Forster and Lavie (2008) and Lavie, Lin, Zokaei and Thoma (2009) have demonstrated that meaningful stimuli, such as objects, are ignored under conditions of high perceptual load but not low. However, objects are seldom presented without context in the real world. Given that context can reduce the threshold for object recognition (Barenholtz, 2013), is it possible for context to reduce the processing load of objects such that they can be processed under high load? In the first experiment, I attempted to obtain similar findings of the aforementioned studies by replicating their paradigm with photographs of real-world objects. The findings of the experiment suggested that objects can cause distractor interference under high load conditions, but not low load conditions. These findings are opposite of what the perceptual literature suggests (e.g., Lavie, 1995). However, these findings are aligned with a two-stage dilution model of attention in which information is first processed in parallel and then selectively (Wilson, Muroi, and MacLeod, 2011). Experiment 2 assessed if this effect was specific to semantic objects by introducing meaningless, abstract objects. The results suggest that the dilution effect was not due to the semantic features of objects. The third experiment assessed the influence of context on objects under load. The results of the experiment found an elimination of all interference effects in both the high and low load conditions. Comparisons between scene-object congruency revealed no influence of semantic information from scenes. It appears that the presentation of a visual stimuli prior to the flanker task diluted attention such that the distractor effects previously observed in the high load condition were minimized. Thus, it does not appear that context reduced the threshold for object recognition under load. All three experiments have demonstrated strong evidence for the dilution approach of attention over perceptual load models. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2019. / FAU Electronic Theses and Dissertations Collection

Machinist in the Snow is a narrative long poem, much like a novel in verse that deals with the loss of memory and environmental rebirth. In the book, the narrator exiles himself into a frozen nature and attempts to return the frozen wasteland into its former, flourishing environment. The poems take on the memoric form of memory in a wide range of poetic forms from the traditional sonnet, haiku, or villanelle, to a scattered projective verse. In the center of these poems is an attempt to mimic the mind in the way that it shifts, in its moments of clarity, and in its attempt to dissect and understand the surrounding realities. Through logic patterning, deep image, and introspection, these poems are meant to give insight into what it means to be human in the digital age and to highlight the dwindling connection to the pastoral that is so deeply rooted in American society.

As time goes by, people are no longer limited with the basic demands of survival, which started in the primitive society, and try to search for the satisfaction of spirit and comfortable sensation. At this time, furniture becomes to be the spiritualization carrier: they could contain the history and culture; they could make people relax and bring belongingness; they could show the preference of the designers. The furniture, or all kind of design, can be more than passionless implements. That is the subject I want to explore. Because of my educational background in interior design and architecture, I usually search a way to balance between technology and people's emotions, and try to keep the function together with physical contact of design at the same time. Due to the awareness of `people-oriented' concept, I researched and designed the Cocktail furniture series. The purpose of this thesis is to analysis this furniture set, which includes a chair, a coatrack and a table. The main theme of design is to create a relaxing area with soft curved lines and round shapes, and use as few pieces as possible to reduce the weight and waste of material. I used the computer graphics, algorithms and ergonomics, Thermal Forming and Computer Numerical Control techniques together to produce the building-block combination furniture with sustainable plywood and HDPE plastic. Furthermore the use of Ergonomic, such as replaceable pieces, applies the humanistic care in the furniture. Within the consideration of function and aesthetic demands, I want to create the kind of design that can bring the joy and comfort for customers.

Objective: This retrospective longitudinal study attempts to determine the ontogenetic patterning of nasal septal deviation and if there is a relationship between a deviated septum and facial form growth and development. Methods: Nineteen females and twenty males were selected from the Iowa Facial Growth Study. Eighteen lateral cepalometric variables were analyzed and septal deviation was quantified using a percentage of deviation. A generalized Procrustes analysis was used to scale landmarks and generate principal components. Pearson correlation coefficients were used to analyze differences in shape. A Mann Whitney U-Test was used to analyze changes in septal deviation. Results: The first three principal components explained 56.23% of the variance. Only PC1 was significantly correlated with centroid size (r=0.82, P<0.0001). Mean percentage of septal deviation (0.620% ± 0.463%) was present at the youngest age group (3-4.9 years) and increased in each age group until adulthood, defined as over the age of 20 (0.991% ± 0.519). None of the first three principal components were found to be correlated to percentage of septal deviation. Conclusions: Nasal septal deviation has been found to increase in a longitudinal sample of subjects of northern European descent. Nasal septal deviation represents a disjunction in the growth of the nasal septum with the rest of the face. The amount and timing of nasal septal deviation that can cause nasal obstructions leading to vertical growth changes was not analyzed in this study and will require future study.

Scholars have suggested that landscape become the main ordering device in the development of the built environment. Traditional methods of urban planning have categorized landscape as a cosmetic application, the purpose of which is to beautify the urban environment after the planning and development phases. The problems associated with globalization and rapid urbanization at present includes the commoditization of urban form. As a result of this trend, many cities are becoming less and less distinguishable from one another, as urban form is generated without considering the particularities of site and context. The lack of a more specific understanding of a site in its environmental, social and cultural dimensions, has led to the phenomenon of "universal" urban form. Landscape has new found relevance in contemporary urbanism becoming the medium that defines urban form; inserting the built environment within the context of complex natural, social and cultural environments. Landscape has the potential to design relationships between dynamic environmental processes and urban form, and become more of a functional system. In the island of Trinidad there exists the opportunity to explore the potential of landscape as a driver of urban form. The island is currently experiencing rapid urbanization and dynamic growth due to a boost in the economy, and an unprecedented government agenda to take the island to a developed nation status by the year 2020. Due to this emerging urbanity, there is the need to implement urban development approaches that protect the environmental integrity of the island, and preserve the social and cultural influences that give identity to the island. The investigation led to the development of a landscape infrastructure that is implemented in an effort to achieve sustainable urban development and preserve the natural integrity of the site. Through an in-depth analysis of the landscape, identifying the natural, social and cultural processes occurring, a plan of intervention is developed that is integrated with the dynamics of the site, and serves as an example of the potential of landscape in urbanism.

Embryonic stem cell research has the potential to revolutionise both the practice of medicine and our understanding of the human body. Although the usual technical and financial limitations of research apply, perhaps the greatest obstacle to the progress of this research at the present time is the ethical concerns surrounding the destruction of early human embryos. The established debate over the ethical significance of the early embryo has thus taken on renewed importance. Within biology stem cell research has begun to overturn some long held assumptions about the roles of genes and cellular interaction in development. Building on recent advances in stem cell biology I develop a concept of Form that neatly captures what it is to be individuals like us in biological terms. Form not only defines a biological individual that exists across time regardless of changes in its physical constituents but also provides the biological foundation for our higher mental properties and our identity as persons. At the heart of the embryo debate is confusion over what human individuals are and therefore when they began. Defining when we began as the ethically significant individuals that we are now is the key to the embryo debate. Our metaphysics of identity is thus crucial to understanding the moral significance of the embryo. Compared to alternative understandings of identity within the debate surrounding the embryo Form provides compelling reasons why the very early embryo, at the stage that embryonic stem cells are derived, lacks any right to life or associated ethical significance. The derivation of embryonic stem cells is thus found to be ethically permissible.

Many studies of children's learning in Art education have focused on the young child working in two-dimensional processes. This study examined ways in which emerging-adolescents worked three dimensionally with clay. The purpose of the study was to discover whether the introduction of adult models of three-dimensional form would affect the way the child perceived and constructed threedimensional form. These models were presented as perceptual frames of reference related to the problem confronting the child. The development of perceptual differentiation skills and perceptual, manipulative and conceptual modes of learning underpin this investigation. Four intact classrooms of 12 year olds were studied and the results were examined by a panel of judges. A rating scale devised by the author was applied to each model. The scale was designed to measure five aspects of three-dimensional form. Results indicated that three-dimensional art works made by adults do affect aspects of the way children approach visual problem solving. Implications for the use of such frames of reference in the art classroom and indications of associated motivational and attitudinal changes are presented in the study.

<p>Idag kan man hitta hårdrocksskivor i många butiker som Åhléns och COOP Forum. Dessutom kan man beställa skivor över nätet från företag som Ginza, CDON, Amazon, samt direkt från skivbolag.</p><p>För hårdrocksband kan det vara viktigt att cd-omslagen visar att de tillhör hårdrocksgenren, för att kunna vara med och konkurrera om kundernas uppmärksamhet och köpkraft. Syftet med den här uppsatsen är att undersöka om det finns en hårdrocksestetik som omslagsartister bör använda för att nå hårdrockare som konsumentgrupp, och hur den estetiken i så fall ska beskrivas. Detta genomförs genom undersökningar och kartläggning enligt informationsdesignämnets principer.</p><p>Målgruppen för arbetet är de som tar fram omslag till konsumentgruppen.</p><p>Konsumentgruppen är de som köper hårdrocksskivor. Min metod bör kunna tillämpas på andra områden/målgrupper/konsumentgrupper.</p><p>Min frågeställning lyder: Finns det en hårdrocksestetik som omslagsartister måste använda för att nå hårdrockare som konsumentgrupp, och hur ska den estetiken i så fall beskrivas?</p><p>I denna uppsats ser jag på hårdrocken som en enda genre och avgränsar min undersökning till cd-omslagens framsidor. Jag har arbetat enligt en induktiv metod med mina undersökningar. Om det finns en hårdrocksestetik så bör, förutom hårdrockare, även icke-hårdrockare ha en viss kunskap om denna. Därför inkluderades även icke-hårdrockare i min undersökning. Fokus ligger dock på hårdrockarna. De kvalitativa metoderna jag använde mig av är intervjuer, studie av cd-omslag, och fokusgrupper. Den kvantitativa metoden genomförde jag i form av enkätundersökningar. Hårdrockarnas sammantagna svar i undersökningarna använde jag till en mallbeskrivning, som bör kommunicera direkt till sin avsedda konsumentgrupp. Jag använde informationsdesignämnet som teoretisk referensram.</p><p>Enligt mina undersökningar finns något som kan kallas för hårdrocksestetik. Ett cd-omslag som riktar sig till hårdrockare som konsumentgrupp ska enligt denna undersökning generellt sett ha bandlogotypen placerad centrerad i den övre horisontella tredjedelen. Skivtiteln bör vara placerad i den nedre horisontella tredjedelen och ha en centrerad, symmetrisk relation till logotypen.</p><p>Bandets logotyp ska vara lätt att tyda och genom sitt utförande visa vilken typ av musik bandet spelar. Skivtiteln bör ha en koppling till omslagsmotivet samt textinnehållet. Motivet ska helst vara en målning, alternativt en blandning av tekniker. Färgvalet bör vara kontrastrikt med betoning på mörka färger.</p><p>Händelsecentrum i omslagsmotivet bör ligga i mitten. Omslaget ska helst vara detaljerat utan att vara plottrigt. Det bör vara originellt men ändå berätta vilken hårdrocksgenre som finns på skivan. Det är viktigt att eftersträva ett bra skivomslag då ett omslag som ser ”rätt” ut gör helhetsupplevelsen bättre, stärker bandets varumärke och skapar intresse för musiken.</p>

<p>Hur kan man använda sig av informationsdesignsprinciper för att formge layouten på en mjölkförpackning? Vilket formspråk används inom mjölkförpackningslayout, och hur visualiserar man ett företags varumärke genom bid och text? I min upsatts beskriver jag hur jag jobbat teoretiskt och praktiskt för att besvara dessa frågor.</p>

<p>På uppdrag av Thule Möbler utformades ett designförslag utifrån deras nuvarande katalog. Syftet var att ur ett informationsdesignperspektiv utveckla deras produktkatalog så att användarna lättare skulle kunna hitta i katalogen.</p><p>Den här rapporten beskriver hela processen från idé till färdigt designförslag.</p><p>Med hjälp av analyser, enkäter och intervjuer har material tagits fram som sedan testats på målgruppen genom utprovningar.</p><p>Utifrån resultaten utformades ett designförslag som var anpassat till användarna och som förmedlade ett budskap om Thule Möbler, dess historia och produkter genom en enhetlig grafisk form som finns som en röd tråd genom hela katalogen.</p><p>Enhetligheten skapas genom en tydlig linjering som stärker igenkänningen hos användaren, genomgående marginaler samt tydligheten mellan ordens, bildernas och den grafiska formens samspel till varandra.</p>