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Journal articles on the topic 'Performance drawing'

Author: Grafiati

Published: 19 February 2023

Last updated: 25 February 2023

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1

Foá, Maryclare. "Narrative traces through being and places, drawing, performance drawing and painting." Drawing: Research, Theory, Practice 5, no. 1 (April 1, 2020): 85–98. http://dx.doi.org/10.1386/drtp_00022_1.

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A reflective observation of a 40-year drawing practice (from the 1970s to the present day), from observational drawing in outdoor environments, to performing Driftsong sound drawings through place, leading to the author’s current concern, woandering to bridge drawing and painting in a pareidolian archaeology. Her practice, rooted for its first decade in observational drawing in outdoor spaces, intensified her awareness of the environment and led her to undertake a research degree investigating whether an interaction between the environment and the practitioner during the process of drawing could be identified. This review follows the author’s practice, highlighting essential influencers, including Linda Kitson, Charles Baudelaire, Jacques Derrida on Emmanuelle Levinas, Astronaut Chris Hadfield and Performance artist Phil Smith. Identifying how the development of the author’s understanding of the environment impacts on her drawing led her to question whether while making work in the outside environment, she may also impact the environment in return. The author later expanded this idea further to wonder if while we make drawings of the environment we may be drawn by the environment too. A significant conversation with her research supervisor the artist David Cross, in which he stated that mass displacement is ‘a defining condition of our times’, together with the planets approaching environmental catastrophe, prompted the author to give a paper proposing Psychogeography be updated to Reciprocalgeography, and that the stories of the journeys undertaken by those displaced persons be heard as a ‘gift for the common treasury for all’ (Gerard Winstanley 1649). This review concludes with a response to an invitation to write on the thinking and making of her current practice. The author, combining the physical, emotional and conceptual process of making, proposes to woander on a pareidolian archaeology, allowing serendipitous happenstance and the unconscious, to have a hand in the making process.

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2

Mastipanova, A. V. "PECULIARITIES OF TECHNICAL DRAWING PERFORMANCE METHODS OF DRAWING." Educational Dimension 17 (December 27, 2007): 170–78. http://dx.doi.org/10.31812/educdim.6361.

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Similarity and difference o f artistic and technical designs and also some particularities of fulfilling technical design in the drawing studies for the purpose of improvement o f perception of technical design characteristic features by the students of artisticorientation were considered in the article.

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3

Owens, Clifford. "Performance Art and Drawing." PAJ: A Journal of Performance and Art 36, no. 2 (May 2014): 74–77. http://dx.doi.org/10.1162/pajj_a_00201.

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4

Cai, Dengchuan. "Association of Stability of Line Drawing and Drawing Performance." Perceptual and Motor Skills 105, no. 3_suppl (December 2007): 1099–108. http://dx.doi.org/10.2466/pms.105.4.1099-1108.

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5

CAI, DENGCHUAN. "ASSOCIATION OF STABILITY OF LINE DRAWING AND DRAWING PERFORMANCE." Perceptual and Motor Skills 105, no. 7 (2007): 1099. http://dx.doi.org/10.2466/pms.105.7.1099-1108.

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6

Short-DeGraff, Margaret A., Lori Slansky, and Karen E. Diamond. "Validity of Preschoolers' Self-Drawings as an Index of Human Figure Drawing Performance." Occupational Therapy Journal of Research 9, no. 5 (September 1989): 305–15. http://dx.doi.org/10.1177/153944928900900504.

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Fifteen preschoolers were administered the Goodenough-Harris Draw-a-Person Test (DAPT) (Harris, 1963), Ayres and Reid's (1966) assessment of self-drawings, and the General Information subtest, which is a verbal measure of the Wechsler Preschool and Primary Scale of Intelligence (WPPSI) (Wechsler, 1967). High correlations were obtained between the man, woman, and man/woman converted scores of the DAPT and the self-drawings that were scored with Ayres and Reid's procedure. These data indicate that Ayres and Reid's self-drawing scoring system may be a useful replacement for the longer DAPT when clinicians want a quick and easy method of assessing a child's figure drawing abilities. Low correlations between all of the figure drawing and WPPSI scores are consistent with other data that indicate that figure drawing ability is more highly correlated with the performance than with the verbal components of IQ tests.

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7

Sumi, Koji, Hisatoshi Tanaka, Hiroyuki Ebara, and Hideo Nakano. "Performance evaluation of graph drawing algorithms." Electronics and Communications in Japan (Part III: Fundamental Electronic Science) 80, no. 6 (June 1997): 54–61. http://dx.doi.org/10.1002/(sici)1520-6440(199706)80:6<54::aid-ecjc6>3.0.co;2-2.

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8

Mati-Zissi, Heleni, Maria Zafiropoulou, and Fotini Bonoti. "Drawing Performance in Children with Special Learning Difficulties." Perceptual and Motor Skills 87, no. 2 (October 1998): 487–97. http://dx.doi.org/10.2466/pms.1998.87.2.487.

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The present study examined drawings on 5 tasks of 45 dyslexic and 45 nondyslexic children aged 6–9 years old. Children who show low performance in written language and phonological awareness are also expected to get low scores on drawing tasks which require similar skills such as comprehension of difference, coordination of parts in an organized whole, spatial movement, classification or distinction of figures. The present hypotheses were constructed accordingly. Analysis showed that the drawings of the dyslexic participants presented inadequate planning, difficulties in the depiction of contrast, size-scaling and canonicality, lack of details, and stereotypic depiction.

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9

Tracy, Joseph I., Jose de Leon, Robert Doonan, John Musciente, Timothy Ballas, and Richard C. Josiassen. "Clock Drawing in Schizophrenia." Psychological Reports 79, no. 3 (December 1996): 923–28. http://dx.doi.org/10.2466/pr0.1996.79.3.923.

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The Clock Drawing Test, a task sensitive to cognitive decline in neurological groups, was administered to 27 patients with schizophrenia. Clock drawings were scored for over-all global performance and the frequency of specific qualitative errors. Mean global performance scores indicated a small proportion of the sample was below the threshold typically used to identify dementia, and the patients displayed qualitative Clock Drawing deficits not fully represented in the global performance measure. Qualitative analyses indicated that size errors, graphic difficulty, and spatial planning problems were most common. Lastly, duration of illness was not related to global performance, suggesting that the latter might not reflect deterioration but the stable trajectory of impairment that may be constant through the schizophrenia illness.

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10

Carson, Linda C., and Fran Allard. "Angle-drawing accuracy as an objective performance-based measure of drawing expertise." Psychology of Aesthetics, Creativity, and the Arts 7, no. 2 (May 2013): 119–29. http://dx.doi.org/10.1037/a0030587.

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11

Ostrofsky, Justin, Ryan Pletcher, and Jesse Smith. "The Effects of Disrupting Holistic Processing on the Ability to Draw a Face." Art and Perception 8, no. 1 (March 4, 2020): 68–88. http://dx.doi.org/10.1163/22134913-20191136.

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Previous research has demonstrated that those more skilled in drawing tend to exhibit stronger local perceptual processing biases than those less skilled in drawing. However, due to the correlational nature of this research, it is unclear whether drawing performance is facilitated by biasing perception towards local visual information. In order to investigate this, we conducted an experiment where participants drew an aligned face or a horizontally-misaligned face. Previous perceptual research has demonstrated that aligned faces are processed holistically, whereas misaligned faces are processed locally. Thus, drawings of aligned faces are assumed to be guided by holistic processing, whereas drawings of misaligned faces are assumed to be guided by local processing. Drawings were objectively measured according to the relative spatial positioning of facial features. Relative to drawings of aligned faces, the accuracy of misaligned face drawings was either impaired (for drawings of the distance between the eyes and mouth) or was not affected (for drawings of the interocular distance, the distance between the nose and mouth, and the distance between the eyes and eyebrows). This pattern of drawing errors mirrored the effects of face inversion that has previously been reported, another manipulation that is thought to disrupt holistic processing. At least with respect to drawing the relative spatial positioning of facial features, we did not observe any evidence that supports the notion that biasing perceptual processing towards local visual information directly facilitates drawing performance.

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12

Dechterenko, Filip, Jirí Lukavský, and Wilma Bainbridge. "Drawing ability correlates with visual memory performance." Journal of Vision 21, no. 9 (September 27, 2021): 2345. http://dx.doi.org/10.1167/jov.21.9.2345.

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13

Sailors, Pam R. "Performance-Enhancing Drugs and Moral Line Drawing." American Journal of Bioethics 18, no. 6 (May 31, 2018): 16–17. http://dx.doi.org/10.1080/15265161.2018.1459952.

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14

Crickmay, Chris. "Drawing as part of a performance practice." Theatre, Dance and Performance Training 11, no. 4 (October 1, 2020): 522–23. http://dx.doi.org/10.1080/19443927.2020.1788830.

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15

HUBBARD, E., V. SANTINI, C. BLANKEVOORT, K. VOLKERS, M. BARRUP, L. BYERLY, C. CHAISSON, A. JEFFERSON, E. KAPLAN, and R. GREEN. "Clock drawing performance in cognitively normal elderly." Archives of Clinical Neuropsychology 23, no. 3 (May 2008): 295–327. http://dx.doi.org/10.1016/j.acn.2007.12.003.

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16

Rehrig, Gwendolyn, and Karin Stromswold. "What Does the DAP:IQ Measure?: Drawing Comparisons between Drawing Performance and Developmental Assessments." Journal of Genetic Psychology 179, no. 1 (December 2017): 9–18. http://dx.doi.org/10.1080/00221325.2017.1392281.

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17

Liu, Rui Jun. "Performance Test of Automotive Transmission Control Mechanism." Applied Mechanics and Materials 321-324 (June 2013): 1566–69. http://dx.doi.org/10.4028/www.scientific.net/amm.321-324.1566.

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The right panel drawing direction is an important prerequisite for generating qualified parts, an important step before the panel forming simulation is to determine the reasonable direction of the drawing. Manually adjust parts in order to overcome rely on experience, the drawbacks to the drawing direction, the direction of the drawing punch and forming the contact area of the sheet as the goal of automatic determination algorithm. Objective function of the direction of the drawing for the variable contact area in the drawing direction of the feasible region, the use of heritage algorithms to optimize the objective function of the contact area and, ultimately feasible within the contact area corresponding to the drawing direction, that is the best drawing direction. The measured results show that the direction of the drawing based on genetic algorithm, the automatic algorithm can fast and accurate to obtain the optimal direction of drawing.

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18

Rellensmann, Johanna, Stanislaw Schukajlow, and Claudia Leopold. "Make a drawing. Effects of strategic knowledge, drawing accuracy, and type of drawing on students’ mathematical modelling performance." Educational Studies in Mathematics 95, no. 1 (November 14, 2016): 53–78. http://dx.doi.org/10.1007/s10649-016-9736-1.

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19

Zhang, Zhi Peng, and Jian Zhen Zhang. "Drawing Engine Universal Performance Characteristics Map Method Based on MATLAB." Advanced Materials Research 614-615 (December 2012): 361–65. http://dx.doi.org/10.4028/www.scientific.net/amr.614-615.361.

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The changing tendency of engine performances in its operational range can be directly showed in the engine universal performance characteristics map. Taking advantage of MATLAB mathematic operation, data from engine characteristic tests are processed and the method is simple and credible. The universal performance characteristics map is intuitionist and perspicuous, and is in good fit with data got in tests. It provides a reliable and efficient tool to research into engine performances and automotive drive and fuel economy benefits.

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20

Kobayashi, Harumi, and Tetsuya Yasuda. "Performance Types and Activation of the Prefrontal Cortex." Journal of Robotics and Mechatronics 20, no. 5 (October 20, 2008): 726–30. http://dx.doi.org/10.20965/jrm.2008.p0726.

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We investigated the relationship between performance types in skill acquisition and the use of the prefrontal cortex (PFC). We used a modified mirror drawing task in which participants using a pen tablet repeated the tracing of a star displayed on a screen. Changes in cerebral blood flow were measured using near infrared spectroscopy (NIRS). Participants conducted two tasks, mirror drawing, i.e., tracing a mirror image of a star, and an usual drawing, i.e., tracing a star. Performance was scored based on the number of errors and drawn lengths. Results suggested that two types of participants - those whose number of errors decreased when they repeated the task and those whose number of errors did not decrease. We thus concluded that (1) changes in oxy-hemoglobin concentration (Oxy-Hb) are higher in the mirror drawing task than in the usual drawing task; (2) oxy-Hb decreased in the right PFC when participants whose number of errors decreased repeated the task 4 days later, but did not decrease in the left PFC; (3) oxy-Hb decreased in the left PFC when participants whose number of errors did not decrease repeated the task 4 days later, but did not decrease in the right PFC. Our findings indicate that activation of the PFC can be used to assess skill levels in on-going tasks and may provide information on how to time assistance.

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21

COURT, ELSBETH. "Drawing on Culture: the Influence of Culture on Children's Drawing Performance in Rural Kenya." Journal of Art & Design Education 8, no. 1 (March 1989): 65–88. http://dx.doi.org/10.1111/j.1476-8070.1989.tb00742.x.

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22

Ikeda, Chisa, Sonomi Nakajima, Toshio Ohyanagi, Yuji Nakamura, and Yasuhito Sengoku. "The Influence of Physical Function on Drawing Performance and Drawing Motion in Clumsy Children." Asian Journal of Occupational Therapy 15, no. 1 (2019): 37–44. http://dx.doi.org/10.11596/asiajot.15.37.

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23

Bowen, Eleanor. "Drawing and Longing." Journal of Juvenilia Studies 2, no. 1 (July 27, 2019): 3–13. http://dx.doi.org/10.29173/jjs34.

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This essay incorporates both images and text in order to examine how the concept of "juvenilia" applies to a visual artist. The author, a practising artist, revisits her own childhood drawings as a means of considering what it is to make images, to think and feel through picturing, and as a means of reflecting on her visual practice in relation to narrative, performance and archaeological process. Readers are offered here a paratext, that is, a text-with-image piece that draws out subject matter through pairings or clusters of text with text, image with image, or text with image.

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24

Ren, Shuo, Jian Xing Wu, and Jian Zhong Li. "Relationship Study between Bolt Shape and Anchor Performance." Applied Mechanics and Materials 670-671 (October 2014): 1050–54. http://dx.doi.org/10.4028/www.scientific.net/amm.670-671.1050.

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Relationship between bolt rib type, rib height, rib spacing and anchor performance have been studied through laboratory drawing test method. Bolt rib type plays a significant impact on the bolt anchor performance. The bigger of the bolt rib height and higher of the drawing force, the better of the anchor performance, but when the rib reach a certain height, drawing force will not increase obvious with the continue increase of rib height. Drawing force will different if the rib spacing is different, and with the increase of rib spacing, drawing force will increase at first and then reduce. When the rib spacing is about 30mm, the drawing force will get the maximum and the best of the anchor performance.

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25

Krasovskyi, A. M. "Method of performance of the drawing “Plaster ornament”." Educational Dimension 16, no. 1 (December 14, 2006): 244–48. http://dx.doi.org/10.31812/educdim.6098.

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Methodical advices which will help studying regional pedagogical lyceum for rural young people correctly to organize the prosecution of task the picture «Gipseous decorative pattern are expounded in the article».

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26

Seidl, Ulrich, Tanja V. Traeger, Dusan Hirjak, Barbara Remmele, R. Christian Wolf, Elmar Kaiser, Bram Stieltjes, Marco Essig, Johannes Schröder, and Philipp A. Thomann. "Subcortical morphological correlates of impaired clock drawing performance." Neuroscience Letters 512, no. 1 (March 2012): 28–32. http://dx.doi.org/10.1016/j.neulet.2012.01.054.

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27

Naranje, Vishal G., Ram Karthikeyan, and Vipin Nair. "Study of wear performance of deep drawing tooling." IOP Conference Series: Materials Science and Engineering 244 (September 2017): 012004. http://dx.doi.org/10.1088/1757-899x/244/1/012004.

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28

Bonoti, Fotini, Filippos Vlachos, and Panagiota Metallidou. "Writing and Drawing Performance of School Age Children." School Psychology International 26, no. 2 (May 2005): 243–55. http://dx.doi.org/10.1177/0143034305052916.

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29

Urso, Jen, and Eileen Standley. "Subtle, intimate performance in urban space: Ongoing research and notes from Close Distance." Choreographic Practices 11, no. 1 (July 1, 2020): 123–47. http://dx.doi.org/10.1386/chor_00015_1.

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This article reflects on an evolving research project entitled Close Distance that takes shape at the intersection of dance and drawing. Close Distance is a durational performance that uses movement and the technique of blind gesture drawings (images created without looking down at the drawing) in public spaces to identify the subtlety, dignity, respect and sensitivity of human beings. With this article, we wish to share our process, lines of inquiry and some of the discoveries resulting from our evolving research practice together. Our continuous exploration through the body and drawing in choreographic relation to public sites, everyday activities and human connection in unconventional spaces introduces the marriage of artistic process between a choreographer/dancer and a visual artist/drawer who think very similarly but use different tools. Our work illuminates the richness of unexpected collaborations performing across media and disciplines in social spaces, as well as a non-invasive approach to social engagement.

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30

Daly, Ann, and Angela Rodgers. "Carolee Scheemann: A Life Drawing." TDR/The Drama Review 45, no. 2 (June 2001): 9–54. http://dx.doi.org/10.1162/105420402760157673.

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31

Bensur, Barbara, and John Eliot. "Case's Developmental Model and Children's Drawings." Perceptual and Motor Skills 76, no. 2 (April 1993): 371–75. http://dx.doi.org/10.2466/pms.1993.76.2.371.

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109 children in four age groups were administered two memory measures designed by Case in 1985, the Beery Visual Motor Integration Test and five drawing tasks from Dennis. Scores on working memory were correlated positively with age; children's drawings corresponded to Case's four developmental substages; and a direct relationship was found between the children's drawings and their performance on the psychometric measure of visuomotor integration. These findings are interpreted as evidence that important developmental changes in children's drawing can reliably illuminate changes in intellectual development.

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32

Carson, Linda, Matthew Millard, Nadine Quehl, and James Danckert. "Polygon-Based Drawing Accuracy Analysis and Positive/Negative Space." Art & Perception 2, no. 1-2 (2014): 213–36. http://dx.doi.org/10.1163/22134913-00002021.

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The study of drawing generally depends on ratings by human critics and self-reported expertise of the drawers. To complement those approaches, we developed an objective continuous performance-based measure of drawing accuracy. This measure represents drawings as sets of landmark points and analyses features of particular research interest by comparing polygons of those features’ landmark points with their counterpart polygons in a veridical image. This approach produces local accuracy measures (for each polygon), a global accuracy measure (the mean across several polygons), and four distinct properties of a polygon for analysis: its size, its position, its orientation and the proportionality of its shape. We briefly describe the method and its potential research applications in drawing education and visual perception, then apply it to a specific research question: Are we more accurate when drawing in the so-called ‘positive space’ (or figure)? In a polygon-based accuracy analysis of 34 representational drawings, expert drawers outperformed less experienced participants on overall accuracy and every dimension of polygon error. Comparing polygons in the positive and negative space revealed an apparent trade-off on the different dimensions of polygon error. People were more accurate at proportionality and position in the positive space than in the negative space, but more accurate at orientation in the negative space. The contribution is the use of an objective, performance-based analysis of geometric deformations to study the accuracy of drawings at different levels of organization, here, in the positive and negative space.

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33

Wei, Zhen Da. "An Engineering Drawing Retrieval Method Based on Spherical Harmonics." Advanced Materials Research 834-836 (October 2013): 1455–58. http://dx.doi.org/10.4028/www.scientific.net/amr.834-836.1455.

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In this paper, an engineering drawing retrieval method based on spherical harmonics is proposed. Firstly, the sample points are uniformly generated by computing the interaction points between the rays and the engineering drawing. Secondly, the sampled points are transformed from the 2D space into the 3D space to get the spherical harmonics shape descriptors. Finally, the Euclidean distance is adopted to compute the distance between the two feature vectors, which can give the similarity coefficient for two compared engineering drawings. Experimental results show that the proposed method is good at retrieving engineering drawings and the retrieval performance can meet the requirement of the practical retrieval.

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34

Prasad, Akula Durga Vara, and Subrata Mukherjee. "Delamination of Pearlitic Steel Wires: Role of Strain Partition on Mechanical Properties of Pearlitic Wires." Materials Science Forum 1016 (January 2021): 413–17. http://dx.doi.org/10.4028/www.scientific.net/msf.1016.413.

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Cold drawn wires were produced by drawing the pearlitic wire rod (5.5 mm diameter). Cold drawing involved multiple stages to a final drawing strain of ≈ 2.5. The cold drawing alters the pearlite morphology. During the wire drawing, the change in morphology is location dependent. This will create the gradient in stain and strain mode between the surface and the center. This led to have a strain partition among ferrite and cementite phases. The strain partitioning plays a major role in the final tensile and torsional performance of the cod drawn wire. The present work dealt with the experimental and their numerical simulations of stress gradients and the role of pearlite morphology on tensile and torsional properties of the pearlitic steel wire.

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35

O’Dempsey, Kellie. "The emergent loop of interdisciplinary exchange." Drawing: Research, Theory, Practice 7, no. 2 (October 1, 2022): 285–98. http://dx.doi.org/10.1386/drtp_00096_1.

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This exegetical analysis of performance drawing highlights its character as an interdisciplinary process. Specifically, I demonstrate that the interrelation of drawing and performance, that occurs in the active, live-audience drawing processes, is a unique interdisciplinary exchange. This analysis utilizes the concept of ‘intra-action’, as defined by Karen Barad, to reveal the multidirectional and emergent processes of the interdisciplinary exchange exhibited through drawing as performance. Furthermore, this interdisciplinary exchange is likened to a Möbius loop. Exploring ‘intra-action’ and the Möbius loop analogy, I examine the interdisciplinary drawing process through the cooperative performance drawing work initiated by myself, Kellie O’Dempsey (Australia) and Jennifer Wroblewski (United States): Resistance Movement (2017–18). This work exemplifies the interdisciplinary process of performance drawing as the initiator for creative exchange. To examine this proposition, I isolate the components of drawing, performance and the spatio-temporal, and analyse how these components operate through Resistance Movement. While Barad’s theory of intra-action relates to the entanglement of matter in the universe, I use the theory to explore the entangled aspects of performance drawing that create a single, unified experience for both artists and viewers. The three elements – drawing, performance and the spatio-temporal – combine, resulting in intra-action. Thus, creating a unique, interdisciplinary event.

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36

Xu, Weilin, Shangyong Zhang, and Maolin Zhang. "Study on the Wool Fiber Performance Improved by Drawing." FIBER 59, no. 7 (2003): 284–88. http://dx.doi.org/10.2115/fiber.59.284.

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37

Campbell, Sharon. "Performance Drawing for animators: Breaking conventions and exploring experience." Animation Practice, Process & Production 3, no. 1 (December 1, 2013): 57–74. http://dx.doi.org/10.1386/ap3.3.1-2.57_1.

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38

Liu, Yu-Qing, Yong-Lai Zhang, Zhi-Zhen Jiao, Dong-Dong Han, and Hong-Bo Sun. "Directly drawing high-performance capacitive sensors on copying tissues." Nanoscale 10, no. 36 (2018): 17002–6. http://dx.doi.org/10.1039/c8nr05731a.

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39

Goonetilleke, Ravindra S., Errol R. Hoffmann, and Ameersing Luximon. "Effects of pen design on drawing and writing performance." Applied Ergonomics 40, no. 2 (March 2009): 292–301. http://dx.doi.org/10.1016/j.apergo.2008.04.015.

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40

Bashir, Z., and A. Keller. "Melt drawing as a route to high performance polyethylene." Colloid & Polymer Science 267, no. 2 (February 1989): 116–24. http://dx.doi.org/10.1007/bf01410349.

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41

Heller, Morton A., John M. Kennedy, and Tamala D. Joyner. "Production and Interpretation of Pictures of Houses by Blind People." Perception 24, no. 9 (September 1995): 1049–58. http://dx.doi.org/10.1068/p241049.

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Subjects were exposed to a three-dimensional model of a house and were asked to draw it using a raised-line drawing kit. Independent groups of ten each of sighted controls, early-blind, and late-blind subjects were told to identify the vantage point of tangible pictures of the model, including side views, ‘bird's-eye’ views from above, and views involving linear perspective. The ease or difficulty of picture interpretation depended upon the nature of the tangible drawing, with much better performance being recorded for side views. Performance was poor for foreshortened 3/4 views. Early-blind subjects were particularly unlikely to recognize views from above. In a control experiment with blindfolded sighted subjects the influence of prior information was examined: some subjects were told that the drawings could consist of side view or bird's-eye, top view, or 3/4 view drawings. This experiment showed that performance can be greatly improved through prior information about the nature of the tangible pictures.

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42

Tambouratzis, Tatiana, and Michael J. Wright. "The Relative Effectiveness of Serial and Parallel Viewing of Line Drawings Depicting Possible and Impossible Objects." Perception 22, no. 11 (November 1993): 1271–85. http://dx.doi.org/10.1068/p221271.

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In a series of experiments, subjects were asked to make judgments concerning the three-dimensional constructibility of line drawings depicting possible and impossible objects. A spectrum of objects was employed in which complexity as well as, for impossible objects, the cause and saliency of the contradiction in three-dimensional structure varied widely. The line drawings were presented under varying viewing conditions and exposure times. It was found that line drawings of possible objects were more often correctly identified than those of impossible ones. Parallel (simultaneous) viewing was more efficient than serial viewing (in which a line drawing moved behind a narrow stationary aperture). The orientation of the aperture did not cause differences in the subjects' performance. Line-drawing complexity and contradiction in three-dimensional structure were not found to be significant for accurate recognition. Finally, no consistent effect of exposure duration on performance could be determined in the range 60–1000 ms.

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43

Lai, Xiao Ming, Zhe Wang, Yu Liang Zhang, Bo Wang, Kai Feng Zhang, and Guo Feng Wang. "Process Design and Thermal Performance in Deep Drawing of SiCp/2024Al Composite Sheet Using Pulse Current Heating." Advanced Materials Research 712-715 (June 2013): 678–82. http://dx.doi.org/10.4028/www.scientific.net/amr.712-715.678.

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The deep drawing of SiC/2024Al composites using pulse current heating were designed and established in this works. The whole process system mainly include pulse current heating system, electrode lifting system, temperature control system and deep drawing forming system. In addition, the feasibility of thermal deep drawing using pulse current heating was experimentally investigated and the optimal process parameters were explored to ensure defect-free products. The temperature of specimen is up to around 673K at a rate of 13.5K/s under the current density of 21.7A/mm2. The stainless steel inserts make temperature difference reducing by 73.3%. Moreover, the workpiece was successfully deep drawn and exhibited good surface quality. The dimensional accuracy achieved within ±0.2mm.

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Heinik, Jeremia, Perla Werner, Tal Dekel, Ilya Gurevitz, and Sara Rosenblum. "Computerized kinematic analysis of the clock drawing task in elderly people with mild Major Depressive Disorder: an exploratory study." International Psychogeriatrics 22, no. 3 (November 30, 2009): 479–88. http://dx.doi.org/10.1017/s1041610209991360.

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ABSTRACTBackground: Developments in data collection technology enable evaluation of kinematic characteristics of the drawing process. We examined the clock drawing task in elderly patients with mild Major Depressive Disorder (MDD), assessed the relative importance of kinematic measures that differentiate the groups and analyzed associations between computerized measures, and the cognitive and depression status of the study groups.Methods: The participants comprised 20 elderly people with mild MDD and 20 matched controls. Both groups performed a clock drawing task using a computerized system. Kinematic measures included: number of segments drawn, performance time, pressure implemented towards the drawing surface, and pen azimuth. Three representative spatial characteristics were analyzed per segments drawn on the paper: height, width and length. The clock drawing tasks were blindly scored with Freedman's method. Cognitive state was quantified using the Mini-mental State Examination (MMSE) and depression with the Geriatric Depression Scale (GDS).Results: Freedman's method found no between-group differences. Pressure and azimuth measures and spatial measures of segments height, width and length were significantly lower in the mild MDD group, while the number of paper segments and performance time did not differ. The azimuth measure correlated with the GDS score, and pressure with the MMSE and the GDS scores. Spatial measures did not correlate with either the MMSE or GDS. Pressure, segment width and length, azimuth and segment height allowed correct classification of 81.1% of the participants.Conclusions: A computerized system focusing on the clock drawing task might be sensitive to altered performance among elderly people with mild MDD.

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Woody, Robert H. "Explaining Expressive Performance: Component Cognitive Skills in an Aural Modeling Task." Journal of Research in Music Education 51, no. 1 (April 2003): 51–63. http://dx.doi.org/10.2307/3345648.

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This study is an examination of musicians' expressive performances, in an aural modeling task, paying special attention to the skills of goal imaging and motor production. Twenty-five university musicians heard expressive piano excerpts preceded by expressionless “deadpan” versions to use as the bases of comparison. After giving imitative performances of each expressive model, subjects indicated the perceived dynamic and tempo contours of the model by drawing on a chart. Multiple regression analyses were used to explain the dynamic variations of subjects' expressive performances. A theoretical model designated “contextual goal image” consisted of (a) subjects' previous attempts at performing in a deadpan manner (indicating the expressive conventions automatically applied to the excerpts' musical contexts) and (b) their line drawings of what they perceived in the models. Overall, the contextual goal image model explained a large proportion of the variance in performance, indicating the importance of supplementing automatically applied performance conventions with an explicit goal performance plan.

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Toribio, Jesús, and Miguel Lorenzo. "On the Use of Multi-Step Dies for Improving the Performance against Hydrogen Embrittlement of Cold Drawn Prestressing Steel Wires." Materials 15, no. 24 (December 19, 2022): 9085. http://dx.doi.org/10.3390/ma15249085.

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The main cause of in-service failure of cold drawn wires in aggressive environments is hydrogen embrittlement (HE). The non-uniform plastic strains and residual stresses generated after cold drawing play a significant role in the matter of HE susceptibility of prestressing steels. In this paper, a new and innovative design of the drawing scheme is developed, geared towards the reduction in both manufacturing-induced residual stresses and plastic strains. To achieve this goal, three innovative cold drawing chains (consisting in diverse multi-step dies where multiple diameter reductions are progressively carried out in a single die) are numerically simulated by the finite element (FE) method. From the residual stress and plastic strain fields revealed from FE numerical simulations, hydrogen accumulation for diverse times of exposure is obtained by means of FE simulations of the hydrogen diffusion assisted by stress and strains. Thus, an estimation of the HE susceptibility of the cold drawn wires after each process was obtained. Results reveal that cold drawn wire using multi-step dies exhibits lower stress and strain states nearby the wire surface. This reduction causes a decrease in the hydrogen concentration at the prospective damage zones, thereby improving the performance of the prestressing steel wires in hydrogenating environments promoting HE. Thus, the optimal wire drawing process design is carried out using special dies with several reductions per die.

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Jurovatý, Peter, Rudolf Fábry, Šimon Majer, and Slávka Démuthová. "Test of Human Figure Drawing: Drawing Bizarreness and its Relation to some Parameters of Personality." Postmodern Openings 13, no. 1 Sup1 (March 14, 2022): 57–77. http://dx.doi.org/10.18662/po/13.1sup1/414.

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The aim was to verify the potential of holistic approaches towards the evaluation of human figure drawing. Groht-Marnat, Tharinger, Stark favour this approach, and findings seem to legitimize considerations about its diagnostic productivity. Yama, Dans-Lopez and Tarroja have identified bizarre and artistic quality criteria for drawing that have a relevant interpretative meaning. Within the study involving 525 normal adult subjects, the hypothesis of differences in personality traits and performance level produced by authors of selected types of drawings, was verified. The criterium of bizarre drawing proved to be an important indicator of intellectual abilities monitored by subtests of the ISA-S test, the non-verbal CF 2A test, Decision-making test. They achieved the lowest scores in all parameters, with significance in relation to more detailed drawings. Results from IHAVEZ and DOPEN questionnaires suggest that bizarre character producers are more emotionally instable, less emotionally resilient, less anticipating, and less self-controlling, less rational, responding more intensely to problems and are less orientated towards their solution. They are more neurotic and present more psychotic experience. The main limitation is the chosen approach. Holistically evaluated drawing is rare in terms of its occurrence in a normal population. Even within the files involving several hundred participiants, it is possible to clearly classify drawing in the maximum number of tens. Diversity of the terminology and methodological ambiguity constitutes another limitation. The bizarreness itself is not interpreted clearly, rather the contrary.

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Taylor, Robert. "Drawing Designs from Memory in Dementia." Perceptual and Motor Skills 79, no. 2 (October 1994): 801–2. http://dx.doi.org/10.2466/pms.1994.79.2.801.

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Correlational analysis of performance on 22 neuropsychological tests by 58 patients with presumed dementia of the Alzheimer type and 58 with presumed multi-infarct dementia suggested that drawing designs from memory in dementia assesses visual-perceptual, constructional, and executive abilities more than memory.

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Schraeyen, Senne. "Teken onder weerstand: Over de tekenpraktijk van Matthew Barney en Michelangelo." Forum+ 26, no. 1 (March 1, 2019): 48–54. http://dx.doi.org/10.5117/forum2019.1.schr.

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Abstract Net zoals een kunstenaar als Michelangelo Buonarroti (1476-1564) zich profileerde als beeldhouwer, schilder, architect en poëet, laveert Matthew Barney (1967) moeiteloos tussen verschillende hedendaagse kunstvormen.Het oeuvre van de Amerikaanse kunstenaar Matthew Barney bestaat uit performance, fotografie, tekeningen, designobjecten en film. Niet toevallig werd hij in 1989 door een kunstcriticus omgedoopt tot “De Michelangelo van de genitale kunst”. Dit had niet alleen te maken met de vele naakte atletische lichamen in zijn oeuvre. De verwantschap tussen Barney (1967) en Michelangelo (1476-1564) is groter dan men zou verwachten. Senne Schrayen trekt in dit artikel een parallel tussen de lopende performancereeks Drawing Restraint (gestart in 1987) van Barney en de presentatietekeningen van Michelangelo uit 1532 vanuit een transhistorische invalshoek en met aandacht voor het maakproces van de tekeningen. Just as Michelangelo Buonarroti (1476-1564) worked as a sculptor, painter, architect and poet, Matthew Barney (1967) switches smoothly between various contemporary art forms. The oeuvre of this US artist includes performance, photography, drawing, design and film. Not coincidentally an art critic, writing in 1989, dubbed him 'The Michelangelo of genital art' and this was not just because of the many athletic nudes that people his oeuvre. The parallels between Barney (1967) and Michelangelo (1476-1564) are greater than one might think. In the article Senne Schrayen makes a comparison between Barney's current series of performances (started in 1987) called Drawing Restraint and Michelangelo's drawings of 1532 from a transhistorical perspective and giving close attention to the process of making the drawing.

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Ibrahim, Rebecca Ugbonji. "INFLUENCE OF INSTRUCTION ON STUDENTS’ PERFORMANCE IN BIOLOGICAL DRAWING IN SOKOTO STATE, NIGERIA." Sokoto Educational Review 15, no. 2 (December 31, 2014): 81–90. http://dx.doi.org/10.35386/ser.v15i2.172.

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This study investigated the influence of instruction on the drawing performance of students in Sokoto State, Nigeria. The main objective was to find out whether students will improve in drawing performance if they are tutored on the salient features of the biological drawing. A pretest-posttest- the quasi-experimental design was used in carrying out the research. The population of the study was the Senior Secondary 1 students of Sokoto State. The estimated number of this group of students according to Ministry of Education Sokoto was 18,932. Purposive sampling technique was used to select six schools that participated in the study. The treatment involved 16 sessions of teaching focusing on various aspects of biological drawing and labelling. Biology Drawing Test (BDT) was administered on the subjects to test the students ’ acquired knowledge and application o f the knowledge in practical drawing and labelling tasks. The measures obtained from the instrument were subjected to statistical analyses of t-test to test the two hypotheses of the research. The findings showed that the experimental groups performed significantly better than the control group in both drawing and labelling skills. The research, among others, recommended that biology teachers should provide specific instructions on drawing and labelling to students for effective learning and understanding of biological concepts.

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