Esta dissertação de mestrado analisa a seta como símbolo gráfico universal da comunicação visual, reconhecido por diferentes povos em diversas épocas e culturas. A pesquisa apresenta a seta como transmissora de informações essenciais por meio de seus vários significados e funções facilitando as interações sociais no mundo contemporâneo, diminuindo as dificuldades geradas por especificidades linguísticas e auxiliando na possibilidade de uma rápida interpretação das mensagens comunicadas, ainda que dentro de limites culturais. O estudo mostra que este símbolo gráfico é utilizado desde os tempos mais remotos, nas pinturas rupestres, até os dias atuais, com usos distintos em vários campos do conhecimento. O objetivo da análise é identificar os significados mais notáveis do símbolo gráfico seta, além de sua função direcional básica e como eles se desenvolveram em três modalidades de aplicação: (1) a seta nos sistemas de sinalização, orientando e dirigindo o fluxo do tráfego humano e suas variantes nos pictogramas e na sinalização viária, algumas vezes com significados distintos como o de \"encontro\", \"indicação\" ou \"localização\"; (2) a seta nos sistemas de esquematização em várias áreas do conhecimento, da vida cotidiana às representações científicas, empregada com diferentes funções, dependendo da intenção da mensagem a ser transmitida, entre elas: \"ação\", \"causa-efeito\", \"foco\", \"geração\", \"identificação\", \"intensidade\", \"limite\", \"relação\", \"sequência\", \"tempo\", \"transferência\" e \"transformação\"; (3) a seta nos sistemas de identidades visuais, representando empresas ou produtos visualmente e de forma ordenada, com novos significados vindos de associações semânticas relacionadas às situações específicas de cada marca e aos setores de mercado aos quais elas pertencem, como por exemplo: \"cobertura\", \"satisfação\", \"simpatia\", \"saúde\", \"crescimento\", \"desenvolvimento\", \"rapidez\", \"centralização\", \"prazer\" e \"suavidade\". É uma pesquisa qualitativa que pretende, com a análise e a interpretação das variáveis dos fenômenos particulares a cada campo de estudo, entender de forma ampla, partes das dimensões semântica e pragmática do símbolo gráfico em questão. Este estudo aprofundado pretende contribuir para o melhor entendimento e utilização da seta por comunicadores e designers, com maior conhecimento e propriedade, permitindo sua aplicação mais clara e efetiva nos sistemas de sinalização de grandes espaços, de esquematização da informação visual e de identidades visuais. / This thesis analyzes the arrow as a universal graphic symbol in visual communication, one recognized by different people in different times and cultures. The research presents the arrow as a transmitter of critical information through its various meanings and functions, facilitating social interactions in the contemporary world, lessening the difficulties caused by linguistic specificities and assisting in the possibility of a rapid interpretation, though still within cultural limits, of the messages communicated. The study shows that this graphic symbol has been used since ancient times, from cave paintings to the present day, with different uses in various fields of knowledge. The goal of the analysis is to identify the most notable meanings of the arrow graphic symbol, besides its basic directional function, and how these meanings developed into three types of applications: (1) the arrow in signage systems, guiding and directing the flow of human traffic and its variants in pictograms and road signs, sometimes with different meanings like \"meeting\", \"indication\" or \"location\"; (2) the arrow in diagrams in various areas of knowledge, from everyday life to scientific representations, used with different functions, depending on the intent of the message to be transmitted, including: \"action\", \"cause and effect\", \"focus\", \"generation\", \"identification\", \"intensity\", \"boundary\", \"relationship\", \"sequence\", \"time\", \"transfer\" and \"transformation\"; (3) the arrow in corporate identity systems, representing companies or products visually and in an orderly fashion, with new meanings coming from semantic associations related to the specific circumstances of each brand and market sectors to which they belong, such as: \"covering\", \"satisfaction\", \"sympathy\", \"health\", \"growth\", \"development\", \"speed\", \"centralization\", \"pleasure\", and \"softness\". This qualitative research seeks, with analysis and interpretation of the variables of phenomena specific to each field of study, to broadly understand parts of the semantic and pragmatic dimensions of the graphic symbol in question. This is in-depth study which aims to contribute to a better understanding and use of the arrow by communicators and designers, with greater knowledge and propriety, allowing for its clearer and more effective application in signage systems in large spaces, diagrams of visual information, and corporate identities.

The thesis is focused on history and present application of pictograms. The thesis includes theoretical and practical parts to introduce the phenomenon of pictogram. Theoretical part embraces three chapters: basic terminology that is using in problematic of pictograms, the pictograms in communication in general and presumptive genesis of pictogram from cave art, Egyptian art to comic strips. Practical part presents the spheres and applications of pictogram in nowadays such as traffic, tourism, orientation, informatics and communication systems, logotypes, national and personal presentation, religious symbols. The thesis is concerned with historical and graphical contexts with respect to mentioned fields of application.

Esta dissertação de mestrado analisa a seta como símbolo gráfico universal da comunicação visual, reconhecido por diferentes povos em diversas épocas e culturas. A pesquisa apresenta a seta como transmissora de informações essenciais por meio de seus vários significados e funções facilitando as interações sociais no mundo contemporâneo, diminuindo as dificuldades geradas por especificidades linguísticas e auxiliando na possibilidade de uma rápida interpretação das mensagens comunicadas, ainda que dentro de limites culturais. O estudo mostra que este símbolo gráfico é utilizado desde os tempos mais remotos, nas pinturas rupestres, até os dias atuais, com usos distintos em vários campos do conhecimento. O objetivo da análise é identificar os significados mais notáveis do símbolo gráfico seta, além de sua função direcional básica e como eles se desenvolveram em três modalidades de aplicação: (1) a seta nos sistemas de sinalização, orientando e dirigindo o fluxo do tráfego humano e suas variantes nos pictogramas e na sinalização viária, algumas vezes com significados distintos como o de \"encontro\", \"indicação\" ou \"localização\"; (2) a seta nos sistemas de esquematização em várias áreas do conhecimento, da vida cotidiana às representações científicas, empregada com diferentes funções, dependendo da intenção da mensagem a ser transmitida, entre elas: \"ação\", \"causa-efeito\", \"foco\", \"geração\", \"identificação\", \"intensidade\", \"limite\", \"relação\", \"sequência\", \"tempo\", \"transferência\" e \"transformação\"; (3) a seta nos sistemas de identidades visuais, representando empresas ou produtos visualmente e de forma ordenada, com novos significados vindos de associações semânticas relacionadas às situações específicas de cada marca e aos setores de mercado aos quais elas pertencem, como por exemplo: \"cobertura\", \"satisfação\", \"simpatia\", \"saúde\", \"crescimento\", \"desenvolvimento\", \"rapidez\", \"centralização\", \"prazer\" e \"suavidade\". É uma pesquisa qualitativa que pretende, com a análise e a interpretação das variáveis dos fenômenos particulares a cada campo de estudo, entender de forma ampla, partes das dimensões semântica e pragmática do símbolo gráfico em questão. Este estudo aprofundado pretende contribuir para o melhor entendimento e utilização da seta por comunicadores e designers, com maior conhecimento e propriedade, permitindo sua aplicação mais clara e efetiva nos sistemas de sinalização de grandes espaços, de esquematização da informação visual e de identidades visuais. / This thesis analyzes the arrow as a universal graphic symbol in visual communication, one recognized by different people in different times and cultures. The research presents the arrow as a transmitter of critical information through its various meanings and functions, facilitating social interactions in the contemporary world, lessening the difficulties caused by linguistic specificities and assisting in the possibility of a rapid interpretation, though still within cultural limits, of the messages communicated. The study shows that this graphic symbol has been used since ancient times, from cave paintings to the present day, with different uses in various fields of knowledge. The goal of the analysis is to identify the most notable meanings of the arrow graphic symbol, besides its basic directional function, and how these meanings developed into three types of applications: (1) the arrow in signage systems, guiding and directing the flow of human traffic and its variants in pictograms and road signs, sometimes with different meanings like \"meeting\", \"indication\" or \"location\"; (2) the arrow in diagrams in various areas of knowledge, from everyday life to scientific representations, used with different functions, depending on the intent of the message to be transmitted, including: \"action\", \"cause and effect\", \"focus\", \"generation\", \"identification\", \"intensity\", \"boundary\", \"relationship\", \"sequence\", \"time\", \"transfer\" and \"transformation\"; (3) the arrow in corporate identity systems, representing companies or products visually and in an orderly fashion, with new meanings coming from semantic associations related to the specific circumstances of each brand and market sectors to which they belong, such as: \"covering\", \"satisfaction\", \"sympathy\", \"health\", \"growth\", \"development\", \"speed\", \"centralization\", \"pleasure\", and \"softness\". This qualitative research seeks, with analysis and interpretation of the variables of phenomena specific to each field of study, to broadly understand parts of the semantic and pragmatic dimensions of the graphic symbol in question. This is in-depth study which aims to contribute to a better understanding and use of the arrow by communicators and designers, with greater knowledge and propriety, allowing for its clearer and more effective application in signage systems in large spaces, diagrams of visual information, and corporate identities.

Omniprésents, la relation homme-machine est encore une définition ardue à cerner. Les ordinateurs réalisent dans le temps des tâches récurrentes. Ils aident ainsi l'homme à manipuler d'énormes quantités de données, souvent même plus rapidement et plus précisément que lui. Malgré cela, la capacité des ordinateurs demeure limitée lorsqu'il s'agit d'extraire automatiquement des informations d'images ou de vidéos, qui représentent pourtant des volumes de données extrêmement importants. La vision par ordinateur est un domaine qui inclut des méthodes d'acquisition, de traitement, d'analyse et de compréhension des images afin de produire de l'information numérique ou symbolique. Un axe de recherche contribuant au développement de ce domaine consiste à reproduire les capacités de la vision humaine par voie électronique afin de percevoir et de comprendre une image. Il s'agit de développer des algorithmes qui reproduisent une des capacités les plus étonnantes du cerveau humain à savoir la déduction des propriétés du monde purement externe au moyen de la lumière qui nous revient des divers objets qui nous entourent. Nos travaux de thèse s'inscrivent dans cet axe de recherche. Nous proposons plusieurs contributions originales s'inscrivant dans le cadre de résolution des problèmes de la reconnaissance et de la localisation des symboles graphiques en contexte. L'originalité des approches proposées réside dans la proposition d'une alliance intéressante entre l'Analyse Formelle de Concepts et la vision par ordinateur. Pour ce faire, nous nous sommes confrontés à l'étude du domaine de l'AFC et plus précisément l'adaptation de la structure du treillis de concepts et son utilisation comme étant l'outil majeur de nos travaux. La principale particularité de notre travail réside dans son aspect générique vu que les méthodes proposées peuvent être alliées à divers outils autre que le treillis de concepts en gardant les mêmes stratégies adoptées et en suivant une procédure semblable. Notre incursion dans le domaine de l'Analyse Formelle de Concepts et plus précisément notre choix de la structure du treillis de Galois appelé aussi treillis de concepts est motivé par les nombreux avantages présentés par cet outil. Le principal avantage du treillis de concepts est l'aspect symbolique qu'il offre. Il présente un espace de recherche concis, précis et souple facilitant ainsi la prise de décision. Nos contributions sont inscrites dans le cadre de la reconnaissance et de localisation de symboles dans les documents graphiques. Nous proposons des chaînes de traitement s'inscrivant dans le domaine de la vision par ordinateur / Computer vision is a field that includes methods for the acquisition, processing, analysis and understanding of images to produce numerical or symbolic information. A research contributing to the development of this area is to replicate the capabilities of human vision to perceive and understand images. Our thesis is part of this research axis. We propose several original contributions belonging to the context of graphics recognition and spotting context. The originality of the proposed approaches is the proposal of an interesting alliance between the Formal Concept Analysis and the Computer Vision fields. We face the study of the FCA field and more precisely the adaptation of the structure of concept lattice and its use as the main tool of our work. The main feature of our work lies in its generic aspect because the proposed methods can be combined with various other tools keeping the same strategies and following a similar procedure. Our foray into the area of the Formal Concept Analysis and more precisely our choice of the structure of the Galois lattice, also called concept lattice is motivated by the many advantages offered by this tool. The main advantage of concept lattice is the symbolic aspect. It is a concise, accurate and flexible search space thus facilitating decision making. Our contributions are recorded as part of the recognition and localization of symbols in graphic documents. We propose to recognize and spot symbols in graphical documents (technical drawings for example) using the alliance between the bag of words representation and the Galois lattice formalism. We opt for various methods belonging to the computer vision field

Le but du présent travail de thèse était d’examiner dans quelle mesure les programmes moteurs graphiques acquis au cours de l’apprentissage par écriture manuscrite contribuent au processus de reconnaissance. Précédemment, l’avantage de l’écriture manuscrite sur la dactylographie a été attribué à la contribution des programmes moteurs graphiques (Longcamp et al. 2010). Toutefois, les données recueillies dans le présent travail suggèrent que l’analyse visuelle détaillée requise par l’écriture manuscrite explique une grande partie de cet avantage. En effet, lorsque le symbole à reconnaître est présenté dans des conditions visuelles optimales, les apprentissages par écriture manuscrite et par composition – nécessitant tous les deux une analyse visuelle détaillée – aboutissent à un niveau de reconnaissance similaire et supérieur à celui faisant suite à la dactylographie. Ces résultats sont en accord avec la conception visuelle de la reconnaissance des lettres. Dans cette perspective, l’association entre la perception des lettres et l’activation motrice peut être interprétée comme la conséquence de l’apprentissage conjoint de la lecture et de l’écriture et non comme une condition nécessaire à l’encodage et à la reconnaissance.Toutefois, lorsque les conditions visuelles de présentation sont altérées, l’apprentissage par écriture manuscrite tend à aboutir à une meilleure reconnaissance que les apprentissages par composition et par dactylographie. Ces données suggèrent que les programmes moteurs graphiques pourraient contribuer à la reconnaissance lorsque les informations visuelles sont limitées et que la mémoire visuelle ne peut être utilisée de façon optimale. Notons que cette hypothèse mériterait d’être examinée de façon plus directe.Même si les résultats montrent une contribution importante de l’analyse visuelle détaillée dans l’avantage de l’écriture manuscrite sur la dactylographie, il convient de souligner que dans des conditions d’apprentissage naturelles, l’écriture manuscrite constitue le moyen le plus évident et spontané de promouvoir une telle analyse détaillée. Par ailleurs, pour que l’écriture manuscrite puisse aboutir à un encodage optimal, il est important que l’automaticité des mouvements d’écriture soit préservée. En effet, rompre l’automaticité de l’écriture par une perturbation de l’activité graphomotrice durant l’apprentissage affecte les performances ultérieures en reconnaissance. / Doctorat en Sciences psychologiques et de l'éducation / info:eu-repo/semantics/nonPublished

Children with limited speech using graphic symbols for communication often express themselves predominantly through single symbols rather than symbol combinations. This study aimed to investigate the effect of an intervention strategy that was incorporated into shared storybook reading on the production of graphic symbol combinations. Three children between the ages of 7;9 (years;months) and 10;8 with limited speech and physical impairments participated in the study. A multiple probe design across behaviours (3 different types of semantic symbol combinations) was used, replicated across the 3 participants. Intervention entailed prompting the production of strategic symbol combinations (generated from a matrix) during shared storybook reading by using a prompting hierarchy. The participants’ production of combinations targeted during intervention as well as their ability to generalize to nontarget combinations from the matrix was monitored using a probe test (picture description task). All 3 participants showed some gains in acquiring the combinations and generalizing to nontarget combinations, as measured by the probe test. While 1 participant showed convincing effects, the other 2 showed lower effects. Lower effects may be partly ascribed to participant characteristics as well as to the discrepancies between the intervention and probe contexts. All participants performed better within the shared storybook reading context. Results suggest that the production of symbol combinations can be facilitated during shared storybook reading and that the matrix strategy promotes generalization to untrained semantic combinations. However, participant gains may not reflect immediately in formal testing situations. / Thesis (PhD)--University of Pretoria, 2012. / Centre for Augmentative and Alternative Communication (CAAC) / unrestricted

Utrymmen som kräver styrning mellan olika ljusscener på grund av rummets olika funktioner eller atmosfärer kräver även någon form av styrpanel. Ett problem i dagsläget är att kontrollpaneler ofta är svåra att förstå. Ett av de problem som orsakar svårmanövrerade kontrollpaneler är att slutanvändaren inte förstår den information som ges. Informationenförmedlas via text eller grafiska symboler.Syftet med studien var att ta reda på hur grafiska symboler på kontrollpaneler för belysning kan förmedla tänkta ljusscenarier.Detta undersöktes genom att ta redapå vilka aspekter som var viktiga för att en grafisk symbol ska beskriva ljusegenskaper i ett rum.Frågeställningen besvaradesmed hjälp av en enkät onlinedär tre olika ljusscenarier (allmänbelysning, punktbelysning och vertikalbelysning)och niografiska symboler undersöktes.Symbolerna utvärderades av 42 deltagare.Enkäternagenererade kvantitativa data som visade vilka grafiska symboler som hade högst preferensför varje ljusscenariosamt kvalitativa data där deltagaren beskrev deras val av symbol mer ingående.Resultatenvisadeatt det fanns olika aspekter hos symbolerna som kundeförmedlaljusets egenskaper.Bland dessa var ett sätt att visualisera ljuset somett eget fysiskt objekt eller att enbart visualisera de fysiska objekt som redan fanns i rummet.De viktigaste egenskaperna som förmedlades var intensitet och ljusspridning. Resultaten visade ävenatt det fanns mer som påverkade utformningen av symboler på kontrollpaneler och inte enbart de aspekter som visualiserade ljusets egenskaper. Deltagarna kunde välja bland alla grafiska symboler förrespektive ljusscenario, men det framkom att vissa symboler valdes oftare för vissa ljusscenarier.Studienbidrar till förståelsen för hur man kan underlätta kommunikationmedanvändarenoch på så sätt bidra till att rätt ljus används för rätt tillfälle och funktion. Studien kartläggervilka egenskaper de grafiska symbolerna behöverför att förmedla ljusegenskaperoch bidrar därmedtillatt lösa problemet för hur ljusdesignernbör kommunicera med slutanvändaren. / Spaces that requires lighting control between different lighting scenarios due to the fact that the room have different functions oratmospheres also requires some kind of control panel. A problem at present is that control panels often are difficult to understand. One of the problems that are causing control panels to bedifficult to maneuvereris that fact that the end user sometimes cannot understand the information provided. Information is mediated through text or symbols.The aim of this study was to investigatehow graphicalsymbols on control panels for lighting mediates light scenarios.This was examined using a research questioninvestigatingaspectsthat areconsidered important for graphical symbolsto describe lighting characteristics ina room.This was examined using a poll withthree different lighting scenarios (general lighting, point lighting, vertical lighting) and nine graphical symbols.Symbols were evaluated byan online questionnairewith42 respondents.The questionnairesgenerated quantitativedata showing whichsymbols that was preferredfor each lighting scenario and qualitative data in whichthe participantsdescribed thereasons for theirchoicesinmoredetail.The results showedthat the symbols had different aspects that could contribute to mediatelight characteristics.One way was to visualize the light as its own physical object or visualize the physicalobjects within the room. The most important properties conveyed were light intensity and light distribution. The result further showed thatnot only the aspects mentionedaffect the compositionof graphical symbols for control panels. Non-light related aspects are also important for the composition of graphical symbols. Another finding was that somesymbols where more frequently chosenthen othersfor different lighting scenarios although the participants were able to choose amongst all symbols for each lighting scenario.This study contributes to the understandingofhow to facilitate communication with the user and thus help to use the right lightand symbolfor the right occasion and function. The study maps what characteristics the symbols need to convey light properties andthus helps to solve the problem of how communication should be given to the end user.

[ES] Hay cantidad de símbolos en las grutas y abrigos naturales que evidencian que desde la noche de los tiempos, el ser humano ha sentido la necesidad intrínseca de hacer arte, y por ello comenzó a crear los primeros signos, y aunque este grabador o grabadora primitivo no distinguía entre signo y símbolo, el inconsciente colectivo ha actuado de hilo conductor, conectado a las sucesivas generaciones de artistas a través del tiempo, y el espacio con los arquetipos creados por ellos. Así, llegamos en pleno S. XX al barrio parisino de Montparnasse, donde encontramos al pintor y grabador inglés S.W. Hayter, fundador del emblemático Atelier 17 en 1927, quien no solo puso a las artes gráficas en un lugar de reconocimiento significativo e innovó en métodos técnicos de estampación como The Viscosity Printing, sino que buscó nuevas maneras de contactar con lo más auténtico de su ser, para dejarse fluir, y a modo de trance inducido, abrir su inconsciente, y con el buril como herramienta incidir libremente sobre la plancha, para luego dar forma a los primeros signos incisos en ella. Técnica que enseñaba en su taller para dar libertad, y que cada artista pudiera conectar con su verdadera esencia en busca de su propio signo, lo cual, según C.G.Jung, que símbolos ancestrales aparecieran en la obra grabada de estos artistas modernos, no es extraño. Es pues evidente que existe una conexión psicológica y antropológica que hace que, en la actualidad, estas grafías sigan aflorando, resonando y comunicando, aunque de otra manera, cubriendo otras necesidades, contando otras historias, pero claramente permanecen. Hayter con su obra, e innovadora metodología de creación amén de con su memoria escrita, ha dejado evidenciado este atávico legado, visible también a través de los y las artistas del Atelier 17 y del Taller Contrapoint y desde allí, nos sigue animando a dejarnos llevar, para descubrir e ilustrar visualmente los arquetipos ancestrales que aún resuenan dentro de nosotros, de una manera diferente,con cada propio signo. / [CA] Hi ha quantitat de símbols en les grutes i abrics naturals que evidencien que des de la nit dels temps, el ser humà ha sentit la necessitat intrínseca de fer art, i per això va començar a crear els primers signes, i encara que este gravador o gravadora primitiu no distingia entre signe i símbol, l'inconscient col·lectiu ha actuat de fil conductor, connectat a les successives generacions d'artistes a través del temps, i l'espai amb els arquetips creats per ells. Així, arribem en ple S. XX al barri parisenc de Montparnasse, on trobem el pintor i gravador anglés S.W. Hayter, fundador de l'emblemàtic Atelier 17 en 1927, qui no sols va posar a les arts gràfiques en un lloc de reconeixement significatiu i va innovar en mètodes tècnics d'estampació com The Viscosity Printing, sinó que va buscar noves maneres de contactar amb el més autèntic del seu ser, per a deixar-se fluir, i a manera de tràngol induït, obrir el seu inconscient, i amb el burí com a ferramenta incidir lliurement sobre la planxa, per a luego donar forma als primers signes incisos en ella. Tècnica que ensenyava en el seu taller per a donar llibertat, i que cada artista poguera connectar amb la seua verdadera essència a la cerca del seu propi signe, la qual cosa, segons C.G.Jung, que símbols ancestrals aparegueren en l'obra gravada d'estos artistes modernos, no és estrany. És perquè evident que hi ha una connexió psicològica i antropològica que fa que, en l'actualitat, estes grafies continuen aflorant, ressonant i comunicant, encara que d'una altra manera, cobrint altres necessitats, comptant altres històries, però clarament romanen. Hayter amb la seua obra, i innovadora metodologia de creació a més de amb la seua memòria escrita, ha deixat evidenciat este atàvic llegat, visible també a través dels i les artistes de l'Atelier 17 i del Taller Contrapoint i des d'allí, ens continua animant a deixar-nos portar, per a descobrir i il·lustrar visualment els arq. / [EN] There are many symbols in caves and natural shelters that show that since the dawn of time, human beings have felt the intrinsic need to make art, and therefore began to create the first signs, and although this primitive engraver or engraver did not distinguish between sign and symbol, the collective unconscious has acted as a common thread, connecting successive generations of artists through time and space with the archetypes created by them. Thus, we arrive in the middle of the 20th century in the Parisian district of Montparnasse, where we find the English painter and engraver S.W. Hayter. Hayter, founder of the emblematic Atelier 17 in 1927, who not only brought the graphic arts to a place of significant recognition and innovated in technical printing methods such as The Viscosity Printing, but also sought new ways to contact the most authentic part of his being, to let himself flow, and in a kind of induced trance, to open his unconscious, and with the burin as a tool, to work freely on the plate, to then give shape to the first signs incised on it. A technique he taught in his workshop to give freedom, so that each artist could connect with his true essence in search of his own sign, which, according to C.G.Jung, is not strange that ancestral symbols appear in the engraved work of these modern artists. It is therefore evident that there is a psychological and anthropological connection which means that, today, these graphics continue to emerge, resonate and communicate, albeit in a different way, covering other needs, telling other stories, but clearly they remain. Hayter, with his work and innovative creative methodology as well as with his written memory, has made this atavistic legacy evident, visible also through the artists of Atelier 17 and the Contrapoint Workshop, and from there, he continues to encourage us to let ourselves be carried away, to discover and visually illustrate the ancestral archetypes that still resonate within us, in a different way, with each sign itself. / Gómez García, MDR. (2023). Signo, arquetipo y símbolo en la obra gráfica de Hayter, un artista con raíces ancestrales y su influencia en los artistas del Atelier 17 [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/194058

The structure of graphic symbol utterance constructed by children with typical development and also children with little or no functional speech often differs considerably from spoken utterances. Whether the structure of graphic symbol utterances constructed by these two groups is influenced by similar factors is as yet unknown, as a systematic comparison between the two groups of children has not been conducted. This study aimed to investigate and compare the graphic symbol utterances arranged by children with little or no functional speech with those arranged by their typically developing peers when they were matched according to receptive language age. The utterances were analysed in terms of three variables, namely content, order and intelligibility. The results indicated that children with little or no functional speech do not differ significantly to children with typical development on tasks of graphic symbol utterance construction. The results also indicated that children with higher receptive language age start to use the spoken language word order as a model when arranging graphic symbol utterances more than children with lower receptive language age. The findings suggest that receptive language age plays a role in graphic symbol utterance constructions. The use of structures that do not follow spoken language may be explained by effects of the visual modality. / Dissertation (MA)--University of Pretoria, 2014. / gm2014 / Centre for Augmentative and Alternative Communication (CAAC) / unrestricted