Gardner (1985) defines intelligence broadly as the ability to solve problems and create products as well as to find or create new problems. He also suggests that every normal individual has the capacity to develop abilities in seven different areas or types of intelligence. Maker (1992, in press) hypothesizes that gifted individuals competently solve problems of all types, that is, problems ranging from well-defined to ill-defined. In this study of spatial intelligence, the theories of both researchers were tested. The primary purpose of the study was to describe behaviors that could be observed, processes subjects reported using, and characteristics of products subjects created as they solved the series of spatial problems. A secondary purpose of the study was to determine if careful observation of processes subjects employed, combined with the subject's report of processes used and an evaluation of products produced could, indeed, paint a clear picture of the subject's spatial abilities. Six research questions guided the study. The three primary areas of investigation were (a) the similarities and/or differences of behaviors observed, processes reported, and characteristics of products across tasks for individual subjects, (b) the similarities and/or differences of behaviors observed, processes reported, and characteristics of products across subjects for each task, and (c) the similarities and/or differences of behaviors observed, processes reported, and characteristics of products to Gardner's description of spatial intelligence. The researcher delineated eight broad categories of observed behaviors, two broad categories of processes reported, and nine characteristics of finished products. She noted both similarities and differences in behaviors, processes, and products across subjects for tasks and across tasks for subjects. Subjects reported that they used processes similar to those described by Gardner (1985); Gardner does not establish behaviors that can be observed as subjects solve spatial problems, nor does he clearly establish characteristics that might be included in products subjects created. Therefore, the behaviors noted and the characteristics of products created by the subjects in this study allowed the researcher to further define spatial intelligence. (Abstract shortened by UMI.)

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No description available.

In an attempt to find meaningful predictors of the ability to interpret Rorschach protocols by clinicians, a paradigm change (Kuhn, 1962) was instigated by using as predictors the scores of the perceptual organizational abilities of 30 subjects, and their ratings of favorableness toward the Rorschach in terms of its usefulness as a clinical tool. The subjects were first year, graduate psychology students, and the Haptic Visual Discrimination Test (HVDT) was the instrument used to measure perceptual organization. A multiple linear regression analysis was computed, and the data supported the hypothesis that perceptual organization and favorableness are of significant predictive value (R = .54, F(2, 27) = 5.43, p = .01). The standardized beta for usefulness was .47 (p = .008) and the HVDT beta was .33, (p = .05). The results were interpreted as applying to Rorschach validity research methodology and pedagogy.

This dissertation demonstrates that seventeenth-century dramatists and theatrical practitioners invented a dazzling series of specialized technologies for representing space. I argue that ubiquitous stage technologies, such as doors, props, musical instruments, and curtains, were used to create a dynamic sense of location—both fictional locations within the represented action and the audience’s location within a specific theater structure. Scholarship on the early modern spatial imaginary has tended to focus on broader cultural changes in how English people understood the world around them, in part through the massive growth of London as an urban center, and in part through England’s burgeoning empire and increasing contact with the world beyond its shores. At the same time, theater scholars have increasingly emphasized the material conditions of theatrical production, including the composition of theatrical companies, the features of different theater buildings, and the nature of costumes and cosmetics. My research extends this theater historical work to show how the details of theatrical practice shaped perceptions of space, including the space of the theater itself as well as the rapidly expanding sense of both urban and global space outside the theater’s walls. My chapters are organized around the different tools used to represent particular types of place, while also tracing a chronological development marked by both continuity and change. In part, this means looking back towards the theatrical traditions out of which this drama sprang, as when I show how the disposition of stage doors in Roman New Comedy or the use of props in medieval morality plays were redeployed by playwrights such as Ben Jonson or Thomas Dekker. I also argue for a more complex relationship than we have assumed between the spatial arrangements of the prewar Shakespearean stage and that of the Restoration. While the introduction of painted scenery is typically taken to mark a break in how space was represented onstage, I establish that playwrights in this era continued to experiment with many of the same spatial techniques used by their precursors in the prewar theaters. By carefully tracing how the same spatial tools – the movement of actors in and out of the doors, the management of discovery spaces, and the positioning of musicians and sound machines – continued to be used alongside the painted scenery, I help us see more clearly how those tools were already active in shaping the perception of theatrical space in the pre-1642 theaters.

Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaves 77-78. / by Thomas Randolph Selden. / M.Arch.

Thesis. 1978. M.Arch.A.S.--Massachusetts Institute of Technology. Dept. of Architecture. / Bibliography: leaves 117-118. / M.Arch.A.S.

Typescript. / Digitized by Kansas Correctional Industries

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This paper includes a copy of the interactive photodocumentary CD rom titled the 'Poetics of Thresholds'. This CD Rom was developed as one aspect of the presentation of my research project. Within the CD Rom is a readable copy of this paper. The research paper is the basis of my research project. The project deals with the chair as a significant symbol when placed in the space of the porch or verandah at the front of the home. The threshold stands at the point of convergence, where the public space of the street, meets with the private space of the home. This hybridised space, between inside and outside, private and public, object and subject, is empowered with meaning. In the threshold space sits the chair which is a metaphor, the embodiment of human elements, such as arms, legs, back and seat. This ergonomically designed symbolic form placed on the threshold, projects the occupant out towards the public space. In the public space the seerer can develop a series of narratives which explore various interpretations. / Master of Arts (Hons)