The purpose of this study is to present an exploratory investigation into the possibility of developing a projective technique for measuring interpersonal responsiveness. The projective technique explored here is a form of drawing analysis based on the drawing of a group made by each subject in a tested population.

The purpose of this study is to account for the forces that led to the creation of Special Drawing Rights (SDRs), to examine the operation of the Special Drawing Account, to account for the developments inducing monetary reform, and to arrive at conclusions concerning the future of SDRs in the international financial system.

This study was conducted to ascertain whether or not the opportunities for developing competencies in descriptive geometry needed by draftsmen in the Dallas -Fort Worth area are being provided in Texas junior colleges. Findings concerning the knowledge, skills, and equipment associated with descriptive geometry as it is presented in Texas junior colleges were compared with competencies in descriptive geometry that representatives of industry believe are important for successful draftsmen in companies in the Dallas-Fort Worth area. The purpose of the study is to compile information which will be of use to school officials and teachers in developing courses of study that will enable students to acquire the knowledge and skills needed for success in industry.

My doctoral thesis uses the ‘institutional approach’ to analyse the mechanics of the production and distribution of lianhuanhua (comics) from 1949 to 1966. From this analysis, I extrapolate what made the medium unique and therefore what insights lianhuanhua can offer into Maoist ‘political culture’. Lianhuanhua originated in the Republican era and the unique characteristics of its publishing and distribution had important consequences for the medium’s subsequent development after 1949. During the ‘seventeen years’ lianhuanhua functioned as a propaganda tool, supporting political campaigns and celebrating CCP history. Despite these functions however, the themes inherent in the medium were a lot more varied. Analysis reveals that what was allowed and disallowed was considerably more ad hoc than what we might expect of a strictly controlled totalitarian state. Irregular approaches to production and censorship were also mirrored in the lack of an overall national publishing strategy before 1966. Meanwhile, as the producers of an art form which managed to successfully reconcile the inherent contradictions in CCP art policy, lianhuanhua artists developed a complex give and take relationship with Party-State agencies. Comics were disseminated through highly regulated channels, including bookshops, libraries and factories to ensure ‘revolutionary’ content reached a wider audience and Party-State agencies also sought to advocate ‘appropriate’ reading through ‘reading tutorship’. However, these agencies simultaneously faced challenges in regulating the stocks and location of the highly popular lianhuanhua ‘guerrilla vendors’ and this had profound implications for the kinds of content which persisted in circulating in the early PRC.

ABSTRACT This study investigated whether participation in the Smart Start with Perceptual Motor Program (PMP) over a six month period, by a group of 14 five year old New Zealand school children from a low socio-economic school in Rotorua, enhanced their drawings of a man, woman and self when compared to a control group of 14 children who did not participate in PMP. Their drawings were scored using the Draw A Person: A Quantitative Scoring System (DAP) by Naglieri. The data from this quasi-experimental research design was analysed using an analysis of covariance to compare the two groups. Scores of the drawing of Self were analysed separately from the Total scores (sum of the Man, Woman and Self scores). There was not a significant difference between the experimental and the control group. A number of confounding variables, including small sample size, number of PMP sessions and differences between groups, were likely to have influenced the results.

Diane Victor has been a prominent figure in the South African artworld since she won the Atelier Award in the 1980s. Since then she has self-inflicted violence into her work; stretched it and stripped it whilst she wrestles with the beast within others and how she portrays that in her work. This research report is concerned with answering the question Who is the ‘Beast’ in the work of Diane Victor? It begins by defining the term ‘Beast’ and situating Victor’s artistic practice in an identified trajectory in Western art history. The report traces the presence of the Beasts in Victor’s work, and follows the metamorphosis of the human form as its internal corruption is explored and revealed through the use of non-human animal parts. Furthermore it investigates the artist’s use of her practice to position herself in relation to the values and conventions inherited from the culture in which she lives. Finally, it provides invaluable insight into who the Beast may have been all along and moreover what it means to be human.

Thesis advisor: Ellen Winner / Individuals with Autism Spectrum Disorder (ASD) have been shown to have a local processing bias: they are able to focus on the details of a visual display and ignore the overall whole and context (Mottron & Belleville, 1993; Mottron, Belleville, & Ménard, 1999). Typical individuals with the ability to draw realistically also show this local bias (Drake, Redash, Coleman, Haimson, & Winner, 2010; Drake & Winner, 2011). Two opposing theories have been proposed to account for the local processing bias in individuals with ASD. Some have argued that the local processing bias is at the expense of the ability to grasp the whole and that these individuals lack a "global bias" (Happé & Frith, 2006). According to this view, individuals with ASD have "weak central coherence." Mottron and his colleagues, however, have suggested that the local processing bias seen in ASD exists alongside intact global processing (Mottron & Belleville, 1993; Mottron et al., 1999). According to this view, individuals with ASD have "enhanced perceptual functioning." However, it is likely that these classifications overlook individual variations in local and global processing in the ASD and non-ASD population, some ASD and non-ASD individuals strong in both, weak in both, strong only in local, or strong only in global. If so it would be important to determine the predictors of each pattern, whether the same patterns of individual differences exist in the ASD and non-ASD population, and whether the predictors of each pattern are the same for ASD and non-ASD individuals. Four predictors of local and global processing (as assessed by a battery of tasks) were investigated: verbal IQ, nonverbal IQ, realistic drawing skill, and severity of ASD diagnosis. Participants in study 1 were non-ASD children; Participants in study 2 were ASD children; and those in study 3 were the combined sample of ASD and non-ASD children. Four major findings emerged. First, the predictors of local and global processing skill in the ASD population are the same as those in the non-ASD population. Second, the strongest predictor of local and global processing skills was realistic drawing skill, and not diagnosis, a novel finding. Third, as a group, ASD individuals performed no better and no worse on either local or global processing tasks than did non-ASD individuals, again a surprising and novel finding. Finally, and consistent with finding #2, children with strong performance in local and global processing also scored high in both drawing realism and nonverbal IQ. / Thesis (PhD) — Boston College, 2012. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Psychology.

Ardent Dwellings is a work about longing, self-exploration, and construction of identity through the arrangement of meticulously drawn and cut paper elements. Mainly consisting of drawn dried flower forms and expressive female hands, these elements come together in deliberate arrangements of spaces and relations. The moments of sensuality resulting from these exploratory touches signify moments created through traversing bodies and identities. To achieve this exploration visually, I created a collection of eight drawing collages and a large paper installation with mixed media components. The elements in this work are carefully placed in relation to one another with the intent of constructing an abstract narrative exploring the who, how, and the why of the self—specifically the queer self and the search for belonging that accompanies the discovery of this identity. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

O presente trabalho se constitui de um conjunto de desenhos realizados nas ruas de Londrina - PR, e São Paulo - SP, entre os anos de 2009 e 2011. Esquinas, partes da cidade, placas de sinalização e carros velhos arriscam uma localização. Entretanto, a aproximação de referências ligadas a uma linhagem de entendimento do espaço que parte de Cézanne e aproxima Morandi, De Chirico, Brancusi e Mestre Vitalino entre outros, acaba por testar e ampliar a conceituação da paisagem, justamente, entendo, através daquilo que é próximo e que mesmo assim, talvez por isso mesmo, torna os espaços representados mais e mais complexos. / This project refers to several drawings which were made from 2009 to 2011 on the streets of Londrina and São Paulo. Parts of town such as corners, signs and old cars take a risk at finding the perfect site. The reference proximity connected to a space situated language understanding, which goes from Cézane and reaches Morandi, from Chirico, Brancusi and Mestre VItalino among others, tests the landscape concept and widen it. Therefore I can understand that through what is near the represented spaces - and perhaps because of it - become more and more complexes.

Orientador: Aniceh Farah Neves / Banca: Olympio José Pinheiro / Banca: Lígia Maria Sampaio de Medeiros Gomes / Resumo: O modo como o homem desenvolve seus objetos sofreu uma profunda transformação ao longo de sua história, passando da produção artesanal à produção industrial no final do séc. XVIII, dando origem ao projeto industrial, e assim, ao design. Surge com isso a necessidade de metodologias de trabalho que organizem o processo, orientando assim a criação. A partir do final do séc. XX uma nova transformação ocorre, com a inserção da informática nesse processo, modificando as possibilidades de manipulação do projeto. Com a evolução tecnológica ocorrem também transformações culturais. Atualmente existe uma valorização de "resultados imediatos", reflexo de uma sociedade ansiosa, que acaba menosprezando o valor dos processos de forma geral. Assim, técnicas tradicionais de projetação são muitas vezes substituídas ou ignoradas diante das novas tecnologias. Além desse problema de adequação aos processos tradicionais, existe uma imprecisão de linguagem para designar os tipos de desenhos utilizados nesse processo, o que acaba dificultando seu entendimento e consequentemente a própria prática. Para essa pesquisa optou-se pelo termo desenho expressional como forma de abranger os termos esboço, rascunho, croqui, rafe, sketch e esquete. De modo geral, são recursos tradicionais que são sub-utilizados no processo criativo. Através de entrevistas com os alunos do 5º e 6º termo do Curso de Graduação em Desenho Industrial da Faculdade de Arquitetura, Artes e Comunicação, da Universidade Estadual Paulista "Julio de Mesquita Filho", campus de Bauru/SP, procurou-se identificar como esse recurso - o desenho expressional - vem sendo visto e utilizado e qual a sua importância no processo de projeto. / Abstract: The way like man develop the goals had a huge change along the history, starting with the handmade production until the industrial production in the 18th century, originating the industrial project and also the design. Based on this, begins the necessity of methodologies of work that organize the process and guide the creation. From the end of 20th century, a news transformation happened: insertion of computing in all this process, changing the possibilities of project handling. Due to technologic evolution some cultural transformations have occured also. Nowadays there is an appreciation of "direct results", reflection of an anxious society that in general despises the values of processes. Thereby, traditional techniques of project are just ignored or replaced by news technologies over. Besides this problem of traditional methods adjustment, there is a language inaccuracy to assign the kinds of drawings used in this process, that difficult comprehension and practice. For this research, the term "expressional drawing" was chosen to include another terms: sketch, draft, croquet and rough draft. Generally, these are traditional resources sub used during the creative process. Some interviews were made with students of 5th and 6th semesters of Design graduation course, from Architecture, Arts and Communication College, "Julio de Mesquita Filho" University, Bauru campus, São Paulo state. Based on this interviews, it was possible to identify how this resource - expressional drawing - has been used and seen and how much important is this during the process of project. / Mestre