Thesis (M. S.)--Psychology, Georgia Institute of Technology, 2009. / Committee Chair: Rogers, Wendy; Committee Member: Fisk, Arthur; Committee Member: Walker, Bruce

Thesis (M.S.)--Rochester Institute of Technology, 2004. / Typescript. Includes bibliographical references (leaves 80-87).

Thesis (M.C.A.)--University of Wollongong, 2004. / Typescript. Includes bibliographical references: leaf 73-74.

Title from first page of PDF document. Includes bibliographical references (p. 36-38).

Thesis (M.(Augmentative and Alternative Communication))--University of Pretoria, 2004. / Includes bibliographical references.

Thesis (doctoral)--Swiss Federal Institute for Environmental Science and Technology, 2005. / Title from PDF file (viewed on Jan. 18, 2007). "DISS ETH No. 15918." Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references (leaves 126-130).

Thesis (M.A.)--Georgia State University, 2006. / Michael Bruner, committee chair; Ted Friedman, Greg Smith, committee members. Electronic text (105 p.) : digital, PDF file. Description based on contents viewed July 17, 2007. Includes bibliographical references (p. 96-105).

Thesis (M.F.A.)--Rochester Institute of Technology, 1993. / Typescript. Includes bibliographical references.

The following thesis applies theories and findings from cognitive psychology to notions of pictorial address and seriality in art. It is interdisciplinary and practice-led, culminating in a written outcome and a portfolio of creative work. The thesis suggests a model for the exchange of ideas within experimental psychology, art practice and art theory. The research evaluates historical and theoretical notions of pictorial address in light of concepts within visual cognition. Theories of address often refer to the temporal, spatial and postural qualities of art spectatorship. Here they are aligned with relevant psychological concepts including gist extraction, spatial representation and embodied simulation in order to make the underlying perceptual and cognitive processes explicit. There is an emphasis on seriality as a mode of address and pictorial artworks that comprise multiple discrete but related instances displayed together. Two case studies consider the serial output of Claude Monet and Andy Warhol in terms of cognitive theories of concept formation and exposure effects, respectively. The direct impact of features of seriality on the viewer in each case is discussed relative to existing art theory and established art historical narratives. The thesis culminates with presentation and discussion of the portfolio of creative work that both informed and was informed by the theoretical research. The outcomes comprise paintings, drawings, photography and mixed media installation that explore properties of variation, repetition and relational knowledge within pictorial address.