The creative project dealt with the artist creating a vocabulary of images derived from past and present cultures in order to create a series of highly personalized anthropological narratives. The artist intended the narrative drawings to invoke archaic moods rather than summon literal responses.The accomplishments of this creative project were further development of the artist's personal imagist style, success in relating personal anthropological observations through narratives, and progress in media experimentation. By creating more contrast between forms, by varying value against value and deep space against shallow space, the artist was able to achieve superior compositional studies. / Department of Art

This qualitative study sought to answer: How may I, as an artist, use art for my own transformation and healing? I am an artist and teacher living with chronic pain and fatigue and wanted to find healing through art and inspire others to do the same. During the three month study, I made artwork, reflected in my journal, and practiced guided imagery. The journal was used to reflect on my health, the creative process, and to record ideas generated through guided imagery. Findings showed that short term relief was provided during the act of creation, but no long-term relief was achieved. The primary conclusion was that I was able to use art for healing and transformation, but only after experimentation and reflection. By adapting the creative process to accommodate for my illness, I was able to include art making as part of a healthy life.

The aim of this doctoral dissertation was to examine effects of olfactory imagery on other sensory and perceptual processes, and to explore brain areas involved in generation of olfactory mental images. Four studies, three behavioral and one functional neuroimaging (Positron Emission Tomography, or PET), were conducted, and healthy volunteers participated in all four studies. In Study 1, participants were better at detecting weak odors when they simultaneously imagined the same compared with a different odor as the one being detected. This effect of olfactory imagery was specific, as the request to imagine objects visually did not have any effect on detection of weak odors. In Studies 2 and 3, effects of presented and imagined odors on taste perception were compared. Effects of imagined odors were equivalent to the effects of presented odors when an objective measure of taste perception (detection of a weak tastant, Study 3) was used, and comparable but more limited when a subjective measure of taste perception (intensity ratings, Study 2) was used. In Study 4, PET technology was used to investigate changes in cerebral blood flow (CBF) associated with odor imagery. Participants were screened and selected for their odor imagery ability, using the behavioral paradigm developed in Study 1. Increased CBF associated with odor imagery was revealed in several areas relevant for olfaction: the left primary olfactory cortical region including piriform cortex, the left secondary olfactory cortical region (posterior orbitofrontal cortex), and the rostral insula bilaterally. Interestingly, increased activity in the primary olfactory cortex and the rostral insula was observed both in the odor imagery and the odor perception subtraction. Based on the obtained findings, I concluded that the effects of imagined odors on sensory processes are specific when compared with visual imagery, and similar to the effects of presented odors. Furthermore, the neural

The purpose of this thesis is to show how the image of contemporary green buildings is being used to promote and uphold the idea of sustainability. The thesis focuses on two fundamental aspects: the role of the image in sustainability and the consumption of that image by the broader community. / I discuss how consumer culture constantly raises the standards of what constitutes a normal lifestyle in modern society and is used as a measure of social, cultural and economic status. These rising expectations affect material consumption which negatively impacts on the environment, societies and cultures. Consumption, therefore does not only involve the consumption of goods and services but also the symbolic value to them, and this is of great importance in any discussion of sustainability in architecture and design. / Thesis (MArchitecture)--University of South Australia, 2006

The past years has seen the advent of the availability of high resolution commercial satellite imagery. This study shows that whilst high resolution commercial satellite imagery is capable of producing reasonable spatial data both in quality and cost for use in an urban GIS the challenges of supplying this data commercially is not limited to simply the provision of the imagery. Since a significant amount of work has been done by others to examine and quantify the technical suitability and limitations of high resolution commercial satellite imagery, this study examines the practical limitations and opportunities presented with the arrival of this new spatial data source. In order to do this a number of areas are examined; the historical development of the satellite systems themselves, the business evolution of the owning commercial ventures, Geographical Information Systems (GIS) data and service requirements for a diverse range of spatial data applications and finally the evaluation and comparison of the imagery as a spatial data source. The study shows that high resolution commercial satellite imagery is capable of providing spatial data and imagery for a variety of uses at different levels of accuracy as well as opening up a new era in the supply and application of metric imagery. From a technical approach high resolution commercial satellite imagery provides remote access, one metre or better resolution, 11 bit imagery and a multispectral capability not previously available from space. Equally as challenging is the process or achievement in making the technical capability a reality in a commercial world requiring a financial return at all levels; from the image vendors to the spatial science professional providing a service to a paying customer. The imagery must be financially viable for all concerned.

PhD / In design literature, how designers think and how they design have been identified as a reflection of how they interact with their sketches. Sketching in architectural design is still a central concern which shapes our understanding of the design process and the development of new tools. Sketching not only serves as a visual aid to store and retrieve conceptualisations, but as a medium to facilitate more ideas, and to revise and refine these ideas. This thesis examined how mental imagery and sketching is used in designing by conducting a protocol analysis study with six expert architects. Each architect was required to think aloud and design under two different conditions: one in which s/he had access to sketching and one in which s/he was blindfolded (s/he did not have access to sketching). At the end of the blindfold condition the architects were required to quickly sketch what they held in their minds. The architects were able to come up with satisfying design solutions and some reported that using their imagery could be another way of designing. The resulting sketches were assessed by judges and were found to have no significant differences in overall quality. Expert architects were able to construct and maintain the design of a building without having access to sketching. The analysis of the blindfold and sketching design protocols did not demonstrate any differences in the quantity of cognitive actions in perceptual, conceptual, functional and evaluative categories. Each architect’s cognitive structure and designing behaviour in the blindfold activity mimicked her/his cognitive structure and designing behaviour in the sketching activity. The analysis of links between the design ideas demonstrated that architects’ performance in idea development was higher under the blindfold condition, compared to their sketching condition. It was also found that architects’ blindfold design performance was improved when they were more familiar with the site layout. These results imply that expert designers may not need sketching as a medium for their reflective conversation with the situation. This study indicates that constructing internal representations can be a strong tool for designing. Future studies may show that designers may not need sketching for the generation of certain designs during the early phases of conceptual designing.

Diss. (sammanfattning) Uppsala : Sveriges lantbruksuniv. / Härtill 8 uppsatser.

Diss. (sammanfattning) Uppsala : Sveriges lantbruksuniversitet, 2004. / Härtill 6 uppsatser.

Diss. (sammanfattning) Uppsala : Sveriges lantbruksuniv., 2001. / Härtill 8 uppsatser.

Diss. (sammanfattning). Uppsala : Sveriges lantbruksuniversitet, 2005. / Härtill 7 uppsatser.