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Hopkins, Robert David. "Pictorial representation". Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309099.
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Xiao, Ping. "Generating ideas for pictorial advertisements : starting with pictorial metaphors". Doctoral thesis, Universitat Pompeu Fabra, 2014. http://hdl.handle.net/10803/283093.
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Behind every good advertisement there is a creative concept, a Big Idea. In contrast to the countless number of ads, a small number of patterns of effective communication (idea templates) have been uncovered, which are invariant across content and context. In this thesis, we investigate the formalization of idea templates and use it as the basis for building computational means of generating ideas. We present a computational approach of generating one type of ideas, pictorial metaphor. A two-stage approach is proposed and implemented: Stage 1 finds concepts that are salient in a given property; Stage 2 evaluates the aptness of the concepts found as metaphor vehicles. The ideas generated by our approach were evaluated against past successful ads.Detrás de cada buen anuncio publicitario hay un concepto creativo, una “Gran Idea”. En contraste con la innumerable cantidad de anuncios, se ha identificado un número limitado de patrones de comunicación efectiva (plantillas de ideas), invariantes respecto a los posibles contenidos y contextos. En esta tesis investigamos la formalización de las plantillas de ideas, y la usamos como base para construir herramientas computacionales de generación de ideas. Presentamos una estrategia computacional para generar un tipo de ideas, metáforas pictóricas. Se propone e implementa una estrategia en dos pasos: en el paso 1 se encuentran los conceptos que son prominentes en una propiedad dada; el paso 2 evalúa la idoneidad de los conceptos encontrados como vehículos de la metáfora. Las ideas generadas con nuestro método han sido evaluadas en comparación con anteriores anuncios exitosos.
Al darrere de cada bon anunci publicitari hi ha un concepte creatiu, una "Idea Excel•lent". En contrast amb la gran quantitat d'anuncis, s’ han identificat un nombre limitat de patrons d'idees de comunicació efectiva (plantilles d’idees), invariants respecte als possibles continguts i contextos. En aquesta tesi hem investigat la formalització de les plantilles d'idees i la utilitzem com a base per construir eines computacionals per a la generació d'idees. Presentem una estratègia computacional per generar un tipus d'idees, les metàfores pictòriques. Es proposa i implementa una estratègia en dos passos: al pas 1 es troben els conceptes que són prominents en una propietat determinada; al pas 2 s’avalua l'adequació dels conceptes trobats com a vehicles de la metàfora. Les idees generades pel nostre mètode han estat avaluades comparant-les amb les d’anuncis d’èxit anteriors.
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Naz, Asma. "3D interactive pictorial maps". Texas A&M University, 2004. http://hdl.handle.net/1969.1/1571.
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The objective of my research is to revive and practice the art of traditional pictorial
maps in 3D cartographic visualization. I have chosen to create both graphical and
statistical pictorial maps which can be used for the purpose of tourism and data
representation respectively. Some traditional hand-drawn and sculptural pictorial
maps of famous artists have been picked out to start as a base for my work. The
goal was to recreate or imitate the style, character and features of these traditional
hand-drawn and sculptural maps with 3D computer graphics and to analyze how
effectively 3D tools can be used to communicate map information. I also wanted to
explore ways to make these maps interactive on the Web and have them accessible to
a large number of viewers. The results show a number of interactive 3D pictorial maps
of different countries and continents. These maps are initially built with Maya, a 3D
modeling software, and converted into web pages using the Viewpoint Technology.
For statistical maps, Mel scripts have been used in Maya to take input from the
user and change the shape of models accordingly to represent data. These maps are
interactive and navigable and are designed to be easily accessible on the Web.
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Manji, Karim A. "Pictorial communication with computers". Thesis, Teesside University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.258559.
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Tisa, Christine. "Pictorial shape and color /". Online version of thesis, 1992. http://hdl.handle.net/1850/11770.
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Gangla, Lilian Atieno. "Pictorial illustrations in dictionaries". Thesis, Pretoria : [s.n.], 2001. http://upetd.up.ac.za/thesis/available/etd-02272003-142207.
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Harmer, T. J. "Pictorial animation of software systems". Thesis, Queen's University Belfast, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.233954.
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Felzenszwalb, Pedro F. 1976. "Object recognition with pictorial structures". Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/8576.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2001.Includes bibliographical references (p. 51-53).
This thesis presents a statistical framework for object recognition. The framework is motivated by the pictorial structure models introduced by Fischler and Elschlager nearly 30 years ago. The basic idea is to model an object by a collection of parts arranged in a deformable configuration. The appearance of each part is modeled separately, and the deformable configuration is represented by spring-like connections between pairs of parts. These models allow for qualitative descriptions of visual appearance, and are suitable for generic recognition problems. The problem of detecting an object in an image and the problem of learning an object model using training examples are naturally formulated under a statistical approach. We present efficient algorithms to solve these problems in our framework. We demonstrate our techniques by training models to represent faces and human bodies. The models are then used to locate the corresponding objects in novel images.
by Pedro F. Felzenszwalb.
S.M.
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Demaria, Martina <1984>. "Il "Pictorial Turn" di Mitchell". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14661.
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Cos'è il "Pictorial Turn"? Il seguente elaborato analizza la produzione scientifica di uno dei padri fondatori dei visual studies americani, W.J.T. Mitchell, al fine di sottolineare i prodromi di questa elaborazione ed evidenziarne gli esiti.
Partendo dallo studio dell'arte "composita" di William Blake, Mitchell si è interrogato sul rapporto tra parola e immagine, l'"imagetext", appoggiandosi alla semiotica di Charles Pierce e allo studio dei linguaggi di Goodman, nonché allo storico dell'arte Gombrich e al filosofo Lessing.
L'esito è che stiamo vivendo un "Pictorial Turn", che non è solamente una constatazione del fatto che esistono sistemi di simboli che non adottano il linguaggio come paradigma di significato, ma la consapevolezza che esistono epoche nella storia dell'umanità in cui l'immagine è entrata prepotentemente e, forse, anche consapevolmente nella vita degli uomini. L'attenzione per l'immagine del filosofo Ludwig Wittgenstein e la scienza (iconologia) di cui Panofsky è il massimo esponente, hanno reso l'immagine un campo di studio particolarmente variegato.
La differenza tra "image" e "picture" è fondamentale per comprendere che l'immagine non si esaurisce nel supporto ma regna altrove nella nostra coscienza tanto da suscitare reazioni psicologiche e da diventare entità a sé stante al punto di chiederci: "what do pictures want?".
Guardando le immagini come entità sovralinguistiche, la nostra alfabetizzazione di fronte a esse veicola verso un'analisi del reale e dell'attualità non mediata solamente dal linguaggio ma altrettanto efficace e autentica.
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Caldarola, Elisa. "Pictorial Representation and Abstract Pictures". Doctoral thesis, Università degli studi di Padova, 2011. http://hdl.handle.net/11577/3422042.
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This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction.
The first part is dedicated to a survey of the analytical debate on depiction, with special attention to the fortunes and misfortunes of the resemblance theory of depiction. In the first chapter I give an outline of the main contemporary theories on offer, contextualised within an historical background that stretches from Plato to Descartes. I have decided to focus on the theory of resemblance more than on other approaches on depiction, because much of my research is dedicated to an analysis and implementation of one of the theories that have recently sought to re-discover the resemblance paradigm, although with certain important modifications. Namely, the second chapter is dedicated to the exposition of John Hyman’s basic resemblance theory of depiction, to the elucidation of its presuppositions and to the discussion of some criticisms and objections that the theory has raised. The third and the fourth chapter are dedicated to the implementation of Hyman’s theory in relation to the phenomenon of abstract painting.
There are two peculiarities about Hyman’s theory: first, it is in counter-tendency in comparison with all the other accounts of depiction on offer, in that it does not need to conceive of pictorial representation as of representation of particulars or kinds of objects that we can easily identify. Second, it is a theory that gives art a prominent role: Hyman illustrates his claims with many examples taken from the history of figurative art. The second part of my work is inspired by the idea that the basic resemblance theory can be applied to abstract paintings as well.
Developing an analysis of abstract painting from an analytical point of view is a task that very few authors have tried to accomplish so far – as far as I am aware. However, it is evident that the task abstract painters have set themselves is interestingly akin to the task philosophers try to accomplish when arguing about depiction. It is widely agreed that one of the main topics of contemporary art is art itself and that one of the main topics of abstract painting is the art of painting itself, the art of producing pictures, the exploration of its limits and its conventions. With these considerations in mind, I have sought to sketch my proposal for a basic resemblance theory of abstract painting, critically engaging with philosophers such as Richard Wollheim, Kendall Walton, Lambert Wiesing and with art-critics and historians such as Clement Greenberg and Ernst Gombrich.Il mio lavoro si inserisce nell’ambito del dibattito sul concetto di rappresentazione pittorica (RP) e sulla teoria dell’arte pittorica recentemente portato avanti in area analitica. I miei obiettivi principali sono un’esposizione critica dei problemi sollevati dalla tesi secondo cui è la somiglianza agli oggetti dipinti che spiega RP e un’analisi del fenomeno della pittura astratta da un punto di vista analitico. La prima parte è dedicata ad una ricognizione del dibattito analitico su RP, con particolare attenzione ai destini della “teoria della somiglianza”. Nel primo capitolo traccio i contorni delle principali teorie attualmente discusse, nel contesto di un’analisi della letteratura tradizionale sull’argomento, da Platone a Cartesio. La decisione di dare maggiore rilevanza alla teoria della somiglianza rispetto che ad altre teorie su RP è motivata dal fatto che il resto della mia ricerca è dedicato all’analisi e a una proposta di arricchimento di una delle proposte che recentemente hanno riproposto la teoria della somiglianza, benché con alcune importanti modifiche. Si tratta della teoria difesa da John Hyman, che espongo nel secondo capitolo, avendo cura di mostrarne i presupposti e di discutere alcune critiche e obiezioni che le sono state mosse. Il terzo e quarto capitolo sono dedicati all’arricchimento della teoria di Hyman in relazione al fenomeno della pittura astratta. Due sono le peculiarità della teoria di Hyman: primo, è in controtendenza rispetto a tutte le altre attuali proposte sulla RP, perché non ha bisogno di concepire RP come rappresentazione di particolari o di tipi di oggetti che possiamo facilmente identificare; secondo, è una teoria che porta l’arte al centro della discussione filosofica su RP. Hyman, infatti, illustra la sua proposta con numerosi riferimenti alla storia delle arti figurative. La seconda parte di questo lavoro è ispirata dall’idea che la teoria della somiglianza di base di Hyman si possa applicare anche ai dipinti astratti. Lo sviluppo di un’analisi della pittura astratta da un punto di vista analitico è un compito con cui finora si sono misurati pochissimi autori – per quanto ho potuto appurare. Tuttavia, è evidente che gli obiettivi che i pittori di immagini astratte si pongono sono vicini a quelli che si pongono i filosofi quando discutono sulla RP. È opinione diffusa che uno dei temi principali dell’arte contemporanea sia l’arte stessa, e che uno dei temi principali della pittura astratta sia l’arte stessa di dipingere, l’arte di produrre immagini, con i suoi limiti e le sue convenzioni. Motivata da queste considerazioni, ho cercato di dare una prima formulazione alla proposta di una teoria della somiglianza di base della RP applicata ai dipinti astratti. I miei principali riferenti critici sono filosofi come Richard Wollheim, Kendall Walton e Lambert Wiesing, e critici e storici dell’arte come Clement Greenberg ed Ernst Gombrich.
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Bostock, Sophie. "The pictorial wit of Domenico Tiepolo". Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3144/.
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This thesis takes a new approach to Domenico Tiepolo’s (1727-1804), Divertimento Per li Regazzi (c.1795-1804), it is arguably the artists most enigmatic graphic work, which features the commedia dell’arte character Pulcinella. The drawings have hitherto been subject to rigorous connoisseurial analysis. Indeed, in his introduction to ten of the drawings in a catalogue of Italian Eighteenth-Century Drawings in The Robert Lehman Collection at the Metropolitan Museum of Art, New York, James Byam Shaw states that this particular series of drawings has now become so famous ‘that it is hardly necessary to add to the literature of the series.’1 In my opinion it would be a great pity if future generations of scholars were discouraged by this remark, for I believe the drawings still have much to ‘tell’ the contemporary art historian and would further benefit from increasingly interpretative readings. Previously, scholars have regarded Domenico Tiepolo as an imitator of his father, Giambattista Tiepolo (1696-1770), and interpreted the re-appropriation of motifs in the Divertimento as signs of old age and fatigue. I suggest, on the contrary, that in this series of drawings in particular, Domenico was an innovator. This project carves out new territories within the study of the series in that it focuses on the playful nature of the drawings, and how the suite can be understood in relation to contemporary theory concerning games and play, and ludic musical/improvisatory forms. Additionally, the drawings are discussed as a case history in a now popular emerging dialectic on the late works of aged artists: here I consider how these drawings, often funny, poignant, sensitive and delicate reveal how the elderly painter reconciles himself not only to the passing of his own life and the extinction of his family line but to an entire political, cultural and visual tradition.
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Bantinaki, Katerina. "The visual character of pictorial representation". Thesis, King's College London (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429510.
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Mannion, M. A. G. "Conceptual graphs in pictorial database systems". Thesis, University of Bristol, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234771.
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Green, Leanne. "Advertising war : pictorial publicity, 1914-1918". Thesis, Manchester Metropolitan University, 2015. http://e-space.mmu.ac.uk/600404/.
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This research discusses pictorial publicity released in Britain during the period of the First World War. Based on the historic ‘War Publicity’ collection at IWM, it analyses a wealth of imagery produced by official, charitable and commercial concerns to assess the meanings about war that were absorbed and circulated by posters, propaganda and advertisements between 1914 and 1918. It provides an extensive examination of First World War pictorial publicity, and proposes a new methodology for looking at such material within both a visual and a historical context. The study proposes that as spaces of power, museum archives affect the way that their holdings are viewed and interpreted. It argues that the way that the ‘War Publicity’ collection has been negotiated and taxonomised at IWM has influenced how the visual culture of the First World War has consequently been considered. Exceptional examples of well-designed posters have achieved an elevated status, while commonplace imagery encountered in the everyday by the British public has been ignored. This thesis rectifies this by examining the ‘War Publicity’ collection as it would have been viewed: as a mass. In doing so, it is able to consider the narratives and discourses present in the visual culture of the war, and deduce how such meanings worked visually to convince the British public to support war aims. This research contributes to discussions in patriotism and citizenship during the First World War through the development of the concept of ‘patriotic citizenship’. ‘Patriotic citizenship’ describes the core visual language present in First World War publicity. It relied on convincing the viewer that in order to be a good British citizen, one must participate in prescribed forms of war-related activities such as joining the army, donating to wartime charities, economizing in food and buying war bonds and savings. This thesis examines how publicity worked visually to persuade the British public to subscribe to defined forms of participatory citizenship in the form of complying with British war aims, and the new representations that pictorial publicity was able to necessitate in the process.
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Hickok, Suzanne E. "The social construction of pictorial space". Diss., Online access via UMI:, 2009.
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Reiniche, Ruth Mary. "Sign Language: Flannery O'Connor's Pictorial Text". Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/325225.
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Flannery O'Connor makes the invisible visible. Just as a speaker of sign language punctuates her narrative with signs that are at once pictures and words, O'Connor punctuates the narratives of her novels with moments or pauses in the forward motion of her text that are somehow framed--in a mirror, or in a window, for example--and that also are at once pictures and words. These pictorial moments not only occur in the reader's present, but because of the way they are stylized, they are simultaneously: open windows into the historical world of the mid-twentieth century; they look backward into the classical past; and they offer a veiled look into the mystery of a Divine reality. Examination of the chronological development and refinement of Flannery O'Connor's pictorial technique by considering the meaning conveyed by the arrangement of figures in a single panel cartoon, the contextual significance found in literary tableaux and filmic montage, the use of the pictorial "camera eye," and the imprinting of tattoo on the human body, presents a new perspective in interpreting her work. Early manifestation of the pictorial technique is evident in O'Connor's college cartoons. When that cartoonist becomes a novelist that tendency for exaggeration is evident in his or her pictorial renditions of characters and situations, as is the case with former cartoonists Faulkner, Updike, West, Cantor, and O'Connor herself. O'Connor does not abandon the power of the pictorial in delivering a message. Instead she embraces it and envelops it in narrative.
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Bradley, Helen. "Pictorial representation and the significance of style". Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/12053/.
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This thesis aims to show that the concept of style ought to be given greater significance in understanding depiction. I argue that if we want to understand pictorial representations we must remember that how they depict is crucial to understanding not only why they depict what they do, but also why we have the particular kind of experience that they engender. I develop and defend an account of artistic style that has its basis in the claim that individual style is the way in which an artist does something, where this way of doing something is highly personal. With this in place I explore and critically evaluate previous attempts at understanding pictorial representation, in particular the popular Resemblance View, further clarifying the phenomenon of seeing-in along the way. I then modify and develop an account of depiction which has its basis in the work of Flint Schier and Dominic Lopes, who argue for an ‘Aspect-Recognition’ theory of depiction. The Aspect-Recognition theory, I contend, can give us the beginnings of a story about depiction, but while it is pointing in the right direction, I show it is still inadequate. I then use the concept of style that I have developed and build upon the Aspect-Recognition theory to provide a better account; one that not only has explanatory force but also does justice to pictorial diversity and the phenomenology of pictorial experience. Finally, I put this view to work in resolving familiar problems in the philosophy of depiction, namely pictorial misrepresentation and pictorial indeterminacy. These remain the most persistent difficulties for other theories of depiction. Thus my view not only better describes the nature of pictorial experience more generally but is also much better equipped to make sense of curious phenomena in pictorial representation.
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Malinowski, Janusz Wojciech. "Between paintings, a study of pictorial space". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0018/MQ47983.pdf.
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Wardman, Victoria. "Physical disabilities : pictorial representation and self-perception". Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491143.
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Submitted by Victoria Wardman for the Doctor of Clinical Psychology (Clin.Psy.D) and entitled Physical Disabilities: Pictorial Representation and Self-Perception, June 2008. Background: Adults and children with physical disabilities are known to be vulnerable to stigma, abuse and psychological distress. 'In My Shoes', an existing computer assisted interview, was designed to help vulnerable children communicate about their feelings and experiences. In order to develop 'In My Shoes' to meet the needs of those with physical disabilities, evidence needed to be gathered for the ways in which people with physical disabilities would choose to be represented pictorially and to examine factors which would influence this. The physically disabled population is under researched, with no previous studies having examined this field. Objectives: The aim of the research was to explore how adults and children with physical disabilities would choose to be shown in pictures, specifically examining whether a persons' mobility aid becomes incorporated into their pictorial selfrepresentation. A factor hypothesised to be related to pictorial representation was selfperception. Therefore, the differences in self-perception scores of those who included their mobility aids and those who did not were analysed. Design: Two exploratory studies using non-experimental single group designs were utilised. Study One examined pictorial representation in adults with physical disabilities through the use of an Image Selection task and compared those who included their aid in their image selection and those who did not on their Adult Self-Perception Scale (ASPP) scores. Study Two examined pictorial representation in children with physical disabilities using a Self-Portrait task and Image Selection task. The scores on the SelfPerception Profile for Learning Disabled Students (SPP-LD) were compared for those who included their aid in the pictorial representation tasks and those who did not. Methods: For Study One, 78 adult participants were recruited from discussion groups on the internet. Adult participants completed an Image Selection task and the ASPP. For Study Two, 28 children and young people were recruited from a specialist database, sports academy and educational organisations. The children completed a Self-Portrait task, Image Selection task and the SPP-LD. Results: For Study One, the majority (77%) of adult participants included their mobility aid in their choice of image to represent them. There were no significant differences in ASPP scores between those who included their aid and those who did not on the Image Selection task. For Study Two, the majority (70%) of child participants did not include their mobility aid in the Self-Portrait task, but the majority (75%) did include it in the Image Selection task. There were no significant differences in SPP-LD scores between those who included their aids and those who did not on the pictorial representation tasks. For both studies, no clear trends emerged to reveal which factors predicted the inclusion of a mobility aid in the pictorial representation tasks. Conclusions: These two studies revealed that the majority of people with physical disabilities would choose to be represented pictorially by an image which contains their mobility aid. Self-perception was found not to be related to how people would choose to be represented pictorially. The findings have demonstrated that tools such as 'In My Shoes' need to ensure that people with physical disabilities are considered in their development in order to make them accessible and relevant to the users.
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Spinillo, Carla Galvao. "An analytical approach to procedural pictorial sequences". Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365424.
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Brady, Emily Suzanne. "The beholder's share : pictorial representation and imagination". Thesis, University of Glasgow, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319954.
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Sahyoun, Chérif P. "The neuroanatomy of pictorial reasoning in autism". Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/54589.
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Thesis (Ph. D.)--Harvard-MIT Division of Health Sciences and Technology, 2009.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 163-177).
Individuals with autism present with a constellation of social, behavioral, and cognitive symptoms. A striking characteristic is the contrast between their language and visual processing abilities. The work in this thesis combines behavioral, functional MRI, and diffusion tensor imaging methods to examine the neurobiological basis of the discrepancy between linguistic and visuospatial skills in autistic cognition. A pictorial reasoning task, designed to manipulate the degree to which language vs. visuospatial abilities may be differentially engaged in solving picture puzzles, was administered under three conditions: visuospatial, semantic and a hybrid visuospatial-cum-semantic condition. Whereas participants with Asperger's syndrome and typically developing controls (CTRL) were found to exhibit similar performance profiles, high-functioning individuals with autism (HFA) differed from these two groups: they were least efficient on the semantic condition and appeared to benefit from and favor the use of visuospatial mediation in problem solving. Results from functional MRI revealed a pattern of decreased activation in fronto-temporal language areas, and an increased reliance on posterior brain regions in the parietal and ventral temporal lobes in HFA, supporting the earlier behavioral findings. Specifically, the inferior frontal gyrus appeared to play an important role in verbal mediation and semantic integration in CTRL, whereas HFA relied more extensively on inferior and ventral regions of the temporal lobe, in keeping with a cognitive preference for visual strategies.
(cont.) An examination of white matter integrity yielded a similar finding in the relationship between structural neuroanatomy and cognitive profile, such that connectivity patterns were related to the semantic mediation difficulties and visual processing preference in the HFA group: tracts relevant for semantic processing in CTRL were disrupted in HFA along the superior longitudinal fasciculus and in the frontal lobe, whereas parietal and inferior temporal white matter supporting visuospatial processing were intact in HFA The results suggest that performance in high functioning autism may be related to deficits in frontal cortex connectivity, in favor of visualization strategies in higher-level cognition. The findings appear to support the use of visuospatial vs. linguistic tasks to differentiate between potential subtypes on the autism spectrum.
by Chérif P. Sahyoun.
Ph.D.
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Spławski, Piotr. "Japonisme in Polish pictorial arts (1885-1939)". Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/6205/.
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This thesis chronicles the development of Polish Japonisme between 1885 and 1939. It focuses mainly on painting and graphic arts, and selected aspects of photography, design and architecture. Appropriation from Japanese sources triggered the articulation of new visual and conceptual languages which helped forge new art and art educational paradigms that would define the modern age. Starting with Polish fin-de-siècle Japonisme, it examines the role of Western European artistic centres, mainly Paris, in the initial dissemination of Japonisme in Poland, and considers the exceptional case of Julian Fałat, who had first-hand experience of Japan. The second phase of Polish Japonisme (1901-1918) was nourished on local, mostly Cracovian, infrastructure put in place by the ‘godfather’ of Polish Japonisme Feliks Manggha Jasieński. His pro-Japonisme agency is discussed at length. Considerable attention is given to the political incentive provided by the outbreak of the Russo-Japanese war in 1904, which rendered Japan as Poland’s ally against its Russian oppressor. The first two decades of the 20th century are regarded as the ‘Renaissance’ of Japonisme in Poland, and it is this part of the thesis that explores Japanese inspirations as manifested in the genres of portraiture, still life, landscape, representations of flora and fauna, erotic imagery, and caricature. Japonisme in graphic and applied graphic arts, including the poster, is also discussed. The existence of the taste for Japanese art in the West after 1918 is less readily acknowledged than that of the preceding decades. The third phase of Polish Japonisme (1919-1939) helps challenge the tacit conviction that Japanese art stopped functioning as an inspirational force around 1918. This part of the thesis examines the nationalisation of heretofore private resources of Japanese art in Cracow and Warsaw, and the inauguration of official cultural exchange between Poland and Japan. Polish Japonisme within École de Paris, both before 1918 and thereafter, inspired mainly by the painting of Foujita Tsuguharu, is an entirely new contribution to the field. Although Japanese inspirations frequently appeared in Polish painting of the interwar period, it was the graphic arts that became most receptive to the Japanese aesthetic at that time. The thesis includes a case study of Leon Wyczółkowski’s interbellum Japonisme, and interprets it as patriotic transpositions of the work of Hiroshige and the Japanese genre of meisho-e. Japonisme in Polish design and architecture is addressed only in the context of the creation of Polish national style in design (1901-1939). Art schools in Britain and America became important centres for Japonisme at the beginning of the 20th century. The thesis considers the case of Cracow Academy of Fine Arts, which due to radical changes introduced by its new director Julian Fałat, became an important centre for the dissemination of the taste for Japanese art in Poland.
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Caceres, Jara Luis Fernando. "A PICTORIAL ESSAY ABOUT ART AND MIGRATION". Thesis, Konstfack, Institutionen för Konst (K), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6343.
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The essays opens with a discussion about the terms: Storia and Storie and their English equivalent History’ and ‘Story/Stories’. As a migrant artist I explore, transform and translate Andean – and other ancient – myths, legends and rituals into contemporary pieces of art, for which Storia and Storie are fundamental. Aiming to critically engage with and contextualize my own practice, several historical examples of artists who have used pictorial narrations are presented. On the process of contextualizing my own practise, the essay engages in understanding the multi-layered components of some historic paintings such the Miracle of the cross by Bellini, or The slave ship by Turner to offer more complete and complex reading of its existence. The final part start defining the concept of the word protrusion. Taking from the language of science of conservation, the word on the essay is applied to the discussion of migration and art. On the presumption that art is a reflection of cultural heritage and traditions, art pieces can symbolically recapture past people’s forms of thoughts and re-embody their emotions individual and collective memory.
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Leong, Chee Wee. "Towards Communicating Simple Sentence using Pictorial Representations". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5263/.
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Language can sometimes be an impediment in communication. Whether we are talking about people who speak different languages, students who are learning a new language, or people with language disorders, the understanding of linguistic representations in a given language requires a certain amount of knowledge that not everybody has. In this thesis, we propose "translation through pictures" as a means for conveying simple pieces of information across language barriers, and describe a system that can automatically generate pictorial representations for simple sentences. Comparative experiments conducted on visual and linguistic representations of information show that a considerable amount of understanding can be achieved through pictorial descriptions, with results within a comparable range of those obtained with current machine translation techniques. Moreover, a user study conducted around the pictorial translation system reveals that users found the system to generally produce correct word/image associations, and rate the system as interactive and intelligent.
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Kim, Taek Gyu. "Comparing color appearance models using pictorial images /". Online version of thesis, 1994. http://hdl.handle.net/1850/11756.
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Ostgarden, Jo A. "Photojournalism: A Pictorial Analysis of Two Events". Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/292257.
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Helliwell, Paul. "The creative unconscious and the pictorial sign". Thesis, University of East London, 2016. http://roar.uel.ac.uk/5172/.
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Within The Creative Unconscious and Pictorial Sign I explore the dialogue that exists between social language and personal expression to understand how creativity is mediated. I consider how the involuntary inventiveness of artistic creativity and the structuring function of language come to negotiate what artists can experience and represent. My Doctoral practice attempts to question the influence of orthodox postmodernist views and allow sensual and direct experiences to be located within improvisation and spontaneous approaches to image making. I ask if it is possible for a humanistic and psychological interpretation of creativity to move beyond the copy and quotation that some postmodern theories of simulation and the hyperreal advance; but to retain the communicative function of visual expression and the model of a social form of signification instead of naïvely promoting unintelligible and personal languages.
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Plant, Benjamin Thomas Wasantha. "Children's perception and production of pictorial depth cues". Thesis, University of York, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297152.
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Batley, Susan. "Visual information retrieval : browsing strategies in pictorial databases". Thesis, University of Aberdeen, 1988. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=130735.
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This research is concerned with the retrieval of visual or pictorial information from videodisc databases. Videodisc technology has made automated storage and retrieval of high quality visual information possible. A problem is that traditional keyword or text access to pictorial information may be inappropriate if the type of information sought cannot be readily described in words. An answer may be to encourage visual searching or browsing. The challenge lies in creating flexible retrieval systems which will both maximise search efficiency and accommodate the individual user. An experimental retrieval environment was developed to examine visual information search strategies. This system allowed for three search types: keyword search, specific browsing, and scanning. Over two experiments visual information search and browsing strategies were identified and characterised: seeking, focused exploring, open exploring, and wandering. In addition, five factors which influence visual information search strategies were identified: the nature of the information itself, database structure, the task or information need, the user, and the interface. This research combines elements of information retrieval and human factors to point to ways in which visual information retrieval systems can be developed which will meet the needs of their users. System design must take account of individual search behaviour and utilise knowledge of the factors which influence user interaction with the system in the search and retrieval process.
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Souza, Liziane Kugland de. "The magic pudding : a verbal and pictorial translation". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/170382.
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A partir de minha tradução para o português brasileiro de The Magic Pudding (1918), novela infantil australiana escrita e ilustrada por Norman Lindsay, o objetivo desta dissertação é demonstrar as peculiaridades da tradução de literatura infantil ilustrada. Portanto, este estudo analisa o papel das ilustrações na tradução, enquanto levanta questões sobre a adaptação literária em uma época em que novos meios e tecnologias de leitura competem com o livro impresso pela atenção infantil. Como O Pudim Mágico é a primeira tradução da novela para o português, e devido à importância das ilustrações na narrativa, é proposta uma tradução estrangeirizada para que elementos da cultura e da natureza australianas, especialmente alimentos e animais, permaneçam visíveis no texto de chegada. Pelas mesmas razões, tanto o texto propriamente dito quanto as ilustrações são tratados como textos, respectivamente, verbal e pictórico, em oposição aos peritextos verbal e pictórico acrescentados ao texto de chegada. Este estudo é dividido em quatro capítulos: 1) apresentação da biografia e obra do autor, bem como do contexto em que The Magic Pudding foi escrito, seguida pelo resumo detalhado da novela, uma discussão sobre as peculiaridades da tradução para crianças e, baseadas principalmente em Lawrence Venuti e Gérard Genette, as justificativas para a abordagem estrangeirizante com o emprego de elementos peritextuais; 2) apresentação das estratégias de Javier Franco Aixelá para a tradução de itens culturais-específicos para discutir o tratamento de nomes próprios contendo significados culturais; considerando o leitor-alvo, é sugerido o acréscimo de elementos peritextuais, tais como novas ilustrações combinadas com um prefácio verbal, a fim de evitar o emprego de notas de rodapé; 3) análise da influência da ilustrações de Lindsay na tradução, com sugestões para o tratamento do texto verbal de chegada; 4) discussão sobre tópicos de adaptação e transmidiação de literatura infantil, com sugestões para tratar os textos verbal e pictórico na transposição de O Pudim Mágico de meio impresso a digital; com base principalmente nos estudos de Lars Elleström e Ellen McCracken, dispositivos digitais de leitura como o Amazon Kindle e o Apple iPad são analisados, concluindo-se que o texto-alvo é considerado uma tradução em formato impresso, uma remidiação em formato para Kindle e uma transmidiação em formato para iPad.Based on my unpublished translation of The Magic Pudding (1918), Australian children’s novel written and illustrated by Norman Lindsay, this thesis aims at demonstrating the peculiarities of translating illustrated children’s literature. Therefore, it analyses the role of the illustrations in the translation while raising questions on literary adaptation at a time when new reading media and technology compete with the printed book for children’s attention. Given that O Pudim Mágico is the first translation of the novel into Portuguese and due to the importance of the illustrations in the narrative, I propose a foreignised translation to preserve Australia’s cultural and natural elements, in particular foods and animals, visible in the target text. For the same reasons, both the text proper and the illustrations are regarded as texts, respectively verbal and pictorial, in opposition to the verbal and pictorial peritexts added to the target text. This study is divided into four chapters: 1) a presentation of the author’s biography and oeuvre, as well as of the context in which The Magic Pudding was written, followed by a detailed summary of the novel, a discussion on the peculiarities of translating for children and, mainly based on Lawrence Venuti and Gérard Genette, a justification for the foreignising approach with the employment of peritextual elements; 2) a presentation of Javier Franco Aixelá’s strategies to translate culture-specific items in order to discuss the treatment of proper names that hold cultural meanings; considering the target reader, the addition of peritextual elements, such as new illustrations combined with a verbal preface, is suggested as a means to avoid the employment of footnotes; 3) an analysis of the influence of Lindsay’s illustrations on the translation with suggestions for the treatment of the verbal target text; 4) a discussion on issues of adaptation and transmediation of children’s literature, with suggestions for treating the verbal and pictorial texts in the transposition of O Pudim Mágico from printed to digitised media; based mainly on the studies by Lars Elleström and Ellen McCracken, digital reading devices such as Amazon Kindle and Apple iPad are analysed to conclude that the novel’s target text is deemed to be a translation in print format, a remediation on Kindle and a transmediation on iPad. Keywords: Adaptation. Australian Literature. Children’
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Martin, Cortney V. "Usability of Pictorial Assembly Instructions for Young Children". Diss., Virginia Tech, 2007. http://hdl.handle.net/10919/26237.
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This human factors research demonstrated the importance of instruction design on assembly performance and self-efficacy in young children. The mixed-method usability study evaluated the effect of gender, age, toy, and experience on assembly performance, frequency and duration of instruction looks, subjective evaluations, and usability problems. A total of twenty-four boys and girls, six- and nine-year-olds, assembled K'NEX, LEGO, BIONICLE, and Lincoln Log toys using the accompanying pictorial assembly instructions. Other research objectives included recommending key usability measures for instruction designers, developing a model of assembly self-efficacy, and evaluating traditional usability methods for use with children.
Not surprisingly, quantitative results revealed that the older children assembled the toys more quickly and accurately with fewer usability problems. Six-year-old girls had the highest rate of mistakes. The nine-year-olds required fewer instruction looks of shorter duration than the six-year-olds. With few exceptions, toy comparisons were similar across subjective and objective measures. Thirty-two instruction design usability problems were described and illustrated and resulted in twenty-seven design recommendations. For example, more than half of the children omitted components added to the main assembly in the presence of a subassembly construction suggesting that the subassembly should be in a separate frame.
Principal components analysis of all quantitative measures revealed four key components for the usability testing of pictorial assembly instructions: performance, satisfaction, difficulty, and previous experience.
A qualitative analysis of the think-aloud data and observations, using Grounded Theory, produced a model of assembly self-efficacy from child users’ psychosocial and cognitive perspectives that affirmed the importance of user-centered instruction design. Girls exhibited lower self-efficacy and a greater tendency toward internal attributions, which was exacerbated by assembly of a boy-oriented toy. Six-year-old children were more affected by excess extraneous cognitive load and inaccurate information, such as color mismatches between the instructions and object.
Adaptations of traditional usability methods and instruments were effective with children. They included video training for thinking aloud, visual-analog rating scales, and pictorial ranking instruments. A small head-mounted camera provided an economic means for gathering gross instruction encoding times and for better understanding the user's perspective.Ph. D.
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Ludlow, Nelson David. "Pictorial representation of text : converting text to pictures". Thesis, University of Edinburgh, 1993. http://hdl.handle.net/1842/19944.
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'A picture is worth a thousand words.' This saying suggests that an inter-relationship exists between text and pictures. This thesis is the result of an investigation to identify and exploit the inter-relationships between text and pictures. It describes a concept of pictorial representation of text, presents a Text-to-Pictures System which generates a pictorial representation of English sentences, and gives a more detailed look at how the system pictorially represents specific linguistic types of natural language expressions. Although very little previous work has been done in this area, the relevant work in text-pictures systems is summarized. Most of the past work concentrated on pictorially representing the nouns and some spatial prepositions. My work expands the pictorial representation to include temporal expressions, conjunction, relative clauses, quantification, and some verb features. This thesis also addresses the concepts of using pictorial representation for data fusion of large natural language texts, as well as the problems of ambiguity and vagueness. The working system to 'convert text to pictures' is demonstrated. The system structure, intermediate representation schemes, and the translation process are described. Several types of natural language expressions are examined and the corresponding pictorial representations are shown. Also shown is an application to pictorially represent all of the possible meanings of an ambiguous sentence to allow a non-linguist user to choose the intended meaning. Using a natural language text processing system that can convert a sentence of text into a logical form (LF) representation, I show what is required to convert the LF representation into a pictorial representation. The process involves identifying the objects contained in the LF and representing them by icons. These icons are placed in an imaginary space via a set of constraints. After all of the constraints are determined, the system attempts to solve the generated constraint satisfaction problem. If a solution is found, the icons are drawn with the appropriate coordinates on a graphics display.
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Cody, Steven Joseph. "Mantegna's (Mars and Venus) the pursuit of pictorial eloquence /". College Park, Md. : University of Maryland, 2009. http://hdl.handle.net/1903/10015.
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Thesis (M.A.) -- University of Maryland, College Park, 2009.Thesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Sakoi, Junko. "The responses of fifth graders to Japanese pictorial texts". Thesis, The University of Arizona, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3700794.
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This study explores the responses of twelve fifth graders to Japanese pictorial texts— manga (Japanese comics), anime (Japanese animations), kamishibai (Japanese traditional visual storytelling), and picture books — and their connections to Japanese culture and people.
This study took place Cañon Elementary School in Black Canyon City in Arizona. The guiding research questions for this study were: How do children respond to Japanese pictorial texts? and What understandings of Japanese culture are demonstrated in children's inquiries and responses to Japanese pictorial texts? The study drew on reader response theory, New Literacy Studies, and multimodality. Data collection included participant-observation, videotaped/audiotaped classroom discussions and interviews, participants' written and artistic artifacts, ethnographic fieldnotes, and reflection journals. Results revealed that children demonstrated four types of responses including (1) analytical, (2) personal, (3) intertexual, and (4) cultural. These findings illustrate that the children actively employed their popular culture knowledge to make intertextual connections as part of meaning making from the stories. They also showed four types of cultural responses including (1) ethnocentrism, (2) understanding and acceptance, (3) respect and appreciation and valuing, and (4) change. This study makes a unique contribution to reader response as it examines American children's cultural understandings and literary responses to Japanese pictorial texts (manga, anime, kamishibai, and picture books).
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Lee, Jeongsook. "Gombrich : the foundations of his theory of pictorial representation". Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415957.
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Bae, Soonmin. "Statistical analysis and transfer of coarse-grain pictorial style". Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/34639.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2005.Includes bibliographical references (p. 96-103).
We show that image statistics can be used to analyze and transfer simple notions of pictorial style of paintings and photographs. We characterize the frequency content of pictorial styles, such as multi-scale, spatial variations, and anisotropy properties, using a multi-scale and oriented decomposition, the steerable pyramid. We show that the average of the absolute steerable coefficients as a function of scale characterizes simple notions of "look" or style. We extend this approach to account for image non-stationarity, that is, we capture and transfer the spatial variations of multi-scale content. In addition, we measure the standard deviation of the steerable coefficients across orientation, which characterizes image anisotropy and permits analysis and transfer of oriented structures. We focus on the statistical features that can be transferred. Since we couple analysis and transfer, our statistical model and transfer tools are consistent with the visual effect of pictorial styles. For this reason, our technique leads to more intuitive manipulation and interpolation of pictorial styles. In addition, our statistical model can be used to classify and retrieve images by style.
by Soonmin Bae.
S.M.
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Matos, Margarida Gaspar de. "Observing children drawings: A methodology to observe pictorial productions". Master's thesis, Instituto Superior de Psicologia Aplicada: University of Bristol, 1988. http://hdl.handle.net/10400.12/683.
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Rosenblatt, Ivana M. "Envisioning the Threshold: Pictorial Disjunction in Maarten de Vos". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440085327.
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Eriksson, Yvonne. "Tactile pictures : pictorial representations for the blind 1784-1940 /". Göteborg : [Acta universitatis gothoburgensis], 1998. http://catalogue.bnf.fr/ark:/12148/cb37194097j.
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Wernsing, Tara Sallie 1968. "Product knowledge and pictorial information effects on automatic processing". Thesis, The University of Arizona, 1992. http://hdl.handle.net/10150/278199.
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This paper expands the study of automatic processing in the marketing literature. An empirical study was designed to test for automatic inference making due to pictorial or verbal advertisements and prior product knowledge. The theory developed in this thesis suggests that certain factors, high product knowledge and pictorial processing, will result in the accumulation of information in memory. This, in turn, yields easier processing of new information, which signifies a reduction in the attention and effort needed for processing the new information. Finally, the reduction of effort reflects a decrease in the amount of time needed for processing. Therefore, response latencies served as a direct measure of automatic processing in this thesis. Findings indicated that pictures in ads are likely to result in more automatic inference making than verbal information alone. Therefore, automaticity has the potential to explain some of the information processing that occurs in advertising and marketing.
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Wong, Pui Yin Marianne. "The 'siling' (four cardinal animals) in Han pictorial art". Thesis, SOAS, University of London, 2006. http://eprints.soas.ac.uk/28946/.
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The term siling in this thesis, literally "four divine creatures", refers to this group of four animal spirits with directional significance commonly represented in the Han Dynasty and later periods, namely, the qinglong of the East, baihu of the West, zhuque of the South, and the xuanwu of the North. My thesis will explore the place occupied by the second group of four animal symbols in various pictorial art forms among the material remains of the Han, aiming to trace the emergence and spread of the visual representations of the siling. This study argues that, although individual animal images of the siling did not appear simultaneously, and although all four had much more ancient origins and associations with the cardinal directions, it was in the Western Han dynasty and in the neighbourhood of the capital Chang'an that the images of the four animals first emerged in a consistent iconography. The major concern of this research project is the meaning and usage and of the set of siling symbols, mainly in Han funerary contexts, taking into account relevant textual sources and the association of the siling with Han cosmological thought and some of the intellectual ideas that were predominant during the Han dynasty. By means of a comprehensive study of the set of siling representations, I aim to contribute to the knowledge of Han period archaeology and provide a new channel for the understanding of Han dynasty culture and beliefs.
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Bubola, Federica <1996>. "EVALUATION OF NON-INVASIVE TECHNIQUES FOR PICTORIAL FILM IDENTIFICATION". Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21384.
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This study proposes the analysis, using non-invasive techniques, of four panels produced by the Centre for Conservation and Restoration of Venaria Reale, consisting of a set of approximately 1200 paint layers. A large number of painting materials were used to create these panels, including 173 pigments and dyes, 4 different painting materials for the preparatory drawings, 4 binders and 2 varnishes, chosen to reproduce the main artistic techniques used from antiquity to contemporary art.
The thesis' goal is to analyse these panels, using non-invasive techniques such as Fibre-Optic Reflectance Spectroscopy (FORS), External Reflection FTIR (ER-FTIR), Raman Spectroscopy and HyperSpectral Imaging (HSI).
The first part of the thesis is therefore dedicated to the evaluation, using these techniques, of the possible diagnostic limitations linked to the techniques themselves and to the pictorial material used to create the panels, also using statistical tools to create a database. Finally, the collected dataset will be applied for the analysis of contemporary paintings.
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Borràs, Agnosto Agnès. "Contributions to the Content-Based Image Retrieval Using Pictorial Queris". Doctoral thesis, Universitat Autònoma de Barcelona, 2009. http://hdl.handle.net/10803/5794.
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L'accés massiu a les càmeres digitals, els ordinadors personals i a Internet, ha propiciat la creació de grans volums de dades en format digital. En aquest context, cada vegada adquireixen major rellevància totes aquelles eines dissenyades per organitzar la informació i facilitar la seva cerca.Les imatges són un cas particular de dades que requereixen tècniques específiques de descripció i indexació. L'àrea de la visió per computador encarregada de l'estudi d'aquestes tècniques rep el nom de Recuperació d'Imatges per Contingut, en anglès Content-Based Image Retrieval (CBIR). Els sistemes de CBIR no utilitzen descripcions basades en text sinó que es basen en característiques extretes de les pròpies imatges. En contrast a les més de 6000 llengües parlades en el món, les descripcions basades en característiques visuals representen una via d'expressió universal.
La intensa recerca en el camp dels sistemes de CBIR s'ha aplicat en àrees de coneixement molt diverses. Així doncs s'han desenvolupat aplicacions de CBIR relacionades amb la medicina, la protecció de la propietat intel·lectual, el periodisme, el disseny gràfic, la cerca d'informació en Internet, la preservació dels patrimoni cultural, etc.
Un dels punts importants d'una aplicació de CBIR resideix en el disseny de les funcions de l'usuari. L'usuari és l'encarregat de formular les consultes a partir de les quals es fa la cerca de les imatges. Nosaltres hem centrat l'atenció en aquells sistemes en què la consulta es formula a partir d'una representació pictòrica. Hem plantejat una taxonomia dels sistemes de consulta en composada per quatre paradigmes diferents: Consulta-segons-Selecció, Consulta-segons-Composició-Icònica, Consulta-segons-Esboç i Consulta-segons-Il·lustració. Cada paradigma incorpora un nivell diferent en el potencial expressiu de l'usuari. Des de la simple selecció d'una imatge, fins a la creació d'una il·lustració en color, l'usuari és qui pren el control de les dades d'entrada del sistema.
Al llarg dels capítols d'aquesta tesi hem analitzat la influència que cada paradigma de consulta exerceix en els processos interns d'un sistema de CBIR. D'aquesta manera també hem proposat un conjunt de contribucions que hem exemplificat des d'un punt de vista pràctic mitjançant una aplicació final.
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Mihok, Lorena Diane. "Cognitive dissonance in early Colonial pictorial manuscripts from Central Mexico". [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001352.
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Bernath, Doreen. "China and pictorial introjection : on architecture of building the picture". Thesis, Open University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549732.
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Liamani, Cherifa Mansoura. "The representation of pictorial information for computer assisted teaching systems". Thesis, University of Leeds, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246947.
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Slater, John Gilmour. "Pictorial images of urban Australia 1919-1945 : attitudes and functions". Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364430.
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Wolfson, Elizabeth Graff. "Pictorial Representations of Monkeys and Simianesque Creatures in Greek Art". Thesis, University of Missouri - Columbia, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13877177.
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Ghiassi, Ramesh. "The development of pictorial tools for obstructive sleep apnoea syndrome". Thesis, Imperial College London, 2014. http://hdl.handle.net/10044/1/24435.
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Introduction: Obstructive sleep apnoea syndrome (OSAS) is common but remains underdiagnosed and is linked with several disease states and increased risk of mortality. The key symptom, excessive daytime sleepiness, is commonly measured with the Epworth Sleepiness Scale which is not always easily completed by patients. The aim of this thesis is to develop pictorial material for assessing sleepiness and risk of OSAS. Methods: Health literacy was measured in a sample sleep population and the Epworth Sleepiness Scale was investigated for ease of use. Images were developed to translate the Epworth into pictures and the response to pictures of 'driving while sleepy' was investigated in detail. A new tool, the pictorial Sleepiness and Sleep Apnoea Scale, was devised by adding four sleepiness images from the pictorial Epworth to four new images representing 'risk of OSAS'. Evaluations were made in two populations of the tool's potential in predicting those at risk of OSAS. Results: Poor or impaired health literacy was found in 16% of patients attending the sleep clinic. Evaluation of the Epworth Sleepiness Scale found that a third of new patients made quantifiable errors. A preference for the pictorial Epworth Sleepiness Scale was reported by 55% of users and a kappa statistic indicated good agreement between the pictorial and traditional Epworth Sleepiness Scale. Drivers were more inclined to record feeling sleepy if the image in Q8 depicted the sleepy person in the car as a passenger. In a sleep clinic population the pictorial Sleepiness and Sleep Apnoea Scale was slightly better at predicting disease than the Epworth. In a cardiac rehabilitation clinic use of the witnessed apnoea image from the pictorial Sleepiness and Sleep Apnoea Scale, along with the Epworth Sleepiness Scale, helped to identify symptoms suggestive of sleep apnoea in a third of those screened. When investigated with a sleep study, the prevalence of sleep-disordered breathing in this patient group was 14.8%. Conclusion: Pictorial tools for patients with potential obstructive sleep apnoea syndrome have clinical value and can help bridge the gap between poor or impaired health literacy and the material we use to assess sleepiness and likelihood of obstructive sleep apnoea syndrome.