales car elles maintiennent la transparence de la cornée. Leurs contours sont facilement photographiés chez le patient grâce à la microscopie optique spéculaire (in vivo), ou sur un greffon (ex vivo) grâce à la microscopie optique classique. Les ophtalmologistes s'intéressent alors à la densité cellulaire, ainsi qu'à des caractéristiques morphométriques (polymégethisme et pléomorphisme). Leur analyse, lorsqu'elle utilise des logiciels spécifiques, n'est cependant jamais aussi pertinente que l'analyse visuelle. Ce constat nous a conduit à nous intéresser aux principes qui régissent la perception visuelle humaine. Dans cette thèse, nous vérifions de manière élémentaire que les principes de bonne continuation et de proximité de la théorie de la Gestalt sont vérifiés algorithmiquement sur des cas simples, ce qui permet d'envisager leur utilisation pour fermer les contours imparfaitement détectés dans les images. Cependant, les résultats obtenus suggèrent une intéraction complexe entre ces principes. L'utilisation de méthodes morphologiques basées sur des filtres alternés séquentiels, des cartes de distances et des lignes de partage des eaux fournit de bons résultats. Il est montré que ces méthodes sont fondées sur les principes de la théorie de la Gestalt: la "proximité'' est introduite par les cartes de distances, la "continuation'' et la "fermeture'' sont des propriétés des lignes de partage des eaux. Leur utilisation conjointe permet de réaliser une analyse duale contours-régions: les cartes de distances permettent d'accéder à des informations régionales à partir des contours, alors que les lignes de partage des eaux permettent d'obtenir des informations de contours à partir de marqueurs régionaux. Ces impressions ont été vérifiées en mettant en place un critère de dissimilarité qui permet de quantifier l'erreur entre une mosaïque (structure cellulaire observée sur l'image de l'endothélium) fournie par l'expert et une autre mosaïque. Ainsi, plusieurs méthodes de segmentation sont testées, et la méthode que nous proposons donne les meilleurs résultats. Ce critère de dissimilarité a permis de trouver les meilleurs paramètres de chaque méthode et de faire établir entre elles un classement par les ophtalmologistes. Pour terminer la segmentation des images, une validation des résultats, basée sur des paramètres de formes, est proposée.
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Ericson, Jessica, and Aurora Hammam. "Har den digitala pizzamenyn en genomtänkt stil? : En analys av lågprispizzeriors design av menyer." Thesis, Högskolan Dalarna, Informatik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-34252.
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Det finns studier som anger rekommendationer för att designa en väl utformad restaurangmeny. Syftet med rapporten är att undersöka om pizzeriapersonal och formgivare designar digitala pizzamenyer genom medvetna val utifrån de designprinciper och designrekommendationer som finns. Undersökningen är ett kvalitativt forskningsarbete där kartläggning har använts som strategi. Datainsamlingsmetoderna som har använts är litteratursökning, visuell innehållsanalys, gruppintervjuer och semistrukturerade intervjuer för att kunna besvara frågeställningarna. Resultaten från undersökningen påvisar bland annat att pizzeriapersonalen anser att deras menydesign inte överensstämmer med varumärket. Personalen och kunderna har även olika uppfattningar om vad varumärkena står för. Trots att pizzeriornas varumärke inte stämmer överens med designen uppfyller menyerna kundernas förväntan. Slutsatserna visar bland annat att det finns gemensamma och särskiljande grafiska element. De flesta lågprispizzerior har inte ett genomtänkt varumärke samt att det inte finns en medvetenhet angående de designprinciper och designrekommendationerna hos pizzeriapersonal eller formgivare.For the creation of restaurant menus there are studies that show which recommendations you should use to achieve a well-designed menu. The purpose of the study is to investigate whether pizzeria personnel and designers create digital pizza menus consciously from the design recommendations that exists. This study is a qualitative research work and we have used a survey as strategy. Data collection methods that have been used to answer the study questions are literature search, a visual content analysis, group interviews and semi-structured interviews. One result from the interviews showed that the pizzeria personnel thinks that their menu design does not match their brand. The pizzeria personnel and customers have different perceptions about what the brand stands for. The group interviews show that the digital menus live up to customers expectation and their experience of the low-price pizza. The conclusions show that there are common and distinctive graphical elements. Most low-price pizzerias do not have a well thought out branding, although the pizzeria personnel and designers do not have consciousness regarding the design principles and recommendations.
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Hoare, Ismael A. "Attitudinal factors related to driving behaviors of young adults in Belize : an application of the precaution adoption process model." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002190.
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Canalles, Pablo. "Dos princípios do ator : a análise da ação física através da tríade percepção-imaginação-adaptação, a partir dos pressupostos de Konstantin Stanislávski." Universidade do Estado de Santa Catarina, 2008. http://tede.udesc.br/handle/handle/1324.
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The essay presented here investigates the construction of the Physical Actions according to Russian actor, director and educationalist Konstantin Stanislavski, through the perception-imagination-adaptation triad, considering that these three properties of the human being are of fundamental importance for the actor's work. The research aims to create a compilation of Stanislavski's life and work, and how he arrived at his theory of the Physical Actions, always looking for true and organic acting, having as a goal the emotion of the actor. Therefore, part of this study is a profound investigation of the laws of man in action - applied by Stanislavski and, here, correlated to each of the three properties; as well as the last great contribution of the Russian scholar to the theatrical arts: the active analysis, which encompasses the laws, the physical action and the other elements of his System. The Russian master, at the end of his studies, leaves as his legacy, the distinct idea that the physical action is only the path to creation, which gives the actor the possibility of penetrating his or her own subconscious and being moved. To Stanislavski, it is through a series of actions performed by the actor that the public can see emotion run through the scene
O trabalho aqui apresentado procura investigar como se dá a construção das ações físicas, segundo o ator, diretor e pedagogo russo Konstantin Stanislávski, através da tríade percepção-imaginação-adaptação, tendo em vista que essas três faculdades do ser humano são de fundamental importância para o trabalho do ator. A pesquisa visa a fazer um apanhado geral sobre a vida e a obra de Stanislávski, e como ele chegou à questão da ação física, buscando sempre uma atuação verdadeira e orgânica, tendo como fim a emoção do ator. Nesse sentido, fazem parte do trabalho uma investigação aprofundada sobre as leis do homem em ação - postuladas por Stanislávski e, aqui, relacionadas a cada uma das três faculdades - e a última grande contribuição do pesquisador russo à arte teatral: a análise ativa, que engloba as leis, a ação física e os demias elementos do Sistema. O mestre russo, ao fim de seus estudos, lega-nos a primorosa idéia de que a ação física é apenas um meio para a criação, que possibilita ao ator penetrar no seu próprio subconsciente e emocionar-se. Para Stanislávski, é através de uma série de ações realizadas pelo ator que o público pode ver a emoção percorrendo a cena
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Neves, Evelina Maria de Almeida. "Estratégia atencional para busca visual e reconhecimento invariante de objetos baseada na integração de características bottom-up e top-down." Universidade de São Paulo, 2000. http://www.teses.usp.br/teses/disponiveis/76/76132/tde-14032014-103419/.
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Uma das tarefas básicas dos mecanismos atencionais é decidir qual a localização dentro do campo visual, em que devemos prestar atenção primeiro. Um objeto que contenha características distintas, tais como orientação, forma, cor, tamanho, brilho, textura, etc. diferentes, pode atrair a atenção de uma maneira \"bottom-up\". A informação \"top-down\" baseia-se no conhecimento prévio e tem uma grande influência nas localizações atendidas. Inspirado nos mecanismos da Atenção Visual Humana, embora sem a pretensão de simulá-la, este trabalho prevê o desenvolvimento de uma nova metodologia que integra os dois tipos de informações: \"bottom-up\" e \"top-down\". Características \"bottom-up\" são geradas a partir de Momentos e essas informações são utilizadas em mapas de saliência, enquanto que um conhecimento prévio é utilizado para gerar pistas \"top-down\". Neste trabalho, desenvolveu-se uma metodologia específica para a busca e o reconhecimento visual em cenas com múltiplos objetos, utilizando para isso uma rede \"fuzzy\" contendo três subsistemas \"fuzzy\". Dada uma imagem de entrada, o objetivo consiste em se detectar regiões que possam conter informações mais significativas, a fim de que se possa guiar e restringir processamentos mais complexos. A inclusão de mecanismos de atenção (seleção de uma região de interesse dentro da imagem) é de fundamental importância pois os resultados obtidos pelo método podem ser usados para controlar a aquisição da imagem de uma maneira dinâmica. O modelo proposto está estruturado em três estágios principais: O primeiro estágio consiste em se segmentar os objetos e extrair características globais dos mesmos baseadas principalmente na teoria dos momentos, tais como tamanho, orientação, formato e distância e também média de nível de cinza. Por intermédio da comparação de um objeto com os outros presentes na cena, características \"bottom-up\" de conspicuidade são usadas para guiar a atenção ao objeto mais diferente. Por intermédio do uso da lógica \"fuzzy\" é possível inferir com grande flexibilidade algumas regras de decisão baseadas nos princípios de percepção visual tais como as leis Gestalt. O segundo estágio consiste de um subsistema \"fuzzy top-down\" que combina diferentes características de acordo com a relevância das mesmas em diferentes tarefas. Finalmente, o terceiro estágio consiste de um subsistema \"fuzzy\" que integra as informações obtidas dos subsistemas anteriores e fornece um índice geral de saliência, e indica a provável localização do objeto a ser reconhecido. A nova abordagem foi testada com objetos geométricos levando-se em consideração as características que atraem a atenção dos serem humanosOne of the basic tasks assigned to the human attentional mechanisms is to decide which location in the visual field we must pay attention first. An object containing distinctive features (such as different orientation, shape, color, size, shine, texture, etc.) can attract attention in a bottom-up way. Top-down information is based on the previous knowledge and has a large influence on the attended locations. Inspired on human visual attention mechanisms, although it doesn\'t want simulate it, this work presents a new methodology to integrate two different kind of information: bottom-up and top-down. Bottom-up features are obtained from Moment Theory and this information is used in salience maps, while a previous knowledge is used to create top-down hints. In this work, an specific methodology to visual search and recognition was developed to be applied to scenes containing multiple objects by a fuzzy net with three fuzzy subsystems. The aim of this methodology is to detect regions that may contain the most significant information, in order to guide and to restrict most complex processing. The inclusion of attentional mechanisms (the selection of a region of interest in the image) is fundamental and can be used to control the image acquisition in a dynamic way. The proposed model is structured in three main stages. The first stage segments the objects and extracts global features of them, based on the Moment Theory such as size, orientation, shape and distance and gray level average. By comparing one object with the other ones present in the scene, bottom-up features of conspicuity are used to guide the attention to the most different object. The Fuzzy Logic allows us to infer with great flexibility some of decision rules based on the visual perception principles such as the Gestalt Laws. The second stage is a top-down fuzzy subsystem that combines different features according to the relevance of them in different tasks. Finally, the third stage is a fuzzy subsystem that integrates the information obtained from the previous sub-systems and gives us a general salience index. The new methodology was tested in geometrical objects considering the feature that attracts attention to human beings
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Mastrokalou, Effrosyni Efrosini. "Exploring 'optimal' states of consciousness in Michael Chekhov's psychological gesture : towards a new phenomenological paradigm." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/29894.
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This thesis examines key concepts from philosophers Nishida Kitaro, Maurice Merleau-Ponty and Fredriche Nietzsche and applies them to elements of Michael Chekhov’s practice of acting. The three philosophers, in different ways, suggest an ‘optimal’ state, beyond a dualistic separation of the fictive from the real and the visible from the invisible, that challenges seemingly unbridgeable dualisms between inner and outer, subject and object, being and becoming and experiencer and experienced. The purpose of this thesis is to analyze and understand these selected ‘optimal’ modes of consciousness in performance and, therefore, open up new ways of thinking about Michael Chekhov’s acting processes; in particular the ‘Psychological Gesture’. The thesis asks the following questions: 1. How can the application of selected philosophical paradigms to the Psychological Gesture through theory and practice further our understanding of Michael Chekhov’s work? 2. How do selected aspects of the fields of phenomenology, post-phenomenology, cognitive sciences, consciousness studies and philosophy of mind, aid in developing an articulation and understanding of an ‘optimal’ state of consciousness as a necessary aspect of the actor’s performance in Michael Chekhov’s work and theatre practice? 3. How can this project develop the way we are able to talk about Michael Chekhov’s work and wider acting processes?
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Yang, Yi-Ting, and 楊憶婷. "Establishment of Visual Framework for Interior Design from Gestalt′s Laws of Visual Perception." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/43t2n3.
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碩士中原大學
室內設計研究所
91
Interior Design is a spatial art based on human as the standpoint. Each form and spirit created by art, carved through time and space, will be part of the history recorded by future generations. Art, a thing with mind activities, includes forms and spirits of things. Gestalt’s Laws explain individual activities by their entirety, and it includes graphics and backgrounds, approaches and successions, and laws of completeness and close trend, resemblance, and laws of transfer, all of which are used in visual constitute analysis of interior design. In this study, it is found that Gestalt’s Laws have existed in the art creating progress of interior design. It is also found that Gestalt’s Laws have quite in-depth systematic principles. Meanwhile, there are four elements for the public to survey the visual constitute aesthetics of interior design. They are quality, lighting, style and color, which are the Gestalt’s Laws and Rules of entirety. This study attempts to explain the constitute of visual framework of interior design from Gestalt’s Laws of Visual Perception and further master the Gestalt’s Laws of Visual Perception to analyze the spatial aesthetics of interior design. Thus, the purpose of establishing visual framework for interior design from Gestalt’s Laws of Visual Perception will be achieved.
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He, Guang Qing. "Quantification of two Gestalt Laws using curve resconstruction." Thesis, 2008. http://spectrum.library.concordia.ca/975901/1/MR40931.pdf.
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Visual perception is the ability to interpret, process, and comprehend all the information received through the sense of sight by association with earlier experiences. Researchers have long struggled to explain what visual processing does to create what we actually see, and brought many theoretical approaches explaining how human beings see the world. The theoretical approaches of visual perception differ widely and their coverage ranges from early theories such as Gestalt theory to recent computational theory in the field of Artificial Intelligence. According to the characteristics of visual perception, human beings tend to classify the ambient environment objects into different categories described by various symbols or objects. Similar symbols or even quite dissimilar symbols may be perceived as belonging together or belonging to different groups according to people's judgment. It must follow certain rules when human beings set up relationships between those objects and symbols, and finally obtain the unambiguous perceptual results through the process of visual perception. To find out the mechanisms underlying these properties of visual perception, this present thesis conducts experiments on perception using curve reconstructions as test cases. The perception model developed through the experiment is implemented in a curve reconstruction algorithm. It is assumed that a good perception model will reconstruct curves in the same manner as human beings perceive them. In the present thesis, a series of methods from Design of Experiments (DOE), ANOVA and the multivariate nonlinear regression model are applied to investigate the relationships between the points and curves. The results show that our perception model conforms to the pattern human perceives the points.
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Henderson, John M. "Context and object recognition." 1986. https://scholarworks.umass.edu/theses/2098.
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Shih, Chiung-E., and 施瓊娥. "Bicyclists’ Perception of Bicycle Laws and Appropriate Analysis of Bicycle Laws in Taiwan." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/22078721894787008161.
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碩士中華大學
運輸科技與物流管理學系碩士班
100
Abstract Due to the growing of environmental awareness and the aggressive advertisement of riding bicycle by the government, the bicyclist in Taiwan has increased year by year. Although riding bicycle leads to less energy consumption, pollution and vehicle traffic, increasing of bicyclist results in lots of traffic accidents and safety problems. One of the reasons is that riding bicycle does not need any driving license. Therefore, bicyclists may lack of enough perception of traffic rules. In addition, the traffic rules are designed for vehicles in Taiwan. The riding environment is not friendly enough to bicyclists. The safety problem of bicycle riding is worth to discuss. In this study, we review the related traffic rules of other countries so as to analyze the necessity of bicycle rules and the appropriation of bicycle rules in Taiwan. Through questionnaire survey, we understand bicyclists’ perception to related traffic rules and behaviors of riding. Furthermore, the results of questionnaire can help us to figure out the appropriation of bicycle laws. Among the distributed questionnaires, 324 of them are valid. Descriptive statistics, t-test, ANONVA and Scheffe’s method are utilized to analyze the collected data. According to the results, the bicyclists’ perception of traffic rules is quite low. Fortunately, most bicyclists can improve their perception by education. Perception of several rules is still low after educating the bicyclists. One of the reasons is the rules are inappropriate and the other reason is the rules are difficult to understand. From the findings, we present improvable suggestions to the traffic rules, bicycle-riding education and traffic engineering so as to improve bicycle traffic safety. Keywords: bicycle traffic laws, bicycle-riding behavior, traffic safety education
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TU, KUAN-HUI, and 杜冠慧. "An Investigation of Tactile Gestalt Perception for the Visually Impaired People." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/cwefp8.
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碩士國立雲林科技大學
工業設計系
107
Vision is the most important sensory sense of people receiving external information, but it is not for visually impaired people. The visually impaired people mainly listen to and receive information from the outside world. When a visually impaired person reads a book and usually expresses it in Braille, no graphic is assisted by the side, so there is a lack of cognition on the graphic. For example, if the book mentions how big the mountain and the sea are, but there is no graphic that can be compared. A tactile graphics card is a term that is often used by visually impaired people to blur the mind. It is transformed into information through tactile graphics. If the graphics are too complex, it affects the collection of information. This study constructs the accuracy and reaction time of visual dysfunction for the recognition of basic tactile figures and the ability of visual psychology. The research results can provide a reference for the design of tactile graphics training aids for visually impaired persons, and then design visually impaired persons. The design of the appearance of the product used.
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Kuo, Fang-yin, and 郭芳吟. "A Survey Study of Elementary School Students’ Auditory Performances in Terms of Gestalt Laws of Organization." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/70992919034832243154.
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碩士臺北市立大學
音樂學系碩士班
102
This study, based on the theoretical foundations of the laws of organization from Gestalt psychology, aimed to survey elementary school students’ auditory performances. The influences of age stages, gender and after school musical learning experience were also analyzed. The method of questionnaire survey was adopted with the self-developed research instrument “’Questionnaire of Auditory Performances in Terms of the Laws of Organization.” Questionnaire items consisted of four parts according to Gestalt laws of organization. Part one referred to the law of proximity. Part two dealt with the law of similarity. Part three involved the law of continuation. Part four had to do with the law of closure. Each of the parts consisted in two different question outlooks: the first type took melodic excerpts from the Inventions of J. S. Bach that matched with the related law of organization, while the second type was composed by the researcher based upon the related law of organization. A total of 54 questions were developed. The subjects were middle and upper grades public elementary students of the central part of Taiwan. Two stages of sampling were conducted. The first stage utilized cluster sampling, and the second stage involved convenience sampling. 625 questionnaires were distributed and 614 were valid, reaching a valid questionnaire rate of 98.24%. Descriptive statistics and Chi-square test were used to match with the research purposes and method. The conclusions were stated as follows: Firstly, regarding elementary school students’ auditory performances in terms of the laws of organization: 1. Their auditory performances were in accordance with the law of proximity. 2. Their auditory performances were in accordance with the law of similarity. 3. Their auditory performances were in accordance with the law of continuation. 4. Their auditory performances were in accordance with the law of closure. Secondly, regarding the different background elementary school students’ auditory performances in terms of the laws of organization: 1. Upper-grade students’ auditory performances were more in accordance with the law of organization than those of the middle-grade students. 2. Female students’ auditory performances were more in accordance with the law of organization than those of the male students. 3. The auditory performances of the students with after school musical learning experience were more in accordance with the law of organization than those without after school musical learning experience. Keywords: Gestalt laws of organization, audition, grade, gender, after school musical learning
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Kim, Sung-Ho. "Globally inconsistent figure/ground relations induced by a negative part." 2009. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.000052253.
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