Thesis--Teachers College, Columbia University, 1967. / Typescript; issued also on microfilm. Sponsor: Millie Almy. Dissertation Committee: Louis Forsdale. Includes bibliographical references.

This investigation sought to evaluate the claim by art educators that cumulative general experiences in art develop specific visual skills. The primary objective was to assess the influence of an individual's amount of experience in art upon the two selected visual skills of visual perception and picture memory. The secondary objective included the assessment of the relationship between these skills as well as the relationship of age and gender to picture memory.Three instruments were identified or developed. The Art Experience Form (AEF) determined a subject's amount of experience in art while the Group Embedded Figures Test (GEFT) assessed visual perceptual style and Wiley's Unique Visual Imagery Test (WU IT) evaluated picture memory ability. Results from these instruments provided scores which were correlated to determine if significant relationships existed.A total of fifty subjects were assembled from three source groups likely to display variance in amounts of art experience, undergraduate non-art majors, undergraduate art majors, and graduate art majors. All attended Ball State University, Muncie, Indiana during Spring Quarter of 1983. Random subject selection was accomplished by university placement into intact classes.All subjects received similar tasks during two sessions seventy days apart. In session one each subject completed the AEF, the CEFT and WUVIT Part L WUVT.T Part I required each subject to analyze and classify three unique and fifteen ordinary pictures. "Unique" pictures were those which contained possible but improbable subject matter relationships such as an octupus in a barnyard. Ordinary pictures contained normal subject relationships. In session two, the subjects were required to recall all eighteen pictures from within the seventy-two pictures of WUVI T Part II.Pearson Product-Moment Coefficients of Correlation were used to test seventeen hypotheses at the .05 level. The results indicated that as amount of experience in art increased, visual perceptual style tended toward field independence and memory for ordinary pictures increased. Conversely, as art experience decreased, visual perceptual style tended toward field dependence and memory for ordinary pictures decreased. Memory for unique pictures was consistently high for all subjects regardless of amount of art experience, visual perceptual style, age or gender.

Thesis (Ph. D.)--Virginia Polytechnic Institute and State University, 1993. / Vita. Abstract. Includes bibliographical references (leaves 137-141). Also available via the Internet

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Supplemental DVD+R contains a PDF version of the thesis. Includes bibliographical references (leaves 149-152).

Thesis (M.S.)--Florida State University, 2004. / Advisor: Dr. Rolf Zwaan, Florida State University, College of Arts and Sciences, Dept. of Psychology. Title and description from dissertation home page (viewed Sept. 29, 2004). Includes bibliographical references.

Thesis (M.A.)--University of Texas at El Paso, 2008. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

Thesis (Ph. D.)--University of Washington, 1987. / Vita. Bibliography: leaves [115]-121.

Thesis (Ph. D.)--University of California, San Diego, 2002. / Vita. Includes bibliographical references.

Tyrimo tikslas – ištirti, kuriais atvejais įvyksta ribų išplėtimas iš atminties perpiešiant skirtingo turinio paveikslėlius. Regimųjų vaizdų ribų išplėtimo tyrimo metodika buvo sukurta remiantis Hubbard ir bendraautorių (2010) parašyta „Boundary extension: Findings and theories“ metaanalize. Metodiką sudaro 12 stimulų (matmenys 10x15 cm), kuriuose vaizduojamas fotografuotas vaizdas arba piešinio eskizas. Pateikiamoje stimulinėje medžiagoje vaizduojami skirtingo turinio vaizdai – užbaigtas objektas, objektas su nukirptais kraštais, emociškai neutralus, pozityvus ir neigiamas objektas, judantis objektas. Tyrime dalyvavo 120 tiriamųjų, kurių amžius nuo 14 – 45 metų (amžiaus vidurkis 25,6 m.). Tiriamieji buvo suskirstyti į tris grupes: 1. 14 – 19 metų (imtinai) paaugliai; 2. 20 – 30 metų (imtinai) jaunieji suaugusieji; 3. 31 – 45 metų (imtinai) vyresnieji suaugusieji. Pirmoji hipotezė, teigianti, kad ribų išplėtimas dažnesnis iš atminties perpiešiant paveikslus, vaizduojančius objektus su nukirptais kraštais, nei vaizduojančius užbaigtus objektus, pasitvirtino. Antroji hipotezė, teigianti, kad ribų išplėtimas dažnesnis iš atminties perpiešiant paveikslus, vaizduojančius emociškai neutralius objektus, nei vaizduojančius emociškai pozityvius ar emociškai įtemptus objektus, nepasitvirtino. Palyginus paveikslus pagal jų emocinį turinį nustatyta, kad ribų išplėtimas dažnesnis iš atminties perpiešiant paveikslus, vaizduojančius emociškai pozityvius ar emociškai įtemptus objektus... [toliau žr. visą tekstą] / The goal of this study was to investigate in which cases boundary extension occurs when repainting visual images with different content from your memory. Method that were used in this study is based on meta-analysis conducted by Hubbard and co-authors (2010), it is called „Boundary extension: Findings and theories“. Method consists of 12 stimuli (dimensions 10x15 cm), which shows photographic image or sketch of a painting. Presented stimuli material contains images with different content – finished object, object with its corners removed, emotionally neutral, positive and negative object, moving object. 120 respondents participated in the study, their age ranged from 14 to 45 years old (average age - 25,6). Subjects were divided into three groups: 1. 14 – 19 years old (inclusively) teenagers; 2. 20 – 30 year old (inclusively) young adults; 3. 31 – 45 year old (inclusively) older adults. First hypothesis, stating that boundary extension is more frequent with images of objects with removed corners than those of finished objects repainted from memory, was confirmed. Second hypothesis, stating that boundary extension is more frequent with images of emotionally neutral objects than those of emotionally positive or intense objects repainted from memory, was not confirmed. After comparing images in terms of their emotional content it was found, that boundary extension is more often when images repainted from memory contain emotionally positive or emotionally intense objects... [to full text]

The objectives of this research were (1) to develop scales of preferred image sharpness for thermal dye transfer prints and (2) to relate these scales to an objective measurement of image quality. Interval scales were developed using two different indirect scaling techniques, paired comparison and rank ordering, for three groups of participants (novice photographers, advanced amateur photographers, and Kodak image quality experts). Differences between scales developed through the separate scaling procedures were minor, suggesting that either procedure would produce a reliable and valid interval scale. Given the time required to perform the method of paired comparisons, the method of rank ordering would likely be the preferred procedure. The results from multiple range tests of the interval scales found that higher levels of image sharpening (filter levels 1.5x to 2.5x) were generally preferred. However, for some conditions, particularly the portrait, lower levels of sharpening were generally preferred. While it appears that the preferred level of image sharpness may be somewhat dependent upon scene content, participants always preferred a small amount of sharpening to none at all. For all conditions examined, stimuli that received no sharpening were the least preferred. In relating interval scales to an objective measure of image quality, scale values developed from within a level of addressability were highly correlated with values of modified MTFA for all participant groups. These correlations show that a strong relationship exists between preferred levels of image sharpness and increasing levels of luminance modulation for edges in thermal prints. However, values of modified MTFA were not well correlated with interval scale values developed from experts participants for the between levels of addressability portion of the experiment. Values of MTFA were considered modified due to limits that were imposed on the bounds of integration. These results suggest that the preferences of experts may not represent those of the average consumer for desired levels of thermal print sharpness. / Ph. D.