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SUMMARY Lithuania publishes increasingly more topical cartographical production (cartography – science of essence of maps and globes, their features, compiling, printing and usage). The majority of topical maps is various tourist material. Although its demand is large, the quality of conveying information seldom is irreproachable. When creating systems of signs little is thought about the future user of the map and conveying information in a way that map signs would be informative, quickly and correctly perceivable visually and well remembered. In Lithuania until now there were no researches to solve the problems of perceiving map signs (Geodezija ir kartografija. 2004 XXX T. No. 1. Giedre Beconyte, Jurga Spuraite. Vilnius University – Institute of Geodesy and Cartography). Therefore this project of conveying visual information focuses on the sign – representative (sign's medium). The symbol chosen for the pictogram (Lat. pictus – drawn, painted in paint + Gr. gramma – written sign, hyphen) is a cleat – horseshoe, which has an important meaning to travelers and tourists. This symbol was not chosen randomly but logically adapted to these pictograms as the horseshoe in society symbolizes success, happiness as well as travels and tours. (Today Utena is titled the capital of Eastern Higher Lithuania and has a golden coat of arms with a horseshoe – symbol of happiness http://eic.euro.lt/index.php?-704567929). The form of the symbol is laconic (Gr. lakonikos – clear... [to full text]

This thesis contributes to developing an evidence-based toolkit for designers when designing products based on theoretical inputs from human-factors study. Theoretical and developmental knowledge, relevant to the design of warning and risk communications and the area of design for child safety, is translated into support for reflections to practitioners. The risk management framework derived from this study aims to increase awareness of the implications of the aspects involved and as a reference point for groups involved in design for child safety. The thesis covers a shift from risk communications with children to information about children (including physical dimensions etc.) for designers. The final output is a collation of this knowledge base and some conceptual tools that can be applied to a specific design context whether that context be in risk communications or the area of general safety design considerations. Designers with little experience in managing design for children can benefit from this study when deciding on their design strategies. This reflective support is the result of a study of risk communication as a complex and unique activity in which various groups and domains are involved. The process of building an understanding started with an analysis of the literature in the field and with the direct experience of the researcher, who worked directly within ergonomics as part of a design-innovation team. The framework presented in this thesis follows a more structured approach to risk communications. It is conceived as an aid to help practitioners reflect on the implications each stage of the development process has on the experience of developing appropriate risk communications and appropriate products. In this way, it is thought of as a dynamic and flexible reference that can be adapted by design researchers when planning and coordinating design to suit different design situations. The use of this tool in the childsafety, design, and study communities would provide validation of the effectiveness of the framework and its continuous improvement. The purpose of this study is twofold: to contribute to study and practice with the aim of providing fundamental guidance to designers. The research detailed in this thesis brings readers up-to-date with the current literature on theories of risk communications. It then highlights methodologies, tools, guidelines and requirements for risk communication advances in study and practice. A framework for risk communication for young children has been developed out of a resource review based on previous work in the area by McLaughlin and Mayhorn, (2014). The information accumulated in this study has been used to develop initial prototype tools for designers who are considering young children. The developed platform supports practitioners from two different angles: theoretical and practical. Designers engaged in the core activity of design for child safety need methods that support the consideration of ergonomics and other product requirements, such as risk communications. This study contributes to developing methods and tools that can be used by designers and other relevant groups when designing risk communications for young children. Available knowledge is collated and integrated into the framework with the intention that it will be developed further throughout the thesis to consider effective use within the design cycle. This study aims to contribute to child safety by providing the first development of tools/decision supports aimed at designers who are designing for young children and are accordingly evaluating human-factors methods in design for child safety. The aim of this study is to gather the requirements of a collaborative design tool for use by industrial designers, engineers and other groups involved in design for child safety. This thesis aims to address these needs. When considering the needs, limitations and capabilities, ( mental model ) of the intended users (i.e., children), important aspects such as safety have been considered. The general need for support methods are addressed through a review of the safety, design and ergonomics literature. After this, empirical study through interviews and observations is used to outline some problem areas: the development and implementation of human-factors methods in design, lack of available resources and inaccessibility of data. Three empirical studies were conducted to meet the requirements of this study: Study 1 in Chapter 4 involves documentary analysis of existing models and methods, Study 2 in Chapter 5 involves formal interviews with designers (N = 30), and Study 3 in Chapter 7 involves an online survey for initial feedback about the prototype-persona (N = 50) respondents. The first section outlines the study questions. It discusses the outputs of the three main studies contained within this thesis.

Visual information design is a vital part of modern communication. Currently discussion is occurring in most disciplines to determine more effective ways to incorporate visual information design into all their communication, including website and document design. These discussions typically focus on elements of traditional graphic design that tell the student what is "good" graphic design; however, traditional graphic design depends on trial and error, luck, and best practices, with only rare attempts to construct general principles. Selection of visual elements is usually based on designer preference rather than any consistent conceptual framework or empirical support for design decisions. Another approach to visual information design was introduced by Alan Manning and Nicole Amare, based on the work of C. S. Peirce, who created a number of three-part typologies aimed particularly at modes of communication in relation to purpose. Manning and Amare's approach to visual information design maps specific visual elements to consistent definitions based on both formal characteristics and useful functions, as predicted by analysis in terms of primary Peircean categories. These definitions provide a consistent framework for selecting the appropriate visual elements that have the desired communicative effects. Manning and Amare's work was written for an academic audience. The primary purpose of my Master's project is to adapt their information-design concepts for a more general audience, particularly students. An abbreviated and simplified version was created online and was pilot-tested in two undergraduate Linguistics classes for students who are pursuing an editing minor.

Thesis advisor: Ellen Winner / Previous research reported that people can successfully determine the winner of a musical competition when viewing a six second film clip of the performer without sound (Tsay, 2013, 2014); in contrast, when given an audio-only film clip or a clip that combined auditory and visual information, people perform at chance. Given the well-known publication bias in psychology (Ioannidis, 2005), this surprising and counterintuitive finding begs replication. In Study 1, 112 participants were randomly assigned to a sound, video, or video-plus-sound condition and were asked to select the winning musician after viewing five pairs of clips, one showing the winner and the other showing a non-winning musician. Clips were presented for 60 instead of six seconds, with the goal of giving participants more information about the performance, a modification we predicted would enhance performance in the audio and audio-visual conditions. Contrary to Tsay (2013), participants performed at chance in all three conditions. To more directly replicate Tsay (2013), in Study 2, 69 additional participants were randomly assigned to either a sound, video, or sound plus video condition and were asked to select the winning musician after viewing five pairs of 6-second clips showing the winner and another, non-winning musician. Here again the results did not replicate Tsay (2013): Participants performed significantly above chance in only one condition – when only hearing the performance and not seeing it. These results suggest that previous findings showing increased performance in rating musical performances without sound may be spurious and due to sampling error, issues in experimental design, low power, publication bias, or some combination of these. This also shows the strong importance of replication studies. / Thesis (BA) — Boston College, 2014. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: Psychology Honors Program. / Discipline: Psychology.

Made available in DSpace on 2014-06-11T19:32:25Z (GMT). No. of bitstreams: 0 Previous issue date: 2003-12-17Bitstream added on 2014-06-13T20:43:31Z : No. of bitstreams: 1 gava_je_dr_assis.pdf: 7246033 bytes, checksum: a7edb5a955647fa8ca7257d9a443e853 (MD5) / Os anos de 1959 a 1962 são considerados como período Bossa Nova, época em que o estilo musical floresceu e se afirmou como marca distintiva. Sabe-se, porém, que o termo Bossa Nova foi desde logo utilizado para rotular o mais variado leque de atividades, objetos e situações. Por sua força sugestiva, relacionada a dinamismo e novidade, a sigla BN integrou o imaginário e representações de uma época, para a qual o Brasil aparecia como país jovem, moderno e promissor. Esta pesquisa aborda justa-mente essa movimentação bossanovista em sua vertente não-musical. Para tanto, em-prega a revista O Cruzeiro como fonte de material e objeto de estudo em si, haja vista a quantidade substancial de menções e utilizações que fez do termo Bossa Nova. Ana-lisam-se, aqui, os vários sentidos conferidos ao neologismo da moda e a função da música como polarizadora dessas representações. Contudo, dá-se atenção especial a um tipo peculiar de design gráfico explorado pela revista nos anos de 1959 e 1960, intitulado paginações Bossa Nova. As matérias assim configuradas se caracterizaram pela geometrização, economia de elementos e amplo uso de fotomontagens. Além disso, propuseram interessante mescla entre coluna social, biografia, humor, expe-rimentação e manifesto pela atualização da forma de acordo com as linhas constru-tivistas que vigoravam em São Paulo e Rio de Janeiro naquele momento. Esses no-vos formatos de reportagens são analisados com base na história do jornalismo ilus-trado e nos intercâmbios havidos entre a imprensa periódica e campos dedicados à pesquisa formal mais pura. Demonstra-se, por fim, como alguns artistas, intelectu-ais e jornalistas brasileiros situados na transição entre as décadas de 50 e 60 co-mungaram ideais de modernidade análogos e os difundiram como ferramentas para a construção de mentalidades e representações sociais. / The years between 1959 and 1962 are considered as Bossa Nova period, an ep-och on which the musical style flourished and settled as a distinctive brand. It is known that the term Bossa Nova was used soon to label the most varied fan of activities, objects and situations. Due to its suggestive strength related to dynamism and novelty, the label BN integrated the imaginary and representations of a time to which Brazil came up as a young country, modern and promising. This research holds such bossanovistic move-ment in its non-musical expression. This way, the weekly magazine O Cruzeiro is used as source of material and object of study in itself, regarding the substantial quantity of references and uses on Bossa Nova term. Several senses referring to the neologism and the function of music polarizing such representations are analyzed hereby. Nevertheless, special attention is given to a peculiar type of graphic design explored by the magazine in 1959 and 1960, named Bossa Nova pages. The issues thus configurated are charac-terized by the geometry, economy of elements and wide use of photomontage. In addi-tion, an interesting mingle among social article, biography, humor, experiment and manifestation for the updating of the graphic form was proposed according to the con-structivists thoughts which were coming out in São Paulo and Rio de Janeiro at the time. Such new formats of reports are both analyzed and based upon the history of the illustrative journalism as well as in the interchanges that there have been between the periodical press and fields dedicated to a purer formal research. Eventually, it is demon-strated how some artists, intellectuals and Brazilian reporters situated in the transition between fifties and sixties joined similar ideals of modernity, widespreading them as tools for the construction of mentalities and social representations.

Yes / Background: Descending kerbs during locomotion involves the regulation of appropriate foot placement before the kerb-edge and foot clearance over it. It also involves the modulation of gait output to ensure the body-mass is safely and smoothly lowered to the new level. Previous research has shown that vision is used in such adaptive gait tasks for feedforward planning, with vision from the lower visual field (lvf) used for online updating. The present study determined when lvf information is used to control/update locomotion when stepping from a kerb. Methodology/Principal Findings: 12 young adults stepped down a kerb during ongoing gait. Force sensitive resistors (attached to participants' feet) interfaced with an high-speed PDLC 'smart glass' sheet, allowed the lvf to be unpredictably occluded at either heel-contact of the penultimate or final step before the kerb-edge up to contact with the lower level. Analysis focussed on determining changes in foot placement distance before the kerb-edge, clearance over it, and in kinematic measures of the step down. Lvf occlusion from the instant of final step contact had no significant effect on any dependant variable (p>0.09). Occlusion of the lvf from the instant of penultimate step contact had a significant effect on foot clearance and on several kinematic measures, with findings consistent with participants becoming uncertain regarding relative horizontal location of the kerb-edge. Conclusion/Significance: These findings suggest concurrent feedback of the lower limb, kerb-edge, and/or floor area immediately in front/below the kerb is not used when stepping from a kerb during ongoing gait. Instead heel-clearance and pre-landing-kinematic parameters are determined/planned using lvf information acquired in the penultimate step during the approach to the kerb-edge, with information related to foot placement before the kerb-edge being the most salient.