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Journal articles on the topic 'Pictoral stimuli'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Merckelbach, Harald, J. Leon Kenemans, Arie Dijkstra, and Erik Schouten. "No attentional bias for pictoral stimuli in spider-fearful subjects." Journal of Psychopathology and Behavioral Assessment 15, no. 3 (September 1993): 197–206. http://dx.doi.org/10.1007/bf01371378.

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2

Holman, Rebecca H. "Commentary: The Effect of Verbal and Pictoral Advertising Stimuli on Aesthetic, Utilitarian and Familiarity Perceptions." Journal of Advertising 15, no. 4 (December 1986): 66–67. http://dx.doi.org/10.1080/00913367.1986.10673042.

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3

Chainay, Hanna, George Michael, Mélissa Vert-pré, Lionel Landré, and Amandine Plasson. "Emotional enhancement of immediate memory: Positive pictorial stimuli are better recognized than neutral or negative pictorial stimuli." Advances in Cognitive Psychology 8, no. 3 (September 30, 2012): 255–66. http://dx.doi.org/10.5709/acp-0121-1.

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4

Loosschilder, Gerard H., Edward Rosbergen, Marco Vriens, and Dick R. Wittink. "Pictorial stimuli in conjoint analysis." Market Research Society. Journal. 37, no. 1 (January 1995): 1–15. http://dx.doi.org/10.1177/147078539503700104.

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5

Hua, Min, Ji Han, Xuezi Ma, and Peter Childs. "Exploring the Effect of Combinational Pictorial Stimuli on Creative Design Performance." Proceedings of the Design Society: International Conference on Engineering Design 1, no. 1 (July 2019): 1763–72. http://dx.doi.org/10.1017/dsi.2019.182.

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AbstractVisual stimuli can be useful in supporting design ideation process. However, researchers still know very little about how stimuli should be delivered to designers during the early design stage. This question is crucial to the effective use of stimuli because previous researches have proved that ill-presented stimuli can have a negative impact on design creativity. Therefore, an empirical study was conducted with the aim of exploring if and how combinational pictorial stimuli can affect designers' creative performance. Results from a total of 36 participants show that the design outcomes presented by the group exposed to combinational pictorial stimuli were more creative than those given by the group exposed to no stimuli or randomly presented pictorial stimuli. These results imply that the form of stimuli delivery can affect creative design outcomes and combinational pictorial stimuli best support design creativity among these three conditions. These findings give us a better understanding of the roles that visual stimuli play in design, which is expected to bring us important implications for both design education and design support tool development

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6

Nurcahyo, Firmanto Adi, Saifuddin Azwar, and Wisjnu Martani. "Stimulus Gambar: Sebuah Kajian pada Instrumen Minat Vokasional." Buletin Psikologi 26, no. 2 (December 3, 2018): 111. http://dx.doi.org/10.22146/buletinpsikologi.40361.

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Vocational interest instruments are mostly based on verbal stimuli which require subjects’ reading ability. Another form of stimuli is needed for the populations that have reading difficulty. This article offers an explanation of using pictures as stimuli in the development of an instrument to assess adolescents’ vocational interest as well as the steps in developing pictorial stimuli. Compared to verbal, pictorial stimuli are closer to real life and have supporting information related to the activities. However, some limitation in using pictorial stimuli such as difficulty in describing hardly observable behavior and ambiguity of the pictures that can affect individual interpretation need to be considered.

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7

Farnand, Susan P., and Mark D. Fairchild. "Designing pictorial stimuli for perceptual experiments." Applied Optics 53, no. 13 (April 23, 2014): C72. http://dx.doi.org/10.1364/ao.53.000c72.

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8

Brooks, John O. "Pictorial stimuli for the Apple Macintosh computer." Behavior Research Methods, Instruments, & Computers 17, no. 3 (May 1985): 409–10. http://dx.doi.org/10.3758/bf03200953.

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9

Rybarczyk, Bruce D., Robert P. Hart, and Stephen W. Harkins. "Age and forgetting rate with pictorial stimuli." Psychology and Aging 2, no. 4 (1987): 404–6. http://dx.doi.org/10.1037/0882-7974.2.4.404.

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10

McLeod, Jennifer S., Katrina M. Boyer, Bryan Y. Ouchi, Jason C. Cole, and Rebecca L. Callaghan. "Exploring Effects of Different Pictorial Stimuli on Written Expression." Psychological Reports 84, no. 3_suppl (June 1999): 1225–34. http://dx.doi.org/10.2466/pr0.1999.84.3c.1225.

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This study explored how the type of pictorial stimulus affects the quality of an individual's written expression. Cole, Muenz, Ouchi, Kaufman, and Kaufman in 1997 furnished initial evidence supporting Hooper, et al.‘s 1994 theory. A pictorial stimulus different from that used by Cole, et al. was developed from Hooper, et al.'s specifications, i.e., pictorial stimuli should be photographs rather than line drawings, should have a clear protagonist and should present a novel problem–situation that can be solved in a stepwise manner and compared to a conventional line drawing stimulus (from PIAT–R Written Expression) in its ability to evoke writing samples. It was hypothesized that the “Hooper” stimulus would yield higher scores than an atheoretical stimulus on items assessing structure and cohesiveness of the story, but not on items that assess writing mechanics. Participants comprised 25 men and women aged 17 to 46 years. Results indicate that Hooper, et al.‘s theory is more plausible than a conventional line-drawing stimulus.

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11

Hart, Robert P., and Gregory J. O'shanick. "Forgetting rates for verbal, pictorial, and figural stimuli." Journal of Clinical and Experimental Neuropsychology 15, no. 2 (March 1993): 245–65. http://dx.doi.org/10.1080/01688639308402561.

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12

KAMIJO, Makiko, and Tohru TANIUCHI. "Same/different discrimination in rats with pictorial stimuli." Proceedings of the Annual Convention of the Japanese Psychological Association 77 (September 19, 2013): 3AM—085–3AM—085. http://dx.doi.org/10.4992/pacjpa.77.0_3am-085.

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13

Marai, Leo. "Pictorial Depth Perception of Papua New Guinean Students." South Pacific Journal of Psychology 4 (1991): 11–14. http://dx.doi.org/10.1017/s0257543400001589.

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Twenty male and five female undergraduates were assessed in a study designed to test for three dimensional pictorial perception in a Papua New Guinea sample. A version of Hudson's (1960) and Deregowski's (1968) test stimuli was used; the stimuli were slightly modified to make them culturally appropriate. The major result of the study was a finding of consistent sex differences in pictorial depth perception. Males tended to perceive three dimensionally while females tended to perceive two dimensionally.

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14

Lancioni, G. E., M. Antonucci, C. De Pace, M. F. O'Reilly, J. Sigaeoos, N. N. Singh, and D. Oliva. "Enabling Two Adolescents with Multiple Disabilities to Choose among Environmental Stimuli through Different Procedural and Technological Approaches." Perceptual and Motor Skills 105, no. 2 (October 2007): 362–72. http://dx.doi.org/10.2466/pms.105.2.362-372.

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Two single-case studies were carried out using different procedural and technological approaches to enable two adolescents with multiple disabilities to choose among environmental stimuli. Study I focused on replicating a recently developed procedure, which relied on samples of the auditory stimuli available as cues for choice responses. Study II assessed a new procedural and technical setup relying on the use of pictorial representations of the stimuli available as cues for choice responses. The auditory samples and the pictorial representations were presented through computer systems. The participants' choice responses relied on microswitches connected to the computer systems. The data of Study I fully supported previous findings with the same procedural approach. The participant learned to choose preferred stimuli and bypass nonpreferred ones. The data of Study II showed that the participant learned to concentrate his choice responses on a few stimuli, suggesting that these stimuli were actually preferred and that responding was purposeful. Implications of the results were discussed.

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15

Melsbach, Gudrun, Martina Siemann, and Juan D. Delius. "Right or Wrong, Familiar or Novel in Pictorial List Discrimination Learning." Experimental Psychology 50, no. 4 (October 2003): 285–97. http://dx.doi.org/10.1026//1618-3169.50.4.285.

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Abstract. The interaction between nonassociative learning (presentation frequencies) and associative learning (reinforcement rates) in stimulus discrimination performance was investigated. Subjects were taught to discriminate lists of visual pattern pairs. When they chose the stimulus designated as right they were symbolically rewarded and when they chose the stimulus designated as wrong they were symbolically penalised. Subjects first learned one list and then another list. For a “right” group the pairs of the second list consisted of right stimuli from the first list and of novel wrong stimuli. For a “wrong” group it was the other way round. The right group transferred some discriminatory performance from the first to the second list while the control and wrong groups initially only performed near chance with the second list. When the first list involved wrong stimuli presented twice as frequently as right stimuli, the wrong group exhibited a better transfer than the right group. In a final experiment subjects learned lists which consisted of frequent right stimuli paired with scarce wrong stimuli and frequent wrong stimuli paired with scarce right stimuli. In later test trials these stimuli were shown in new combinations and additionally combined with novel stimuli. Subjects preferred to choose the most rewarded stimuli and to avoid the most penalised stimuli when the test pairs included at least one frequent stimulus. With scarce/scarce or scarce/novel stimulus combinations they performed less well or even chose randomly. A simple mathematical model that ascribes stimulus choices to a Cartesian combination of stimulus frequency and stimulus value succeeds in matching all these results with satisfactory precision.

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16

Kindt, Merel, and Jos F. Brosschot. "Phobia-related cognitive bias for pictorial and linguistic stimuli." Journal of Abnormal Psychology 106, no. 4 (November 1997): 644–48. http://dx.doi.org/10.1037/0021-843x.106.4.644.

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17

McLEOD, JENNIFER S. "EXPLORING EFFECTS OF DIFFERENT PICTORIAL STIMULI ON WRITTEN EXPRESSION." Psychological Reports 84, no. 3 (1999): 1225. http://dx.doi.org/10.2466/pr0.84.3.1225-1234.

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18

POMPÉIA, SABINE, and ORLANDO F. A. BUENO. "Preliminary adaptation into Portuguese of a standardised picture set for the use in research and neuropsychological assessment." Arquivos de Neuro-Psiquiatria 56, no. 3A (September 1998): 366–74. http://dx.doi.org/10.1590/s0004-282x1998000300004.

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Pictorial stimuli and words have been widely used to evaluate mnemonic processes in clinical settings, neuropsychological investigations, as well as in studies on the mechanisms underlying the phenomena of memory. However, there seem to be few studies of standardisation of pictures for research in this field. The present paper aimed at adapting the use of a set of pictures standardised for English speaking subjects for Portuguese speakers. Name agreement of 150 pictures was assessed in 100 high-school students. Ninety pictures were found to present the same name for over 90 subjects. Results yield data that may help create more controlled tests for the study of memory for pictorial stimuli in Brazil.

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19

Poppi, Fabio I. M., Marianna Bolognesi, and Amitash Ojha. "Imago Dei: Metaphorical conceptualization of pictorial artworks within a participant-based framework." Semiotica 2020, no. 236-237 (December 16, 2020): 349–76. http://dx.doi.org/10.1515/sem-2018-0077.

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AbstractThis article presents an exploratory analysis of the metaphoric structure of five artistic paintings within “Think aloud” protocols, in which a group of 14 English speakers with a low self-rated level of expertise in art and history of art expertise were asked to verbalize all their thoughts, ideas and impressions of the artworks. The main findings of this study can be summarized as follows: (1) multiple interpretations for the same artwork are possible, (2) the interpretations of the metaphorical structures described by the participants often diverge from those advanced by the researchers. These findings challenge the methods by which metaphor identification and analysis in pictorials is currently approached. As a matter of fact, most of the research in pictorial metaphors tends to reduce stimuli such as artistic paintings to unique metaphoric interpretations generally produced by a single researcher by means of introspection. By addressing this methodological problem in metaphor research, this article contributes to the development of a theoretical and operational participant-based framework that takes into account the role of metaphoric conceptualization within the domain of art and art cognition.

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20

Rydén, Olof, S. Birger Hansson, and Per Johnsson. "Relation of Mobility-Fixity to the Interpretation of Pictorial Stimuli." Perceptual and Motor Skills 66, no. 3 (June 1988): 999–1012. http://dx.doi.org/10.2466/pms.1988.66.3.999.

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A group of 61 students who had previously (in 1986) been classified by Hansson, Rydén, and Johnsson in terms of perceptual fixity-mobility using a “free” Rod-and-Frame Test, were investigated regarding their interpretations of a nonfigurative stimulus shown repetitively at short exposure-times, and their characterization of two pictures each portraying two soldiers in intensive interaction—one man apparently attacking the other in the first picture and apparently rescuing or taking care of the other man in the second. Mobile subjects on the free Rod-and-Frame Test reported a larger number of different interpretations of the nonfigurative stimulus and construed it more frequently in terms of human themes than did the fixed subjects; in rating the pictures of soldiers, they used more extreme and complex characteristics. It appeared that, when confronted with ambiguous stimuli, the mobile individual moves both “horizontally”, as it were, along the surface of objective reality, and “vertically”, from present to past realities, thus conjoining subjective-emotional and objective-analytic aspects of perception. This interpretation agrees with Werner's model of mobility-fixity which implies that the mobile individual operates on different developmental levels of perceptual functioning.

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21

Zibetti, Murilo Ricardo, Suelen Bordignon, and Clarissa Marceli Trentini. "Development and standardization of a brazilian set of pictorial stimuli." Revista Avaliação Psicológica 14, no. 1 (July 15, 2015): 09–21. http://dx.doi.org/10.15689/ap.2015.1401.02.

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22

O’Sullivan, Mary, Martin Lepage, Maria Bouras, Tina Montreuil, and Mathieu B. Brodeur. "North-American Norms for Name Disagreement: Pictorial Stimuli Naming Discrepancies." PLoS ONE 7, no. 10 (October 25, 2012): e47802. http://dx.doi.org/10.1371/journal.pone.0047802.

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23

De Santis, Mario V., and Richard H. Haude. "Effect of Verbal Interpretation on Recall and Recognition of Ambiguous Pictorial Stimuli." Perceptual and Motor Skills 76, no. 3 (June 1993): 719–22. http://dx.doi.org/10.2466/pms.1993.76.3.719.

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66 subjects characterized as either good or poor visualizers were presented ambiguous pictorial stimuli accompanied by either a verbal interpretation or no interpretation. Both recall and recognition measures for the stimuli were obtained. Good visualizers showed superior recall and recognition compared with poor visualizers in the absence of verbal interpretation. Good and poor visualizers did not differ on either measure of memory when an interpretation accompanied the stimuli. Good visualizers performed equally well either with or without an interpretation, while poor visualizers performed significantly better with an interpretation.

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24

Korsnes, Maria Stylianou. "Retention Intervals and Serial List Memory." Perceptual and Motor Skills 80, no. 3 (June 1995): 723–31. http://dx.doi.org/10.2466/pms.1995.80.3.723.

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Pictorial stimuli were presented in serial lists and tested for recognition. 11 men and 9 women participated at retention intervals of 5, 15, and 25 sec. The length of retention interval interacted with primacy and recency effects as observed in earlier studies of abstract stimuli, indicating similar basic memory functions for different types of visual stimuli. A shift from recency to primacy dominance remained despite the likelihood of verbal rehearsal. At short retention intervals a recency effect predominated and with longer delays a primacy effect predominated recognition.

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25

Sayed, Mhejabeen, Dona M. Tom, and Haridas Pal. "Multimode binding and stimuli responsive displacement of acridine orange dye complexed with p-sulfonatocalix[4/6]arene macrocycles." Physical Chemistry Chemical Physics 22, no. 23 (2020): 13306–19. http://dx.doi.org/10.1039/d0cp00030b.

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Pictorial presentation of the different aspects as displayed by the AOH⁺–SCXn systems in regard to multi-mode binding, dynamic quenching and stimuli responsive fluorescence “turn ON”, demonstrating very rich supramolecular photochemistry.

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26

Dhaka, Suman, and Naveen Kashyap. "Explicit emotion regulation: Comparing emotion inducing stimuli." Psychological Thought 10, no. 2 (October 20, 2017): 303–14. http://dx.doi.org/10.5964/psyct.v10i2.240.

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Emotions are a major part of our subjective experiences of the world. At times, our emotions are not appropriate and require active management. Emotion regulation refers to the various ways of managing or controlling emotional responses. External stimuli play specific role in electing emotions. Pictures and movies elicit emotions and emotional effects of films are believed to exceed that of pictures. The aim of the present study is to compare the effectiveness of emotion regulation strategies across emotion induction method (picture and films). Forty participants rated their emotion on Self-Assessment Manikin (SAM) ratings for each pictorial and video stimuli while following the emotion regulation instructions. Repeated-measures ANOVAs revealed that the pictures were more effective in modulating emotions. Cognitive reappraisal and distraction strategies downregulated emotions.

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27

Goshvarpour, Ateke, Ataollah Abbasi, and Atefeh Goshvarpour. "AFFECTIVE AUTONOMIC DIFFERENCES BETWEEN MONOLINGUALS AND BILINGUALS: ELICITED BY PICTORIAL STIMULI." Biomedical Engineering: Applications, Basis and Communications 29, no. 02 (April 2017): 1750008. http://dx.doi.org/10.4015/s1016237217500089.

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The main objective of the current study was to evaluate differences between autonomic responses of monolinguals and Turkish- and Kurdish-bilinguals, while pictorial stimuli with four emotional contents, including happy, relax, sad and fear was presented. The galvanic skin responses (GSR), electrocardiogram (ECG) and pulse signal (PS) of 21 college students, including seven Persian monolinguals, seven Kurdish–Persian, and seven Turkish–Persian bilinguals were collected. Estimating the maximum value of the power spectral density and some nonlinear features including Lyapunov exponents (LE), Sample entropy (SaEn), and Lempel–Ziv (LZ) complexity, significant differences were examined by means of statistical analysis. Heightened autonomic responses were found for maximum power and LZ of bilinguals in comparing to monolinguals. A reverse pattern was revealed for other measures. Another important finding was the significant differences between bilinguals and monolinguals autonomic indices; however, no significant differences within two groups of bilinguals were observed. It can be concluded that the autonomic responses to pictorial stimuli can reveal emotional differences of monolingual and bilingual individuals. The results of the current study will be of interest to the researchers working in affective sciences, psycholinguistics, and cross-cultural psychology.

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28

Simpson, Joseph R., Dost Öngür, Erbil Akbudak, Thomas E. Conturo, John M. Ollinger, Abraham Z. Snyder, Debra A. Gusnard, and Marcus E. Raichle. "The Emotional Modulation of Cognitive Processing: An fMRI Study." Journal of Cognitive Neuroscience 12, supplement 2 (November 2000): 157–70. http://dx.doi.org/10.1162/089892900564019.

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The functional neuroanatomy of visual processing of surface features of emotionally valenced pictorial stimuli was examined in normal human subjects using functional magnetic resonance imaging (fMRI). Pictorial stimuli were of two types: emotionally negative and neutral pictures. Task performance was slower for the negatively valenced than for the neutral pictures. Significant blood oxygen level dependent (BOLD) increases occurred in the medial and dorsolateral prefrontal cortex, midbrain, substantia innominata, and/or amygdala, and in the posterior cortical visual areas for both stimulus types. Increases were greater for the negatively valenced stimuli. While there was a small but significant BOLD decrease in the subgenual prefrontal cortex, which was larger in response to the negatively valenced pictures, there was an almost complete absence of other decreases prominently seen during the performance of demanding cognitive tasks [Shulman, G. L., Fiez, J. A., Corbetta, M., Buckner, R. L., Miezin, F. M., Raichle, M. E., & Petersen, S. E. (1997). Common blood flow changes across visual tasks: II. Decreases in cerebral cortex. Journal of Cognitive Neuroscience, 9, 648-663]. These results provide evidence that the emotional valence and arousing nature of stimuli used during the performance of an attention-demanding cognitive task are reflected in discernable, quantitative changes in the functional anatomy associated with task performance.

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29

Dresp, Birgitta. "Area, surface, and contour: Psychophysical correlates of three classes of pictorial completion." Behavioral and Brain Sciences 21, no. 6 (December 1998): 755–56. http://dx.doi.org/10.1017/s0140525x98301752.

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A simple working taxonomy with three classes of pictorial completion is proposed as an alternative to Pessoa et al.'s classification: area, surface, and contour completion. The classification is based on psychophysical evidence, not on the different phenomenal attributes of the stimuli, showing that pictorial completion is likely to involve mechanistic interactions in the visual system at different levels of processing. Whether the concept of “filling-in” is an appropriate metaphor for the visual mechanisms that may underlie perceptual completion is questioned.

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30

Ribeiro, Ariella Fornachari, and Marcia Radanovic. "Inferential abilities based on pictorial stimuli in patients with right hemisphere damage: Influence of schooling." Dementia & Neuropsychologia 8, no. 3 (September 2014): 243–48. http://dx.doi.org/10.1590/s1980-57642014dn83000008.

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Inferences are mental representations, formed through the interaction between explicit linguistic information and an individual's world knowledge. It is well known that individuals with brain damage in the right hemisphere (RH) often fail on this task and that schooling may be a variable affecting this.OBJECTIVE:Objective: To compare the effect of schooling on an inference comprehension task based on pictorial stimuli in patients with RH lesion.METHODS:The inferential abilities of 75 controls and 50 patients with RH lesion were assessed through the pictorial stimuli from the instrument "300 exercises of comprehension of logical and pragmatic inferences and causal chains". Both groups were stratified into two subgroups according to schooling level: 4 to 8 years and 9 or more years.RESULTS AND CONCLUSION:Highly educated subjects performed better than low educated individuals, both on intergroup and intragroup comparisons (p<0.0001) for logical and pragmatic inference ability.

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31

Evans, A. William, Raegan M. Hoeft, Florian G. Jentsch, and Clint A. Bowers. "Is a Picture Worth a Thousand Words? Investigating Structural Knowledge with Textual and Pictorial Stimuli." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 46, no. 3 (September 2002): 240–44. http://dx.doi.org/10.1177/154193120204600305.

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The differences between the processing of textual and pictorial information have been a topic of research for some time now. Previous research concerning the modality of information has often concentrated on the speed of processing rather than the organizational differences that may exist. This experiment utilized card sorting to evaluate the changes in knowledge organization that occur when information is presented in text and picture formats. In addition to this, the structure of the elicitation task was manipulated to evaluate its effects on sharedness. It was found that textual stimuli produced a greater sharedness among participants in a free sorting task. However, for a structured sorting task, results reversed, and pictorial stimuli created a greater level of sharedness. Overall, structured sorting tasks produced a greater level of sharedness than the free sorting condition, regardless of modality.

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32

Gati, Itamar, and Amos Tversky. "Recall of common and distinctive features of verbal and pictorial stimuli." Memory & Cognition 15, no. 2 (March 1987): 97–100. http://dx.doi.org/10.3758/bf03197020.

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33

Higbee, Thomas S., James E. Carr, and Cristin D. Harrison. "The effects of pictorial versus tangible stimuli in stimulus-preference assessments." Research in Developmental Disabilities 20, no. 1 (January 1999): 63–72. http://dx.doi.org/10.1016/s0891-4222(98)00032-8.

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34

Gjini, Klevest, Takashi Maeno, Keiji Iramina, and Shoogo Ueno. "Estimation of encoding of pictorial stimuli from visually evoked magnetic fields." International Congress Series 1270 (August 2004): 184–87. http://dx.doi.org/10.1016/j.ics.2004.05.061.

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35

Locher, Paul, and Yvonne Nagy. "Vision Spontaneously Establishes the Percept of Pictorial Balance." Empirical Studies of the Arts 14, no. 1 (January 1996): 17–31. http://dx.doi.org/10.2190/x8u3-ctq6-a7j1-8jq8.

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The present experiment sought empirical evidence that pictorial balance can be detected spontaneously with the first glance at a painting. Stimuli consisted of color and black-and-white reproductions or adaptations of structurally balanced paintings and one or more reconstructed less balanced versions of each work of art. Art-trained and untrained subjects rated the compositions for balance on a 6-point Likert scale after presentation durations which permitted either a single fixation (100 ms) or multiple fixations (5 s). The results show that both naive and sophisticated participants discriminated the less balanced from the more balanced versions of the black-and-white paintings with a single glance at each. They were also able to discern differences in balance among the color stimuli in the single fixation condition, but not the subtle differences in balance between the two versions of each painting. Subjects' assessment of a composition's balance based on stimulus information encoded with one fixation did not significantly change when exposure duration permitted multiple fixations of that composition. Data are consistent with the view that the induced structural organization resulting from the balanced configuration of a painting's element is detected spontaneously by the eye “at first glance.”

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36

Jha, Amishi P., Neal E. A. Kroll, Kathleen Baynes, and Michael S. Gazzaniga. "Memory Encoding Following Complete Callosotomy." Journal of Cognitive Neuroscience 9, no. 1 (January 1997): 143–59. http://dx.doi.org/10.1162/jocn.1997.9.1.143.

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Three patients with complete resection of the corpus callosum were tested in a series of memory tasks to determine the effects of callosotomy on the encoding and retrieval of information in memory. Verbal and pictorial conjunction tests were administered to measure patients' ability to consolidate the elements of a stimulus into an accurate composite memory. Patients were also tested in a paired-associate learning task to determine the consequences of callosotomy on the encoding and retrieval of associations between stimuli. Although callosotomy patients were unimpaired in the verbal conjunction task, results from both the pictorial conjunction task and the paired-associate learning task suggest that the absence of callosal cross-talk impairs encoding in these patients. In addition, the pattern of results in the paired-associate learning task suggests that callosotomy impairs retrieval processes. The role of the callosum in the formation of memory traces for nonverbal material and associations between verbal stimuli is discussed.

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37

Locher, Paul, Sharon Gray, and Calvin Nodine. "The Structural Framework of Pictorial Balance." Perception 25, no. 12 (December 1996): 1419–36. http://dx.doi.org/10.1068/p251419.

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Two experiments were performed to examine how the subjective balance of a painting is created by its structural features and to determine if balance influences the way people look at paintings. Stimuli consisted of sixteen reproductions of twentieth-century paintings varying in artistic style and a reconstructed less-balanced version of each. Participants in experiment 1 determined the location of the balance center of each composition, assigned ‘weights’ to the pictorial features which contributed to the location of the balance center, and rated the picture for balance. It was found that design and museum professionals and individuals untrained in the visual arts were in good agreement as to the structural framework underlying the balance organization of a painting. For all participants, disruption of the balanced organizations of the original compositions led to reliable shifts in the location of the perceived balance centers of the originals compared with their less-balanced perturbations. Additionally, it was observed that particular features as such were not the origin of the balance phenomenon; rather, judgments concerning the balance structure and its center were dependent on the global integration of information across a wide area of the display field, but especially from its central region. Last, the subtle changes in balance structure between versions resulted in lower ratings of balance being assigned to the less-balanced perturbations by the design professionals only; the other two participant groups evaluated overall balance of the versions as comparable. In experiment 2, eye movements of a different group of untrained individuals were recorded as they performed similar tasks on the art stimuli. It was found that disruption of the balance structure of the original representational but not abstract compositions resulted in different regions of the original and perturbed versions being visually explored. Findings of both experiments are related to theoretical notions of balance.

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38

Firstov, Valeriy, Victor Firstov, Alexander Voloshinov, and Paul Locher. "The Colorimetric Barycenter of Paintings." Empirical Studies of the Arts 25, no. 2 (July 2007): 209–17. http://dx.doi.org/10.2190/10t0-2378-0583-73q4.

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The locations of the colorimetric barycenter or “center of gravity” of the pictorial fields of paintings were compared graphically with the geometric centers of the art works. The art stimuli consisted of reproductions of 1332 paintings of different compositional genres created by renowned Russian artists. It was observed that artists' manipulation of a color palette and their spatial control of color within a composition resulted in the location of the colorimetric barycenter of a painting corresponding closely to its geometric center for both representational and abstract paintings. This finding demonstrates the power of the center of a pictorial field to function as a balancing point about which artists exert spatial control of color among all of the compositional colors and the areas they occupy within a pictorial field.

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Maniatis, Lydia M. "The Leaning Tower Illusion is Not a Simple Perspective Illusion." Perception 37, no. 11 (January 1, 2008): 1769–72. http://dx.doi.org/10.1068/p6102.

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The Learning Tower illusion has been explained as a simple perspective illusion. I suggest that it is a variant of the Jastrow illusion, applied to perspective tilt, and that the original explanation is inconsistent with its own implicit assumptions and with the visual resolution of pictorial stimuli in general.

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Hopper, Lydia M., Matthias Allritz, Crystal L. Egelkamp, Sarah M. Huskisson, Sarah L. Jacobson, Jesse G. Leinwand, and Stephen R. Ross. "A Comparative Perspective on Three Primate Species’ Responses to a Pictorial Emotional Stroop Task." Animals 11, no. 3 (February 24, 2021): 588. http://dx.doi.org/10.3390/ani11030588.

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The Stroop effect describes interference in cognitive processing due to competing cognitive demands. Presenting emotionally laden stimuli creates similar Stroop-like effects that result from participants’ attention being drawn to distractor stimuli. Here, we adapted the methods of a pictorial Stroop study for use with chimpanzees (N = 6), gorillas (N = 7), and Japanese macaques (N = 6). We tested all subjects via touchscreens following the same protocol. Ten of the 19 subjects passed pre-test training. Subjects who reached criterion were then tested on a standard color-interference Stroop test, which revealed differential accuracy in the primates’ responses across conditions. Next, to test for an emotional Stroop effect, we presented subjects with photographs that were either positively valenced (a preferred food) or negatively valenced (snakes). In the emotional Stroop task, as predicted, the primates were less accurate in trials which presented emotionally laden stimuli as compared to control trials, but there were differences in the apes’ and monkeys’ response patterns. Furthermore, for both Stroop tests, while we found that subjects’ accuracy rates were reduced by test stimuli, in contrast to previous research, we found no difference across trial types in the subjects’ response latencies across conditions.

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O'Shea, Robert P., Donovan G. Govan, and Robert Sekuler. "Blur and Contrast as Pictorial Depth Cues." Perception 26, no. 5 (May 1997): 599–612. http://dx.doi.org/10.1068/p260599.

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Studies have shown that blur can act as a pictorial cue to depth perception. But blurring a stimulus reduces its contrast, and studies have also shown that contrast can act as a pictorial cue to depth perception. To determine whether blur and contrast have separate influences on depth perception, each variable was independently manipulated in two experiments. Observers reported depth alternations in a simple reversible figure. Both contrast and blur were found to influence depth perception, but blur had its greatest effect at moderate contrasts. When blurred and sharp stimuli were equated on either Michelson or RMS contrast, blur continued to affect depth perception. Hence blur can act as a depth cue independently of contrast. It is speculated that blur is effective as a pictorial cue because of its usual association with other depth cues, particularly in pictures and photographs.

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Tamthintha, Pornchai, Kusuma Palaprom, and Kritchakhis Nawattanaprasert. "A study on perceptions of preschool Children’s furniture design: Pictorial stimuli experiment." MATEC Web of Conferences 204 (2018): 01003. http://dx.doi.org/10.1051/matecconf/201820401003.

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The preschool center there is a place for educational topreschool children before they begin compulsory education at primary school. The different of the preschool children’s furniture will affect the different perceptions of preferences and behaviors of children in the classroom. The furniture that relating the satisfaction of children. It will become the part of stimulus that attracts and motivates children and also an appropriate physical elements to encourage a learning environment. The research found that the different elements of design on the preschool children’s furniture affect the perceptions of children they prefer the follow: warm colors on children’s desk and chair while cool colors on bookshelves, and non-pattern, natural (animal) form and natural (wood) material on children’s desk, children’s chair and bookshelves.The study results can help designers in their selection of elements of design on the preschool children’s furniture, specially for classroom in the preschool center.

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Palomba, Daniela, Alessandro Angrilli, and Alessio Mini. "Visual evoked potentials, heart rate responses and memory to emotional pictorial stimuli." International Journal of Psychophysiology 27, no. 1 (July 1997): 55–67. http://dx.doi.org/10.1016/s0167-8760(97)00751-4.

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Saban, Sara, and Kenneth Hugdahl. "Nonaware classical conditioning to pictorial facial stimuli in a between-groups paradigm." Integrative Physiological and Behavioral Science 34, no. 1 (January 1999): 19–29. http://dx.doi.org/10.1007/bf02688707.

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Marshall, Eileen, and Peter Walker. "Visual memory for pictorial stimuli in a serial choice reaction-time task." British Journal of Psychology 78, no. 2 (May 1987): 213–31. http://dx.doi.org/10.1111/j.2044-8295.1987.tb02241.x.

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Arntzen, Erik, and Richard K. Nartey. "Equivalence class formation as a function of preliminary training with pictorial stimuli." Journal of the Experimental Analysis of Behavior 110, no. 2 (September 2018): 275–91. http://dx.doi.org/10.1002/jeab.466.

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Huijding, Jorg, and Peter J. de Jong. "A Pictorial Version of the Extrinsic Affective Simon Task." Experimental Psychology 52, no. 4 (January 2005): 289–95. http://dx.doi.org/10.1027/1618-3169.52.4.289.

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Abstract. This study assessed whether a pictorial, rather than a verbal, Extrinsic Affective Simon Task (EAST: De Houwer, 2003 ) is, 1) sensitive to the affective valence of normatively positive, neutral, and negative pictures, 2) sensitive to interindividual differences pertaining to fear-relevant affective associations, and 3) a valid predictor for strategic and/or reflexive fear responses. High (n = 35) and low (n = 35) spider fearful individuals completed an EAST comprising of universal positive, negative, neutral, and spider pictures. The pictorial EAST was sensitive to normatively valenced stimuli, tended to differentiate between high and low fearful individuals with respect to spider pictures, and showed independent predictive validity for avoidance behavior.

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Carlton, Lana, and Raymond A. R. Macdonald. "An Investigation of the Effects of Music on Thematic Apperception Test (TAT) Interpretations." Musicae Scientiae 7, no. 1_suppl (September 2003): 9–30. http://dx.doi.org/10.1177/10298649040070s101.

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This study investigated the effects of musical stimuli on Thematic Apperception Test (TAT) interpretations. Sixty participants created written interpretations of 8 TAT pictures. Twenty participants listened to music rated as having a positive emotional valence in a pilot study. 20 listened to music as having a negative emotional valence in a pilot study and a further 20 participants created TAT interpretations without musical stimulation. Results highlight that the emotional valence of background musical stimuli influenced the participants' interpretations of pictorial information. Specifically, the affective direction of participants' interpretations was found to be significantly related to the type of musical stimuli. Findings are discussed with reference to music and emotions literature highlighting the multifaceted way in which music impacts aspects of daily life.

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Piper, Luigi, Antonio Mileti, M. Irene Prete, and Gianluigi Guido. "Pictorial warning labels as deterrents of alcohol abuse." British Food Journal 123, no. 13 (October 5, 2021): 469–89. http://dx.doi.org/10.1108/bfj-02-2021-0187.

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PurposeThe purpose of this research is to demonstrate the effectiveness of pictorial warning labels that leverage the risk of obesity as a deterrent against alcohol abuse. It evaluates the impact of three different kinds of warning labels that can potentially discourage alcoholic drinking: (1) a claim, in text format, that cautions consumers about the product (i.e. a responsibility warning statement); (2) a textual warning label, text-format information on the content of the product or the consequences of excessive consumption (i.e. a synthetic nutritional table); (3) a pictorial warning label, an image depicting a food product with a caloric content equivalent to that of an alcoholic beverage.Design/methodology/approachIn Study 1, a 2 × 2 × 2 factorial design is used to evaluate the intention to buy different alcoholic cocktails. The stimuli comprised two cocktails that are similar in alcoholic volume, but different in their caloric content. The images of the products were presented across eight warning label conditions and shown to 480 randomly selected Italian respondents who quantified their intention to buy the product. In Study 2, a different sample of 34 Italian respondents was solicited with the same stimuli considered in Study 1, and neuropsychological measurements through Electroencephalography (EEG) were registered. A post hoc least significance difference (LSD) test is used to analyse data.FindingsThe results show that only the presence of an image representing an alcoholic beverage's caloric content causes a significant reduction in consumers' purchase intentions. This effect is due to the increase in negative emotions caused by pictorial warning labels.Originality/valueThe findings provide interesting insights on pictorial warning labels, which can influence the intention to purchase alcoholic beverages. They confirmed that the use of images in the warning labels has a greater impact than text, and that the risk of obesity is an effective deterrent in encouraging consumers to make healthier choices.

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Standing, Lionel G., and Michelle I. Bertrand. "Effects of Size Congruency on Item and Size Recognition with Words or Pictures." Perceptual and Motor Skills 107, no. 2 (October 2008): 449–56. http://dx.doi.org/10.2466/pms.107.2.449-456.

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The effect of size changes (8:1 or 1:8) between learning and recognition sessions upon item and size recognition was tested, using either pictures or words as stimuli. Participants ( N = 34) viewed color photographs of everyday objects or the corresponding printed words and then performed 160 trials of a recognition task, including 50% new stimuli, for which they had to indicate whether each item had been seen before and whether its size had changed. Item recognition, for pictures only, was improved by size congruency between the learning and test sessions. In contrast, size recognition was raised by learning/test-size congruency for both pictures and words. Both word- and picture-learning stimuli produced higher item and size recognition when large in area rather than small. The data are interpreted as showing the stronger role of spatial coding with pictorial than with verbal stimuli.

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