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Journal articles on the topic 'Pictographic'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Norder, John W., and Jon W. Carroll. "Applied Geospatial Perspectives on the Rock Art of the Lake of the Woods Region of Ontario, Canada." International Journal of Applied Geospatial Research 2, no. 4 (October 2011): 77–92. http://dx.doi.org/10.4018/jagr.2011100105.

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This study examines the role of rock art in the construction of Woodland Period (300 BC to AD 1700) hunter-gatherer landscapes in the Lake of the Woods region of northwestern Ontario. The authors examine the distribution of documented pictograph sites relative to the locations of rock formations where the geologic conditions would have favored the placement of pictographic rock art but are absent. Point pattern analysis, Monte Carlo simulation, and least cost path analysis were used to analyze the findings. The authors suggest that pictograph sites were placed at points on the landscape along water routes to facilitate information exchange among highly mobile hunter-gatherers.

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Garcia, Edgar. "Pictography, Law, and Earth: Gerald Vizenor, John Borrows, and Louise Erdrich." PMLA/Publications of the Modern Language Association of America 134, no. 2 (March 2019): 260–79. http://dx.doi.org/10.1632/pmla.2019.134.2.260.

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This essay examines Anishinaabe pictography in contemporary legal contexts, challenging the notion that the law must necessarily inhere in alphabetic isomorphism, let alone in the colonialist inscriptive norms of the nation. Explaining how pictography elicits a loosened relation between sign and signified, this essay develops a semiotic theory of nonisomorphy to analyze uses of pictography in the work of several Anishinaabe scholars and writers: in John Borrows's advocacy of “jurisgenerative multiperspectivalism,” in Gerald Vizenor's conception of social irony and ironic constitutionalism, and in Louise Erdrich's figuration of ecological literacy and reciprocity. Focusing in particular on the trope of metonymy in pictographic writing, this essay elucidates the perspectival shifts and contextual metamorphoses of metonymy in the native poetics of the Americas, forming and transforming historical experience while offering colonial situations ample room to trip themselves up on their own contradictions.

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3

Luisi, Pier-Luigi, and Richard M. Thomas. "The pictographic molecular paradigm." Naturwissenschaften 77, no. 2 (February 1990): 67–74. http://dx.doi.org/10.1007/bf01131776.

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4

Li, Jui-Teng, and Fuhui Tong. "The effect of cognitive vocabulary learning approaches on Chinese learners’ compound word attainment, retention, and learning motivation." Language Teaching Research 24, no. 6 (February 22, 2019): 834–54. http://dx.doi.org/10.1177/1362168819829025.

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Research has supported the benefit of cognitive vocabulary learning approaches, such as dual-coding (i.e. visual-verbal approach), on Chinese language learners’ vocabulary attainment. However, few studies have systematically examined how to maximize Chinese word retention. Therefore, the goal of this study was to investigate the effects of two types of visual-verbal approaches, i.e. pictographic-verbal coding approach and pictorial-verbal coding approach, on Chinese language learners’ word attainment. The visual support in our proposed pictographic-verbal coding approach uses pictograms, while pictures are used as the visual support in the pictorial-verbal coding approach. Further, we tested whether repetition would impact learners’ Chinese word retention. One-hundred fourth and fifth grade English-speaking Chinese language learners participated in the study. A series of two-way analysis of variance with repeated measures was conducted. Results showed that the pictographic-verbal coding approach assisted learners in acquiring as well as retrieving more Chinese words compared to the pictorial-verbal coding approach. We also found that learners taught by the pictographic-verbal coding approach demonstrated higher learning motivation. Instructional implications were discussed.

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Hill, Brent, Seneca Perri-Moore, Jinqiu Kuang, Bruce E. Bray, Long Ngo, Alexa Doig, and Qing Zeng-Treitler. "Automated pictographic illustration of discharge instructions with Glyph: impact on patient recall and satisfaction." Journal of the American Medical Informatics Association 23, no. 6 (May 27, 2016): 1136–42. http://dx.doi.org/10.1093/jamia/ocw019.

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Abstract Objectives First, to evaluate the effect of standard vs pictograph-enhanced discharge instructions on patients’ immediate and delayed recall of and satisfaction with their discharge instructions. Second, to evaluate the effect of automated pictograph enhancement on patient satisfaction with their discharge instructions. Materials and Methods Glyph, an automated healthcare informatics system, was used to automatically enhance patient discharge instructions with pictographs. Glyph was developed at the University of Utah by our research team. Patients in a cardiovascular medical unit were randomized to receive pictograph-enhanced or standard discharge instructions. Measures of immediate and delayed recall and satisfaction with discharge instructions were compared between two randomized groups: pictograph (n = 71) and standard (n = 73). Results Study participants who received pictograph-enhanced discharge instructions recalled 35% more of their instructions at discharge than those who received standard discharge instructions. The ratio of instructions at discharge was: standard = 0.04 ± 0.03 and pictograph-enhanced = 0.06 ± 0.03. The ratio of instructions at 1 week post discharge was: standard = 0.04 ± 0.02 and pictograph-enhanced 0.04 ± 0.02. Additionally, study participants who received pictograph-enhanced discharge instructions were more satisfied with the understandability of their instructions at 1 week post-discharge than those who received standard discharge instructions. Discussion Pictograph-enhanced discharge instructions have the potential to increase patient understanding of and satisfaction with discharge instructions. Conclusion It is feasible to automatically illustrate discharge instructions and provide them to patients in a timely manner without interfering with clinical work. Illustrations in discharge instructions were found to improve patients’ short-term recall of discharge instructions and delayed satisfaction (1-week post hospitalization) with the instructions. Therefore, it is likely that patients’ understanding of and interaction with their discharge instructions is improved by the addition of illustrations.

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Moschini, Ilaria. "The "Face with Tears of Joy" Emoji. A Socio-Semiotic and Multimodal Insight into a Japan-America Mash-Up." HERMES - Journal of Language and Communication in Business, no. 55 (August 29, 2016): 11. http://dx.doi.org/10.7146/hjlcb.v0i55.24286.

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The blog site of the Oxford Dictionaries features a post dated November 16 2015, which announces that, “for the first time ever”, their “Word of the Year” is not a word, but a pictograph: the “Face with Tears of Joy” emoji. The term emoji, which is a loanword from Japanese, identifies “a small digital image or icon used to express an idea or emotion in electronic communication” (OED 2015). The sign was chosen since it is the item that “best reflected the ethos, mood, and preoccupations of 2015”. Indeed, the Oxford Dictionaries’ President, Caspar Grathwohl declared that emojis are “an increasingly rich form of communication that transcends linguistic borders” and reflects the “playfulness and intimacy” of global digital culture. Adopting a socio-semiotic multimodal approach, the present paper aims at decoding the many semantic and semiotic layers of the 2015 “Word of the Year”, with a special focus on the context of cultures out of which it originates. More in detail, the author will focus on the concept of translation as “transduction”, that is the movement of meaning across sign systems (Kress 1997), in order to map the history of this ‘pictographic word’ from language to language, from culture to culture, from niche discursive communities to the global scenario. Indeed, the author maintains that this ‘pictographic word’ is to be seen as a marker of the mashing up of Japanese and American cultures in the discursive practices of geek communities, now gone mainstream thanks to the spreading of digital discourse.

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Thouvenot, Marc. "La numération cardinale en nahuatl, aux XVIe-XVIIe siècles." Faits de Langues 51, no. 2 (April 7, 2021): 63–97. http://dx.doi.org/10.1163/19589514-05102005.

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Abstract The vigesimal Nahuatl numeration has been well known, in language, since the 16th century. But its graphic expression in pictographic writing is less well known. It is this difference that this text seeks to reduce, by presenting, jointly, the writing of the referential numeration and that which is denominative. The sources used - both pictographic and alphabetic – are diverse both spatially and temporally. They come from Mexico-Tenochtitlan as well as from nearby but distinct localities such as Texcoco, Chalco or the Puebla region. Some sources are probably close to the time of the Conquest, while others were written a century later. For the purposes of this presentation everything has been put together. This therefore represents the state of numeration and its writing over a period of a century after the Conquest and over a wide area. It would, of course, be desirable to have a more precise view of the local forms and developments that occurred during this century, because it is inconceivable that the brutality of the shock of conquest and colonization had no effect on the system that the Nahuatl language and its pictographic writing constituted, especially in the field of numeration.

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Shamrey, Vladislav K., Natalia N. Baurova, Evgeniy S. Kurasov, Dmitry V. Svechnikov, and Julia I. Medvedeva. "THE POSSIBILITY OF USING PICTOPOLYGRAPHY IN THE OBJECTIVE DIAGNOSIS OF AFFECTIVE DISORDERS." Pharmacy Formulas 2, no. 2 (July 4, 2020): 62–69. http://dx.doi.org/10.17816/phf34857.

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The paper considers pictopolygraphic method in the objective diagnosis of affective disorders. 70 patients with symptoms of anxiety and depression were examined. Clinical psychopathologic and pictopolygraphic (by Software and Methodological Support Complex Egoscope) methods were implemented in the research. Pictopolygraphic method allows to carry out psychometric examination automatically using standardizedquestionnaires and scales while recording a number of physiological parameters: heart rate (HR), photoplethysmogram (PPG), electroencephalogram (EEG), galvanic skin response (GSR) and pictographic data. To assess the patient's subjective perception of the severity of anxiety and depressive disorders, the examinees completed the Hospital Anxiety and Depression Scale (HADS).It has been established that the assessment of the condition of patients with affective disorders based exclusively on clinical and psychopathological method is not sufficiently informative and does not always correspond to the actual severity of existing affective disorders. The use of the pictographic method in the examination of patients with anxiety-depressive disorders of a non-psychotic level can optimize the diagnostic process, improve the accuracy and quality of the diagnostic findings. The basic correlations of physiological pictographic indicators with patient complaints has been determined. It has been shown that the most informative and sensitive component of the objective assessment of patients with anxiety-depressive disorders is the change of the heart rate.

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9

Drucker, Johanna, and Jerome McGann. "Images as the text." Theme: Pictograms 10, no. 2 (December 31, 2001): 95–106. http://dx.doi.org/10.1075/idj.10.2.04dru.

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In this paper we are proposing an abstract rhetoric of relations for graphic forms. This rhetoric provides the primary groundwork for conceptualizing information design in visual and textual environments, not on the basis of their specific content or form, but at a level of organizational structure usually left inexplicit. Our premise is that the concept of a pictographic rhetoric, or metagraphic rhetoric, is a useful way of making explicit the abstract ordering of elements in texts, images, and graphic forms. These principles, critical to writing systems, pictographic and otherwise, also underlie the structure of graphs and diagrams of various kinds. Furthermore, they can be used to make explicit the rhetorical effects of the structure of inscribed or printed texts in their embodied, visual terms.

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Mundy, Barbara E. "The Emergence of Alphabetic Writing: Tlahcuiloh and Escribano in Sixteenth-Century Mexico." Americas 77, no. 3 (July 2020): 361–407. http://dx.doi.org/10.1017/tam.2020.36.

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ABSTRACTOver the course of the sixteenth century in Mexico (New Spain), alphabetic writing replaced pictography as the chosen form of written expression in indigenous communities. A new social role, that of the native language escribano (notary), emerged, eventually to become a principal cultural broker in the colonial period. Despite the indigenous escribano's importance, his origins and the source of his authority within the native sphere are poorly understood. This article offers a close reading of a corpus of hybrid pictographic-alphabetic documents, written in Nahuatl and created between 1553 and 1572 in the indigenous cabildo (town council) of Mexico-Tenochtitlan. Within this important body, escribanos appear early in the documentary record; it was within the established indigenous ecosystem of governance that escribanos first found a niche.Here, pictography flourished, as did performances unique to the indigenous sphere. The corpus reveals how escribanos worked side by side with indigenous tlahcuilohqueh, or painters, who drew on a long-established tradition of manuscript painting and cartography to create property maps. These maps adhered to established codes, both social and visual. Initially preeminent in itself, the work of the tlahcuilohqueh came to supply meaning and public authority to the work of the escribano in this crucial formative period.

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11

Bearden, Elizabeth. "Painting Counterfeit Canvases: American Memory Lienzos and European Imaginings of the Barbarian in Cervantes's Los trabajos de Persiles y Sigismunda." PMLA/Publications of the Modern Language Association of America 121, no. 3 (May 2006): 735–52. http://dx.doi.org/10.1632/003081206x142850.

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I propose a new reading of the intersection of image and text as a site for reworkings of barbarian identity in Miguel de Cervantes Saavedra's last work, Los trabajos de Persiles y Sigismunda: Historia setentrional (1617). Through narrative manipulations of the half–barbarian character Antonio el mozo's relation to painting, Cervantes crafts complex interrelations among American pictographic language, European alphabetism, and colonial models of barbarian identity to demonstrate the adaptability and ingenuity of indigenous people. I analyze the function of ekphrastic passages that reflect American pictographic language and demonstrate the influence of Mexican painting on the literature of the Spanish golden age. Descriptions of paintings in the Persiles ultimately provide a metafictional critique of European paradigms of graphic representation and challenge the authority of European colonial rationalizations of power dynamics in the New World. (EB)

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12

Carocci, Max. "Visualizing Gender Variability in Plains Indian Pictographic Art." American Indian Culture and Research Journal 33, no. 1 (January 1, 2009): 1–22. http://dx.doi.org/10.17953/aicr.33.1.q5x25m8mk6tm01j8.

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13

Poupard, Duncan. "Revitalising Naxi dongba as a ‘pictographic’ vernacular script." Journal of Chinese Writing Systems 3, no. 1 (February 26, 2019): 53–67. http://dx.doi.org/10.1177/2513850218814405.

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A script can be a window into a language and all the culture contained within it. China’s minority peoples have a multitude of scripts, but many are in danger of falling out of use, a decline spurred by the adoption and promotion of standard Chinese across the country. Nevertheless, efforts are being made to preserve minority writing systems. This article reveals how the primarily logographic Naxi dongba script (often labelled the world’s ‘last living pictographs’), used in China’s southwestern Yunnan province to record the Naxi language, can be practically used as a modern writing system alongside its more widely known traditional role as a means of recording religious rites, and what exactly separates these two styles of writing. The efforts that have been made to achieve the goal of modernisation over the past decades are reviewed, including the longstanding attempts at Unicode encoding. I make some suggestions for the future development of the script, and employ plenty of examples from recent publications, alongside phonetic renderings and English translations. It is hoped that overall awareness of this unique script can be raised, and that it can develop into a vernacular script with everyday applications.

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Korpi, Jari, and Paula Ahonen-Rainio. "Cultural Constraints in the Design of Pictographic Symbols." Cartographic Journal 47, no. 4 (November 2010): 351–59. http://dx.doi.org/10.1179/000870410x12911337964923.

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15

STAINSBY, W. N., B. SNYDER, and H. G. WELCH. "A pictographic essay on blood and tissue oxygen transport." Medicine & Science in Sports & Exercise 20, no. 3 (June 1988): 213–21. http://dx.doi.org/10.1249/00005768-198806000-00001.

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16

McFadden, Teresa Ukrainetz. "The immediate effects of pictographic representation on children’s narratives." Child Language Teaching and Therapy 14, no. 1 (February 1998): 51–67. http://dx.doi.org/10.1177/026565909801400103.

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McFadden, T. U. "The immediate effects of pictographic representation on children's narratives." Child Language Teaching and Therapy 14, no. 1 (January 1, 1998): 51–67. http://dx.doi.org/10.1191/026565998673602439.

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18

Fairhurst, M. C., and C. Stephanidis. "An interactive aid for expressive communication with pictographic symbols." International Journal of Bio-Medical Computing 17, no. 3-4 (November 1985): 177–84. http://dx.doi.org/10.1016/0020-7101(85)90020-0.

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Bresnahan, Keith. "“An Unused Esperanto”: Internationalism and Pictographic Design, 1930–70." Design and Culture 3, no. 1 (March 2011): 5–24. http://dx.doi.org/10.2752/175470810x12863771378671.

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20

Grachev, Michael. "Problems of Studying Pictographic Criminal Writing by Linguistic Experts." Legal Linguistics, no. 20(31) (July 1, 2021): 9–13. http://dx.doi.org/10.14258/leglin(2021)2002.

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The article describes tattoos which are a relatively unknown pictographic criminal writing, understudied by linguists. The author analyzes the difficulties of collecting material, as well as the problems of carrying out linguistic expertise. At present linguistic analysis on tattoos of code-bound criminals are extremely relevant in the process of collecting evidence for the state to get control of the elite of the criminal world. The article describes the expertise situations in which the linguist-expert has been involved, provides typical examples that have both practical and theoretical significance for the study of these polymodal semiotic complexes.

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Paszke, Marcin Z. "DATE PALM AND DATE PALM INFLORESCENCES IN THE LATE URUK PERIOD (C. 3300 B.C.): BOTANY AND ARCHAIC SCRIPT." Iraq 81 (December 2019): 221–39. http://dx.doi.org/10.1017/irq.2019.15.

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The earliest evidence suggesting the human utilisation of wild date palm fruits in the Near East is dated to the sixth and fifth millennia B.C. Despite the lack of archaeological data, it is commonly believed that at the end of the Late Uruk period (c. 3300–3100 B.C.) the Sumerians established the first date palm plantations. Nevertheless, this belief has never been well-proven by any scientific data, which makes this issue open to debate. This article points to the images of the date palm known from the pictographic script from Uruk as an important source of botanical data—a concept which has never been discussed in the literature—and elaborates on the phenotypic traits of the Phoenix dactylifera L. discernible there. It aims to establish the level and condition of horticultural knowledge of the cultivators of the date palm tree in the late fourth millennium B.C.Many of the botanical traits found on the date palm pictographs are noteworthy, especially where the morphology of the crown, trunk, and root zone are concerned. Most importantly, the identification of pictographs representing date palm inflorescences prompts us to the conclusion that the Sumerians discovered the dioecious nature of the Phoenix dactylifera L., selecting the staminate inflorescences to pollinate female trees by at least c. 3300 B.C. The discovery of this method of artificial fertilization was a turning point in Mesopotamian agriculture since it enabled farmers to obtain a better crop while economizing on space and labour, constituting the beginning of the date palm plantations that are still such a feature of present-day Iraq.

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Dyches, Tina Taylor, Annabelle Davis, Bonnie Lucido, and James Young. "Generalization of skills using pictographic and voice output communication devices." Augmentative and Alternative Communication 18, no. 2 (January 2002): 124–31. http://dx.doi.org/10.1080/07434610212331281211.

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Mavrommati, Th D., and T. R. Miles. "A pictographic method for teaching spelling to Greek dyslexic children." Dyslexia 8, no. 2 (2002): 86–101. http://dx.doi.org/10.1002/dys.216.

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24

Kassam, Rosemin, Régis Vaillancourt, and John B. Collins. "Pictographic instructions for medications: do different cultures interpret them accurately?" International Journal of Pharmacy Practice 12, no. 4 (December 1, 2004): 199–209. http://dx.doi.org/10.1211/0022357044698.

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25

Harman, Melinda, Luca Cristofolini, Paolo Erani, Susanna Stea, and Marco Viceconti. "A pictographic atlas for classifying damage modes on polyethylene bearings." Journal of Materials Science: Materials in Medicine 22, no. 5 (April 2, 2011): 1137–46. http://dx.doi.org/10.1007/s10856-011-4303-x.

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Khaidar, Darina. "Graphic, Ideographic, and Pictographic Means of Expressing Agreement / Disagreement in Online Communication (based on French material)." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 38 (2020): 108–18. http://dx.doi.org/10.17721/2663-6530.2020.38.07.

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The article investigates the means of expressing agreement/disagreement in Internet communication. Using the internet is an important way to communicate in our lives. In modern society, an important role is played by Internet culture, formed and developed in real-time. We have found that ideographic and pictographic means are directly related to the current problem of developing virtual discourse. The tendency to reduce the transmitted information at the lexical level prevails in the environment of Internet discourse, so communicators resort to the use of abbreviations. This allows you to transfer more information with less effort. Graphic tools play a special role in virtual communication to convey information and create an emotional background. Written communication loses some of the semantic means inherent in oral communication: intonation, facial expressions, gestures. As these components create an emotional background and an atmosphere of freedom ofcommunication, the virtual text becomes "dry" and unemotional. Currently, we can transmit information using not only text but also signs, emoticons, emoticons. When communicators think that their thoughts and emotions may be misunderstood, they use graphic and pictographic elements to concretize, clarify, or reinforce what is being said.

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Khaidar, Darina. "Graphic, Ideographic, and Pictographic Means of Expressing Agreement / Disagreement in Online Communication (based on French material)." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 38 (2020): 108–18. http://dx.doi.org/10.17721/2663-6530.2020.38.07.

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The article investigates the means of expressing agreement/disagreement in Internet communication. Using the internet is an important way to communicate in our lives. In modern society, an important role is played by Internet culture, formed and developed in real-time. We have found that ideographic and pictographic means are directly related to the current problem of developing virtual discourse. The tendency to reduce the transmitted information at the lexical level prevails in the environment of Internet discourse, so communicators resort to the use of abbreviations. This allows you to transfer more information with less effort. Graphic tools play a special role in virtual communication to convey information and create an emotional background. Written communication loses some of the semantic means inherent in oral communication: intonation, facial expressions, gestures. As these components create an emotional background and an atmosphere of freedom ofcommunication, the virtual text becomes "dry" and unemotional. Currently, we can transmit information using not only text but also signs, emoticons, emoticons. When communicators think that their thoughts and emotions may be misunderstood, they use graphic and pictographic elements to concretize, clarify, or reinforce what is being said.

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Radlo-Dzur, Alanna S., Mackenzie Cooley, Emily Kaplan, Leah Bright, E. Keats Webb, Mary Elizabeth Haude, Tana Villafana, and Amanda K. Satorius. "The Tira of Don Martín." Latin American and Latinx Visual Culture 3, no. 3 (July 1, 2021): 7–37. http://dx.doi.org/10.1525/lavc.2021.3.3.7.

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This article follows the history of the Tira of don Martín, also known as the Codex Saville, from its creation to its preservation in the Smithsonian’s National Museum of the American Indian. A document concerning migration, altepetl (polity) foundation, and rulership, it provided a living record of Nahua chronology from 1402 to 1545, through the arrival of Europeans on horseback, the conquest of Tenochtitlan in 1521, and the foundation of a local Christian church. Little studied since the 1920s when acquired by the Museum of the American Indian/Heye Foundation, it is a completely Nahua document with older pictographic text as well as Nahuatl written in Latin characters. The very form of the tira suggests continuity rather than rupture in the course of European colonization and evangelization. New approaches to Mesoamerican history and materiality at the conquest’s quincentenary mean the time is ripe for a new touchstone analysis of this document that emphasizes specificity, locality, and continuity rather than rupture driven by European invasion. This article integrates diagnostic imaging, scientific and ethnohistorical analyses, and provenance research with a renewed focus on the Nahuatl language and pictographic communication.

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Baines, John. "Communication and display: the integration of early Egyptian art and writing." Antiquity 63, no. 240 (September 1989): 471–82. http://dx.doi.org/10.1017/s0003598x00076444.

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Our contemporary world is literate, alphabetical, and controlled by texts. Written texts are formally more important than images, and the separation of words and pictures is sharp. When writing is pictographic, the distinction is not always so sharp, and in early civilizations both texts and pictures were rather scarce things. Here, the places of texts and images in Egypt, and their relative standing, are explored.

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Lesnevskaya, Tatyana I., and Natalia Yu Zakharova. "Archaic Symbols in the Design of Modern Visual Communication Pictography." Materials Science Forum 931 (September 2018): 804–9. http://dx.doi.org/10.4028/www.scientific.net/msf.931.804.

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The article presents the results of a scientific study of the history of the appearance of pictographic signs, their genesis, the importance of both informative and environmental elements in different cultures and the ability to purposefully organize and transform any modern visual and communicative space using archaic sources, introducing certain modern requirements for their design and placement in the architectural environment of urban space.

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정진영. "Ideogram in the Digital Age -Concentration in the Pictographic Chinese Characters-." Journal of Korea Design Knowledge ll, no. 23 (September 2012): 76–84. http://dx.doi.org/10.17246/jkdk.2012..23.008.

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32

Eberle, Wendy J. "Painting a Pictographic Language, beyond Sound Boundaries: Medbh McGuckian's Poetic Making." Canadian Journal of Irish Studies 22, no. 1 (1996): 61. http://dx.doi.org/10.2307/25513043.

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Zhang, Jane. "Lakota winter counts, pictographic records, and record making and remaking histories." Archives and Manuscripts 45, no. 1 (January 2, 2017): 3–17. http://dx.doi.org/10.1080/01576895.2017.1279062.

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Korpi, Jari, Andreas Hall, and Paula Ahonen-Rainio. "An experimental analysis of three methods for highlighting colorful pictographic symbols." Cartography and Geographic Information Science 41, no. 1 (November 27, 2013): 27–36. http://dx.doi.org/10.1080/15230406.2013.861136.

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Barros, Elias Mallet da Rocha. "AFFECT AND PICTOGRAPHIC IMAGE: THE CONSTITUTION OF MEANING IN MENTAL LIFE." International Journal of Psychoanalysis 81, no. 6 (December 6, 2000): 1087–99. http://dx.doi.org/10.1516/0020757001600435.

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Morari, Marina. "Using The Textbook with The Musical Education Lesson." Review of Artistic Education 18, no. 1 (March 1, 2019): 330–40. http://dx.doi.org/10.2478/rae-2019-0037.

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Abstract The present article identifies the characteristics of a good textbook, it analyses and describes some of the concepts used in the structure of the Musical Education textbook for the second grade in the Republic of Moldova. Some units of the textbook are classified and characterised in relation to the requirements of modern education. Also, the article describes working techniques with some of the contents: theme title, the interface text, the informative text, pictographic images.

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Taladoire, Eric. "Las aportaciones de los manuscritos pictográficos al estudio del juego de pelota." Anales del Instituto de Investigaciones Estéticas 37, no. 106 (May 15, 2015): 181–221. http://dx.doi.org/10.22201/iie.18703062e.2015.106.2544.

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Nazarenko, Tatiana. "Writing Poetry Without Words: Pictographic Poems by Rea Nikonova and Sergej Sigej." Russian Literature 59, no. 2-4 (February 2006): 285–315. http://dx.doi.org/10.1016/j.ruslit.2006.06.009.

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Gougoutas, Alexander J., Davinder J. Singh, David W. Low, and Scott P. Bartlett. "Hemifacial Microsomia: Clinical Features and Pictographic Representations of the OMENS Classification System." Plastic and Reconstructive Surgery 120, no. 7 (December 2007): 112e—120e. http://dx.doi.org/10.1097/01.prs.0000287383.35963.5e.

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Vakhtin, Nikolai, and Natalia Kosyak. "Yukaghir Pictographic Letters from the Collection of the Russian Museum of Ethnography." Antropologicheskij forum 16, no. 44 (2020): 141–52. http://dx.doi.org/10.31250/1815-8870-2020-16-44-141-152.

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The Yukaghir pictography, letters on birch bark, so-called tos (lit. ‘birch bark’) includes letters of two types: those written by men, mostly descriptions of hunting routes, and those written by young women, mostly love letters. While the first type is quite widespread, the second one is very unusual, to the extent that researchers who deal with the history of writing have to single them out into a separate classification category. Almost everything that has been written on Yukaghir pictograms is based on the data collected by Samuil Shargorodskiy and Waldemar Jochelson in the 1890s in north-eastern Yakutia. The present publication introduces three toses of the first type (route maps) recently discovered in the collection of the Russian Museum of Ethnography in St Petersburg. The three toses were acquired by the museum in 1907 from Sergei Buturlin, a well-known ornithologist, together with a detailed commentary to the letters compiled by a member of the 1905 Kolyma expedition Ivan Shulga. The commentary is also published here.

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Chumiran, Mohd Hasni, and Shahriman Zainal Abidin. "Design Pedagogy: Pictographic Design Artefacts Perceived Artificial Intelligence Elements for Product Designers." Environment-Behaviour Proceedings Journal 6, SI4 (August 1, 2021): 57–62. http://dx.doi.org/10.21834/ebpj.v6isi4.2901.

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This paper interprets a design pedagogy based on the Internet of Things (IoT) communication in the cyber-physical system challenges. This literature study discovers pictographic through artificial intelligence (AI). The product designers perceive the product form imaging beyond the engagement of design artefacts in the industrial design. The digital information sets are supplied through a design artefact evolution using heuristic evaluation. By the dual-method of designers’ human cognition, the design concept continuum develops arts and design education. The results identify an exact meaning of design pedagogy that the academicians will understand the specific content analysis type. Keywords: Artificial intelligence; industrial design; form imagery; internet of things eISSN: 2398-4287© 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians/Africans/Arabians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI4%20(Special%20Issue%204).2901

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Akimov, Tokhir. "HEART RELATED PHRASES IN CHINESE AND THEIR SEMANTIC MEANINGS." INTERNATIONAL JOURNAL OF WORD ART 1, no. 3 (January 30, 2020): 5–15. http://dx.doi.org/10.26739/2181-9297-2020-1-1.

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There public of Uzbekistan and the PRChavesocio-economic relations, and the development of relations ground up for stable.Language hasa significant role in the development of handing over the foreign language requirements come out well.Among the foreign languages,priorityis given to the development of Chinese language.Chinese is one of the oldest languages in terms of its historical origin and perfection, and differs from other languages in that it has a language construction system, pictographic writing, and has lived in a state of "development" in terms of language development

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Mazzetto, Elena, and Natalia Moragas Segura. "Contexts of offerings and ritual maize in the pictographic record in Central Mexico." Scripta Instituti Donneriani Aboensis 26 (April 13, 2015): 82–100. http://dx.doi.org/10.30674/scripta.67448.

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The objective of this article is an initial enquiry into the evidence and classification of the offerings of maize in Central Mexico from the Classic period to early colonial times. In order to achieve this goal, we will analyse the presence of maize in Central Mexico according to the evidence found in mural paintings and some pictographic codices. Two Mesoamerican cultures will be considered to achieve our analysis: the Teotihuacan and Mexico-Tenochtitlan. Maize was instrumental in the performance of daily rituals and in the diet of these ancient Mesoamerican cultures and the cereal also had sacred connotations in pre-Hispanic, colonial and contemporary narratives. We suggest this by reading the iconographic and symbolic representations of corn in the form of seeds and pods, or as an ingredient in cooked foods which are represented in the mural paintings of Teotihuacan as well as some codices of the post-Classic Nahua tradition. These methodological enquiries reveal evidence of a cultural continuity in Central Mexico as a contrasting perspective on the archaeological and ethno-historical period.

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Zhang, Li, and Yanqiu Hu. "An Experimental Study on Pictographic Character Teaching for Primary School Pupils in Thailand." Advances in Applied Sociology 10, no. 12 (2020): 483–97. http://dx.doi.org/10.4236/aasoci.2020.1012028.

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Sorfleet, Christopher, Régis Vaillancourt, Susan Groves, and Jane Dawson. "Design, Development and Evaluation of Pictographic Instructions for Medications Used during Humanitarian Missions." Canadian Pharmacists Journal / Revue des Pharmaciens du Canada 142, no. 2 (March 2009): 82–88. http://dx.doi.org/10.3821/1913-701x-142.2.82.

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Kelly, L. H., C. G. Villarreal, J. Hays, and D. N. Herndon. "Using a Pictographic Prescription Labeling System for Non-English Speaking and Illiterate Patients." Journal of Burn Care & Rehabilitation 23 (March 2002): S143. http://dx.doi.org/10.1097/00004630-200203002-00202.

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Auboire, Laurent, François Tranquart, Frederic Ossant, Charles Sennoga, and Ayache Bouakaz. "Impact of Sonothrombolysis on in vitro Blood Clot: Pictographic Validation with Electron Microscopy." Ultraschall in der Medizin - European Journal of Ultrasound 38, no. 01 (September 2, 2015): 83–84. http://dx.doi.org/10.1055/s-0035-1553322.

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VANDEGHINSTE, VINCENT, INEKE SCHUURMAN LEEN SEVENS, and FRANK VAN EYNDE. "Translating text into pictographs." Natural Language Engineering 23, no. 2 (November 11, 2015): 217–44. http://dx.doi.org/10.1017/s135132491500039x.

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AbstractWe describe and evaluate a text-to-pictograph translation system that is used in an online platform for Augmentative and Alternative Communication, which is intended for people who are not able to read and write, but who still want to communicate with the outside world. The system is set up to translate from Dutch into Sclera and Beta, two publicly available pictograph sets consisting of several thousands of pictographs each. We have linked large amounts of these pictographs to synsets or combinations of synsets of Cornetto, a lexical-semantic database for Dutch similar to WordNet. In the translation system, the Dutch input text undergoes shallow linguistic analysis and the synsets of the content words are looked up. The system looks for the nearest pictographs in the lexical-semantic database and displays the message into pictographs. We evaluated the system and results showed a large improvement over the baseline system which consisted of straightforward string-matching between the input text and the filenames of the pictographs.Our system provides a clear improvement in the communication possibilities of illiterate people. Nevertheless there is room for further improvement.

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Schwartz, Adam. "Between Numbers and Images: The Many Meanings of Trigram Gen 艮 in The Early Yijing." Asiatische Studien - Études Asiatiques 72, no. 4 (December 19, 2018): 1133–93. http://dx.doi.org/10.1515/asia-2017-0067.

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Abstract This paper examines the images of trigram Gen in the Yijing, with a focus on images in the Shuogua 說卦 commentary. The Shuogua presents images either found in or to be extrapolated from the base text within a structured and highly interpretive system that forms “image programs” for each of the eight trigrams. I argue the Shuogua’s image programs have a defined architecture, and its images are not random lists of words collected without an agenda and devoid of relationships and mutual interaction with others. My main thesis is a high percentage of images in the Changes developed through a simple and direct pictographic method, like the one used in a recently discovered Warring States period divination guidebook called Shifa 筮法 (Method of Milfoil Divination*), that was done by matching the graphic shapes of individual numbers and the overall shapes of numbers in three-line combination to shapes of real objects and logographs. If a diviner could see so many pictographic images in single numbers and sequences of numbers in combination, like what we now see in operation in the Shifa, then we ought to assume that a deeper repository of subjective and innovative images could be observed in number combinations at the multiline, trigram, and hexagram levels. Stated directly, trigram and hexagram diagrams were not pictorially meaningless; numbers produced images, and images produced the words and judgments that form early layers of text. Professional diviners had an expert knowledge of the tradition and Warring States use of the Changes continued to develop and explain image programs for the eight trigrams along these guidelines.

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ZORMAN, Marina. "The Spread of ‘Heavenly Writing’." Acta Linguistica Asiatica 4, no. 1 (December 31, 2014): 103–12. http://dx.doi.org/10.4312/ala.4.1.103-112.

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Cuneiform is the name of various writing systems in use throughout the Middle East from the end of the fourth millennium BCE until the late first century CE. The wedge-shaped writing was used to write ten to fifteen languages from various language families: Sumerian, Elamite, Eblaite, Old Assyrian, Old Babylonian and other Akkadian dialects, Proto-Hattic, Hittite, Luwian, Palaic, Hurrian, Urartian, Ugaritic, Old Persian etc. Over the centuries it evolved from a pictographic to a syllabographic writing system and eventually became an alphabetic script, but most languages used a 'mixed orthography' which combined ideographic and phonetic elements, and required a rebus principle of reading.

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